Missionaria Protectiva

        When it comes to groove, especially on bass, it’s all about feel. It’s a quality that perhaps can be taught, but oftentimes you’ve simply either got it or you don’t. And Bolt Thrower’s Jo Bench seems to have been born with it as the grind-turned-death-metal group helped spawn and popularize some of metal’s most enduring styles. Arguably the greatest groove-based band in death metal history, the now defunct Bolt Thrower never made even a remotely lukewarm album, much less an outright bad one. There for the whole ride was Bench, keeping the treads of the war machine moving forward with devastating effectiveness. BOLT THROWER The Peel Sessions Strange Fruit,1988 https://www.sendspace.com/file/akb7yo

        Johnny Winter was born in Beaumont, Texas, in 1944, and grew up with music all around him. He started cutting records age 15, and got his big break in 1968 when Mike Bloomfield invited him to play in New York, Columbia Records paid attention and gave him a record advance. His debut album, 1968’s  The Progressive Blues Experiment , showed which way the wind was blowing.       Winter would enjoy a prolific career, making the angular silhouette of the Gibson Firebird his calling card – most notably his 1964 Polaris White Firebird V – but so too his  slide chops and fierce attack, the flurry of triplets and double-stops . Like many blues players of his age the influence of Muddy Waters was writ large in his style. Winter would repay the favor, jamming with Waters and producing three studio albums for him. Captured Live! Blue Sky,1976 https://www.sendspace.com/file/vgh1rb