The second "Gritz Stone Ground & Southern" compilation is now available! The FREE album download features another mixture of legendary Southern rockers along with the very best of the new breed of artists.
Dixie Tabernacle is an all-star project that features Wet Willie lead singer Jimmy Hall, along with Doug Phelps of The Kentucky Headhunters fame and former Lynyrd Skynyrd drummer Artimus Pyle. The project was produced in Nashville by Larry Goad.
Bekka Bramlett, the daughter of Delaney & Bonnie, packs a powerful punch on the title track from her brand new album.
Swampdawamp is the fastest rising Southern Rock band in ages, just off the Lynyrd Skynyrd Simple Man Cruise where, according to many, they stole the show.
Caroline Aiken does it all. She’s an amazing singer-songwriter who can also rock the blues to beat the band, as she does here, backed by Atlanta’s Doghouse.
Russell Gulley first rose to fame as a member of the late seventies band Jackson Highway, and over the past several years he has written and recorded some absolutely stellar blues tunes.
Christine Ohlman might not be from the South, but the girl is Southern to the core, with a voice that falls somewhere between Memphis soul and Muscle Shoals. By the way, she has been lead vocalist with the Saturday Night Live band for many years.
Arkansas native Joe Pitts is a guitar monster, an excellent blues player who sounds at times like Duane Allman and at others like Walter Trout. His singing is very pleasing as well.
Florida’s Rebel Pride are just a fine band, possessing a lead singer reminiscent of Danny Joe Brown and rocking original songs.
The Rhythm Pigs have a rotating lineup that at times features Dave Hlubek from Molly Hatchet and at others former Blackfoot player Jay Johnson. The Virginia based band are true road warriors, turning in a live track that was just recorded last week.
Trey Harris was raised in South Carolina where he grew up listening to local heroes The Marshall Tucker Band and great classic country artists. His song is a tribute to all the Southern Rockers who have passed on.
The Southern Rock Society are genuine Southern Rockers who play Southern Rock music, as well as promote other bands and Southern Rock events. “Don’t Quit Love” is a fine example of the SRS’s music.
Gritz is happy to present this free sampling of the artists we write about at Gritz section of Swampland.com. It's our gift to you. Visit our compilation page to read more about the bands, visit their websites and get the link to download from thinkindie.com!
Keep it Real. Keep it Southern.
Buffalo
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I like very much your way of speaking." "I try to speak frankly." "Then tell me what you saw in the hand." "No," she said and shook her head. "I saw nothing. Go now to thy bridge. I will look after thy equipment." "Cover it and that no one should touch it. It is better there than in the cave." "It shall be covered and no one shall touch it," the woman of Pablo said. "Go now to thy bridge." "Anselmo," Robert Jordan said, putting his hand on the shoulder of the old man who lay sleeping, his head on his arms. The old man looked up. "Yes," he said. "Of course. Let us go." 3 They came down the last two hundred yards, moving carefully from tree to tree in the shadows and now, through the last pines of the steep hillside, the bridge was only fifty yards away. The late afternoon sun that still came over the brown shoulder of the mountain showed the bridge dark against the steep emptiness of the gorge. It was a steel bridge of a single span and there was a sentry box at each end. It was wide enough for two motor cars to pass and it spanned, in solid-flung metal grace, a deep gorge at the bottom of which, far below, a brook leaped in white water through rocks and boulders down to the main stream of the pass. The sun was in Robert Jordan's eyes and the bridge showed only in outline. Then the sun lessened and was gone and looking up through the trees at the brown, rounded height that it had gone behind, he saw, now, that he no longer looked into the glare, that the mountain slope was a delicate new green and that there were patches of old snow under the crest. Then he was watching the bridge again in the sudden short trueness of the little light that would be left, and studying its construction. The problem of its demolition was not difficult. As he watched he took out a notebook from his breast pocket and made several quick line sketches. As he made the drawings he did not figure the charges. He would do that later. Now he was noting the points where the explosive should be placed in order to cut the support of the span and drop a section of it into the gorge. It could be done unhurriedly, scientifically and correctly with a half dozen charges laid and braced to explode simultaneously; or it could be done roughly with two big ones. They would need to be very big ones, on opposite sides and should go at the same time. He sketched quickly and happily; glad at last to have the problem under his hand; glad at last actually to be engaged upon it. Then he shut his notebook, pushed the pencil into its leather holder in the edge of the flap, put the notebook in his pocket and buttoned the pocket. While he had sketched, Anselmo had been watching the road, the bridge and the sentry boxes. He thought they had come too close to the bridge for safety and when the sketching was finished, he was relieved. As Robert Jordan buttoned the flap of his pocket and then lay flat behind the pine trunk, looking out from behind it, Anselmo put his hand on his elbow and pointed with one finger. In the sentry box that faced toward them up the road, the sentry was sitting holding his rifle, the bayonet fixed, between his knees. He was smoking a cigarette and he wore a knitted cap and blanket style cape. At fifty yards, you could not see anything about his face. Robert Jordan put up his field glasses, shading the lenses carefully with his cupped hands even though there was now no sun to make a glint, and there was the rail of the bridge as clear as though you could reach out and touch it and there was the face of the senty so clear he could see the sunken cheeks, the ash on the cigarette and the greasy shine of the bayonet. It was a peasant's face, the cheeks hollow under the high cheekbones, the beard stubbled, the eyes shaded by the heavy brows, big hands holding the rifle, heavy boots showing beneath the folds of the blanket cape. There was a worn, blackened leather wine bottle on the wall of the sentry box, there were some newspapers and there was no telephone. There could, of course, be a telephone on the side he could not see; but there were no wires running from the box that were visible. A telephone line ran along the road and its wires were carried over the bridge. There was a charcoal brazier outside the sentry box, made from an old petrol tin with the top cut off and holes punched in it, which rested on two stones; but he held no fire. There were some fire-blackened empty tins in the ashes under it. Robert Jordan handed the glasses to Anselmo who lay flat beside him. The old man grinned and shook his head. He tapped his skull beside his eye with one finger. "_Ya lo veo_," he said in Spanish. "I have seen him," speaking from the front of his mouth with almost no movement of his lips in the way that is quieter than any whisper. He looked at the sentry as Robert Jordan smiled at him and, pointing with one finger, drew the other across his throat. Robert Jordan nodded but he did not smile. The sentry box at the far end of the bridge faced away from them and down the road and they could not see into it. The road, which was broad and oiled and well constructed, made a turn to the left at the far end of the bridge and then swung out of sight around a curve to the right. At this point it was enlarged from the old road to its present width by cutting into the solid bastion of the rock on the far side of the gorge; and its left or western edge, looking down from the pass and the bridge, was marked and protected by a line of upright cut blocks of stone where its edge fell sheer away to the gorge. The gorge was almost a canyon here, where the brook, that the bridge was flung over, merged with the main stream of the pass. "And the other post?" Robert Jordan asked Anselmo. "Five hundred meters below that turn. In the roadmender's hut that is built into the side of the rock." "How many men?" Robert Jordan asked. He was watching the sentry again with his glasses. The sentry rubbed his cigarette out on the plank wall of the box, then took a leather tobacco pouch from his pocket, opened the paper of the dead cigarette and emptied the remnant of used tobacco into the pouch. The sentry stood up, leaned his rifle against the wall of the box and stretched, then picked up his rifle, slung it over his shoulder and walked out onto the bridge. Anselmo flattened on the ground and Robert Jordan slipped his glasses into his shirt pocket and put his head well behind the pine tree. "There are seven men and a corporal," Anselmo said close to his ear. "I informed myself from the gypsy." 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