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"Guitarist Chambers achieves the distinctly American blues/soul/country/rock sound that the Stones used to aspire to long ago."
“With "The Rock House Sessions", Sean Chambers once again lights up the airways with his incendiary brand of Guitar work. "The Rock House Sessions" is a none stop Blues Rock lovers dream come true, right from the opening Track "World On Fire" which one could easily rename "Guitar On Fire" as Sean Chambers blazes through this steller start to the album... 5***** for "The Rock House Sessions", another stellar release from Sean Chambers, sure to please all fans of great Blues Rock.”
"Live From The long Island Blues Warehouse" Sean Chambers plays the blues guitar with an undeniable force and passionate intensity that leaves listeners awestruck and hungry for more. His live shows allow him to stretch out and show off his incredible chops, honed while serving as Hubert Sumlin's bandleader for five years. His fourth CD is a testament to the power of his shows, and is "Live From The Long Island Blues Warehouse." This one simply does not let up, from the dazzling first notes of the leadoff instrumental, "Dixie 45," to the scintillating slash-and-burn of the set-closing "In The Wintertime." In between, he'll remind many listeners of Gary Moore, Jeff Healey, and, even SRV. A funky backbeat drives the title cut from his first album, "Strong Temptation," while the slow blues tale of a man tore up in love finds that "one day I'm elated, the next day I sing the blues" in "Crazy For Loving You." This one features an extended solo at the bridge, full of stinging jabs of note-after-note sweetness. And, a cool story of the characters that only come out at night is "Full Moon On Main Street," penned by Fred James. We had two favorites, too--one cover and one original. The roadhouse rockin' "Hip Shake Boogie" makes its CD debut herein, while Sean breaks out the slide for a crowd-pleasing read of "Dust My Broom." Sean Chambers is another in the ever-growing number of young Turks that has the talent to lead the blues well into the 21st century. If you like your blues red-hot and smokin,' then take a listen to "Live At The Long Island Blues Warehouse" and ENJOY!!! Until next time... -By Sheryl and Don Crow, NASHVILLE BLUES SOCIETY - September 2011
Smoking! Blues rock played with an intense inner fire that just gets hotter and hotter and deeper and deeper. I don’t know if I have been so immediately amazed by a guitar player since the very first time I heard Stevie Ray Vaughn. Truth. I heard the first bar of the first track, and pulled the CD out of the player because I knew I had somehow mixed it up with a Mike Bloomfield. Nope. This is Sean Chambers. He may cause you to recall Luther Allison, Buddy Guy and a few other fellars that you suspect went down to the cross roads and traded in his soul for a chance to mesmerize the world with a guitar, but this is Sean Chambers. Live From The Long Island Blues Warehouse Sean Chambers had to have graduated summa cum laude from “blues college”. Turns out that isn’t far from the truth. He served as the guitar player and musical director for the legendary Hubert Sumlin for five years. He toured world wide and in the end, Guitarist Magazine named him one of the Top 50 Blues Guitarist of the Last Century. He’s even got a voice that reminds you of Stevie Ray Vaughn, and looks a little bit like Mike Bloomfield, and he writes original blues tunes. very good original blues tunes. Seven of the tracks were written by Chambers , and one with bass player, Tim Blair. The opening track, “Dixie 45” is an original and sets the tone. It opens with a menacing bass “thrum” and then Sean comes sliding and screaming in on this instrumental that displays every tool in the box. On “Love Can Find A Way” we get a blues shuffle, with some stop time thrown in for good measure. Track three is the first cover tune, Fred James’ “Full Moon On Main Street” one of the bands standards on live sets. This is a slow blues that allows Chambers to stretch out and show off his emotionally blazing solo work. “Strong Temptation” is another original and Sean treats us to his alternate rhythm/solo work in the finest power trio tradition. Then comes a slide guitar and hot licks cover of Elmore James “Dust My Broom” followed by the last cover tune on the album, Bill McLess’ “Crazy For Loving You”. There is something on “Crazy” that reminds me of a Tom Waits vocal; a whiskey tortured voice sung to the moon, in an alley, way after midnight. “Danger Zone” is one of my favorite tunes from the album,the guitar work is rapid fire articulate blues and a great “forgive your sins” kind of tune. “Too Much Blues” is another memorable scorching display of guitar mastery that will have you tapping your foot and ordering another round of drinks. there just isn’t much Sean Chambers can’t do with a guitar. Maybe split and atom? Perform brain surgery? Save your soul? No, I don’t think that even those are out of the realm of possibility. “Hip Shake Boogie” isn’t the old standard, but another instrumental original that lead into that ‘atom splitting, brain surgery realm. then comes “in The Winter Time”.It’s a ten minute long opus that begs and wails and celebrates the blues with a feeling that goes beyond virtuosity and leaves you speechless. And it saves your soul. Sean Chambers is the real deal, and the devil just may have gotten the worst of that trade. -By Robert Carraher , THE DIRTY LOWDOWN - September 2011 http://the-dirty-lowdown.blogspot.com/2011/09/music-review-live-from-long-island.html
-Sean Chambers "Live From The Long Island Blues Warehouse" Live from LIBW begins with almost introspective noodling, like Chambers is just warming up. Which turns out to be be the case when only seconds later he's like a supersonic fighter jet blasting off the runway, getting ready to soar. Chambers' aggressive, almost bloodthirsty slasher style masks an intimate knowledge of everything that a guitar is capable of, from which he coaxes sounds ranging from a blood-curdling scream to a sultry sigh. Chambers came by his talent the old-fashioned way, by first learning the intricacies of his chosen instrument, then the finishing master strokes from one of the masters of Delta Blues, Hubert Sumlin - a case of the maestro-in-training learning from the maestro himself. Chambers then went off on his own and put all those lessons to work, wowing audiences across the globe. He's paid his dues and has been rewarded with not one but two appearances on the House of Blues Radio Hour. He's shared the stage with everybody who's anybody in the guitar-slinger world, from B.B. King to Robin Trower, by way of Bo Diddley, Leslie West and Robert Cray. Other non-slinger stalwarts include Koko Taylor, Kim Wilson, Greg Allman, Little Milton, James Cotton and Pinetop Perkins. There isn't much new on this CD, which is a mix of mostly his own material and some covers, many of which have been featured on previous releases. One he pulled from the place where some of his roots grow, "Dust My Broom." Elmore James brought the heart and soul of this song straight from Texas, and Chambers' interpretation adds some Delta and Chicago to the mix, serving up a banquet. Sean Chambers' back-ups on this CD add more than competent instrumentation in the form of Jeff Artabasy on bass, Paul Broderick on drums, and Gary Keith on harp. Chambers' most recent release before this one, Ten Til Midnight, spent three months on the Living Blues chart and enjoyed steady airplay all over the U.S. and much of the rest of the world's blues stations. This CD is already on a tear to equal that. By Lou Novacheck, Seattle PI - October 2011 http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Sean-Chambers-Live-at-the-Long-2209327.php
SEAN CHAMBERS BAND NEW LIVE CD "Live at the Long Island Blues Warehouse" It's this simple, I've got your new Stevie Ray Vaughan right here. This guitar slinger is an electric blues blaster that cuts to the chase and delivers the goods. Easy as that. He's a bad ass, a monster and the torch bearer that's leading and lighting the way for the next generation of players and fans. And live, he goes from blistering to incendiary. Check it out! By Chris Spector, Midwest Record - September 2011 http://midwestrecord.com/MWR383.html
Just received and listened to about 10 times, the new Sean Chamber Band recording. This things screams! If you like your blues down and dirty and screaming with guitars riffs that twist your mind, you've come to the right place. This recording was recorded live on March 22 before a lively audience in a recording studio atmosphere, which generated superior audio quality for the disc. Backing Sean on the live CD are his longtime bassist Tim Blair and drummer Paul Broderick, with special guest Gary Keith on harmonica. I'll just say again, if you love the guitar blues a'la Johnny Winter, SRV, you get the picture... this may be your new ticket! http://www.americanbluesblog.com/2011/09/live-from-long-island-blues-warehouse.html
Touring with Hubert Sumlin from 1998-2003 was guitarist/vocalist Sean Chamber’s education on playing the blues. Since striking out on his own, Chambers has forged his own style of blues playing that has gathered steam as he plays at clubs scattered about Florida with sojourns to the Northeast. His last studio release Ten To Midnight was clearly his best effort as he merged the styles of Walter Trout, Stevie Ray and Jimi Hendrix together to produce a worthwhile package of songs. Now with the release of Live From The Long Island Blues Warehouse, Chambers is intent on capturing the essence of these songs in a live setting recorded in front of a studio audience. It’s a concept that can work or fall flat on its face. But Sean has no problems in pulling it off. Aided by drummer Paul Broderick , bassist Tim Blair and harp player Gary Keith, Sean lays the grooves down thick and heavy. It’s blues rock played at its best with festival and club audiences being satisfied by the songs catchy riffs. Ten songs are featured with a few covers thrown in to make things interesting. Though Elmore James’ “Dust My Broom” has been played often enough, Chambers still makes it a welcome choice with Keith’s harmonica playing driving the song to new heights of boogie. Obviously the acknowledgements to the power trios of yesteryear are in evidence. However if you are fan of the Hendrix Experience, Stevie Ray Vaughan and Cream, then there is no problem in falling in love with music like this. Chambers works the pedal hard in opening cut “Dixie 45” which owes as much to the Voodoo Chile but clearly comes stamped with Sean’s indelible logo. Sean’s pedal gets a work-out in other tracks, particularly “Danger Zone,” a high energy blues rocker. The tempo gets shifted into overdrive with the band charging at full gallop through rocker “Too Much Blues.” And if a Chambers song can live up to its name, then the honor should go to “Hip Shake Boogie,” a boogie blaster with Sean introducing band members after short solos. It’s a sweat-drenched mutha with Sean pulling out his best Stevie and Jimi licks wrapped in gooey chords and wah-wah nirvana. Rather than putting several slow blues tracks on the cd, Chambers waits till the last song to for a listener to catch a breath. Being that “In The Winter Time” clocks in at a little more than ten minutes doesn’t mean it overstays its welcome. Far from it. It’s a great opportunity for Sean to display the prowess he has with his instrument. Slowing the momentum down gives Chambers a chance to slow-burn on the fretboard and despite the song being long things never get boring with Chambers turning up the heat in a slow sizzling blues track. Altogether this music clocks in at 45 minutes. Nothing wrong with that as there is no filler to stretch the CD format to a time that it doesn’t need to be. Sometimes it’s best to leave a listener wanting more then to go for maximum overkill with extra tracks that don’t need to be there on the first place. If that’s Sean’s philosophy than it’s a pretty cool business move. No doubt as he makes his tour stops, selling this at the merchandise table should be no problem. Listeners catching his first set won’t mind shelling out some bucks for a piece of blues-rock played honestly and raw. And Sean can work those conditions carte blanche. -By Gary Weeks for Blues Blast Magazine - October 2011 http://www.illinoisblues.com/bluesartists/reviews.htm
Sean Chambers recently made lovers of blues music happy by putting out a live album. (I believe it is his first.) It accomplishes just what a good live album should — it captures the intensity and the possibilities unleashed in a great live concert. Live From The Long Island Blues Warehouse brings all the energy of a Sean Chambers Band live show to each and every track. It’s a mix of Chambers’ own original material and a few cover versions of some classics that have been featured on previous releases. There’s a weather condition known in the South when the temperature gets over 100 degrees… or when the humidity plus the temperature make it feel like it’s over 100 degrees. It’s searing hot. It could also be caused by playing The Sean Chambers Band’s new album on even just a mild day. After one or two licks on the first track, things definitely heat up. Each track achieves musical liftoff in its own way, but my personal favorite on the album is the newly definitive treatment that Chambers gives Kinsey Report’s “Full Moon On Main Street.” With a lyric like “There’s a full moon on Main Street/Can’t you hear the sirens wail/There’s a full moon on Main Street/Somebody’s going to jail…” how could this not be a favorite? Another essential download on the album is “In The Winter Time,” a song that burrows its roots down deep.. and then grows and blooms and then loses its musical leaves only to start all over again. It is one of those blues that sounds as right and eternal as the seasons themselves — in the winter time or anytime. Sean Chambers knows what a guitar is truly capable of. He slashes, picks, rips, tickles, massages and generally plays the instrument in the truest sense of the word “play.” The rest of the band are equally profound in their contributions: Jeff “The Count” Artabasy (bass), Paul Broderick (drums), Gary Keith (blues harp). But let’s not focus solely on the guitar mastery and overlook his vocal powers. Sean Chambers has a volcanic voice that rises, threatens to explode and subdues itself in line with the musical notes that are driving the song. Many blues artists have a confidence to assist them in putting a song over; Chambers’ vocal confidence is fully justified. To preview or purchase this album on iTunes, click here. To visit the website for The Sean Chambers Band, click here. http://www.parcbench.com/2011/10/25/searing-hot-blues-on-the-sean-chambers-bands-new-cd/
At the tender age of ten, Sean Chambers received a guitar from his parents as a Christmas gift, which turned out to be the spark for his life's work. Living in the Tampa, FL, area and listening to and absorbing all the blues knowledge he could, he soon became an in-demand club player, and, at nineteen, formed his first band. In 1998 he released his debut, "Strong Temptation," to much critical acclaim. Inevitable comparisons to Johnny Winter and SRV surfaced, but Sean Chambers has his own style and has progressed well beyond the standard blues idiom. With his latest release, "Ten Til Midnight," Sean has matured not only as a player but as a writer, too. Seven blistering originals and three well-chosen covers make this one a sweet blues-rock listening experience! The set kicks off with the smokin' title cut, the tale of a man on the make, with "ramblin' on my mind!" And, "when you're down on your luck, you gotta get up and "Make It Go," which features some fine B-3 work from Ben Crider. "You're Gonna Miss Me" allows Sean to show off his slide chops, as does his "ode to the road," "When I Get Lonely." "Too Much Blues," with a slightly different mix from the other cuts, has a definite Z Z Top groove goin' on. Speaking of Z Z Top, our three favorites included two originals and one cool cover, of Billy Gibbons' down-and-dirty "Brown Sugar." The others were the set-closing acoustic guitar and harp (courtesy of Gary Keith) of "I Don't Know Why," and the rockin' cut that was originally written as an instrumental, entitled "Blues And Rock 'N' Roll," with more harp from Mr. Keith and the lyric "I like my blues with some rock 'n' roll!" Sean got his "blues college education" by serving as musical director for Hubert Sumlin for five years, touring worldwide. Plus, "Guitarist" magazine named him one of the Top 50 Blues Guitarists of the Last Century, and with sets such as "Ten Til Midnight," it's easy to see why!