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 | My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare |  |
| Posted: Fri Nov 13, 2009 10:54 pm |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Ryan Bingham - Wishbone Saloon (2004)
mp3 VBR~202kpbs | 82MB | 45:32 min.
| Quote: | Americana singer/songwriter Ryan Bingham was raised in rural Texas, where years of hardscrabble ranch work and competitions on the rodeo circuit would eventually surface in the dusty riffs of his country-styled debut, Mescalito. Living alone since his mid-teens, Bingham shuttled back and forth between Southwestern border towns and relatives' homes, often sleeping in his truck after nightly rodeo gigs. It was during those treks that he began entertaining friends with the guitar, an instrument he'd learned at the age of 17 from a mariachi neighbor. Drawing inspiration from Bob Dylan, Marshall Tucker, and Bob Wills -- all of whom populated the jukebox of The Halfway Bar, a roadhouse owned by Bingham's uncle (whose musical tastes influenced those of his nephew) -- Bingham fashioned a road-weary sound that soon piqued the interest of a barroom proprietor in Stephenville, TX.
Bingham was offered a weekly residency at the bar; soon after, he began issuing such self-released albums as Lost Bound Rails and Wishbone Saloon. The popular material was brought to the attention of Nashville heavyweights Lost Highway Records, who signed Bingham and issued his major-label debut, Mescalito (featuring production by Marc Ford, former guitarist for the Black Crowes), in October 2007. Mescalito was well received by critics, with Rolling Stone aptly comparing Bingham's raw, scratchy voice to that of "Steve Earle's dad." After supporting the album with ample tour dates, the songwriter reprised his relationship with Marc Ford, who produced 2009's Roadhouse Sun. |
| Quote: | | Ryan Bingham’s debut album, Wishbone Saloon, has a western swing influence to it and right from the start you can tell that Ryan has a voice and style all his own. The songwriting on this album is excellent and all of the songs have an interesting story behind them whether it’s love, heartbreak, having a good time, being on the road or running from the law. The songs on Wishbone Saloon that really stood out are “Roadhouse Gypsy”, “Bandit” and “Wishbone Saloon”. The title track will solicit memories of listeners and bring back fond memories of their favorite bars. The track also goes into detail about all of the different characters that are associated with most any bar. What is attractive about these songs is Ryan’s way of telling a story and how the lyrics of the song evolve over time. |
1 Freight Train
2 Wishbone Saloon
3 Bandito
4 Roadhouse Gypsy
5 Hurricane
6 Boys Town
7 Honey
8 Honkytonk Man
9 Long Way From Georgia
10 Southside of Heaven
11 The Highway
| Code: | | http://rapidshare.com/files/306371338/ryan_bingham_wishbone_saloon.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Sat Nov 14, 2009 3:22 am |
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| magnuna |
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| Joined: Jun 14, 2007 |
| Posts: 440 |
| Location: Norway |
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Thanks for posting all these great albums. I even discovered some new potential favourites!  |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Nov 16, 2009 12:53 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Vince Gill - These Days (2006)
mp3 224kpbs | 266MB | 165:39 min.
| Quote: | As 2006 nears its end, no one can argue that the world of country music isn't, at this moment, the most adventurous in the mainstream pop music industry and that Nash Vegas is taking more chances on its acts as the rest of the biz relies more on narrowing things into smaller and smaller niches that can easily be hyped and digested. Sure, as always, artist's images and many recordings are calculated to score big as in any pop industry. The difference is in approach. The country-listening audience/demographic has widened considerably; therefore, there is a need -- as well as an opportunity -- for experimentation to see what sticks. This is the most exciting the music's been since Willie and Waylon hit the charts in the '70s, or perhaps to be a bit more fair, when Garth Brooks turned them upside down in the early '90s. Country music's fan base is growing because it still relies largely on radio, and video channels like CMT and GAC, both of which are very supportive of directors and artists taking artistic chances in the way they choose to dramatize, animate, and portray songs -- check the work of the brilliant director Trey Fanjoy just for starters. Country's latest audience grew up on rock & roll, MTV (when it still played videos), soul, blues, funk, early rap, and in some cases even punk. And while the marketing approach is still singles-driven, country music artists and producers, as well as the labels that house them, are still concerned with the "album" either as a whole, or as a completely crafted collection of varying singles (in this case meaning "good songs"). What's more, these folks still buy CDs (titles are readily available at the local in mega-marts and department stores) and don't rely on the internet as much as pop and rock fans do for information. Given the long run of the Dixie Chicks' Taking the Long Way at number one on the country and Billboard charts, one can't simply dismiss the music as being the religious right's stronghold or pop culture front for "traditional family values" anymore, either, though admittedly there's plenty of that around. In the 21st century it's country music and hip hop -- not rock -- that have been taking on the topics of race, class, basic human dignity and diversity, more than any other popular (chart measured) American musics.
This current mindset in both the Nash Vegas offices and in the fan base is what makes Vince Gill's These Days, a 43-song, four-disc set, possible. Gill had been planning on making a standard single-disc record in 2006. He wanted it to be musically diverse. Given his long career as songwriter, picker, producer, singer, recording and performing artist, he had a right to expect his label MCA Nashville to go along with his choices. What he didn't count on was recording 31 songs with various groups of musicians and not knowing what to do with them. He approached Luke Lewis, the label's president, with an idea he got from the Beatles multi-release-per-year tactic (the same one everybody used in the '60s), which was to issue three albums approximately three months apart in a single calendar year. Lewis, visionary that he is, went one better. He encouraged Gill to go back into the studio and cut enough quality material for a fourth disc and release them all as a box set. Unlike most boxes on the shelf, this one retails for a fairly modest $29.98 -- less than eight dollars a disc -- an attractive package in time for the holidays.
However, adventurous Nashville music industry or not, it all eventually comes down to the quality of the music after all, right? Yes. These four discs are thematically arranged: there's an acoustic bluegrass-flavored record called "Little Brother" (disc four), a rock record called "Workin' on a Big Chill" (disc one), a trad country & western album called "Some Things Never Get Old" (disc three), and a modern soul and jazz-inflected disc of ballads and more gentle pieces called "The Reason Why" (disc two). What's more, though Gill wrote or co-wrote everything here, he called in numerous guests to help him out. These include Gretchen Wilson, his wife Amy Grant, daugher Jenny Gill, Bonnie Raitt, Rodney Crowell, Sheryl Crow, Diana Krall, pedal steel guitar boss Buddy Emmons, Phil Everly, Rebecca Lynn Howard, the Del McCoury Band, Patty Loveless, Emmylou Harris, John Anderson, Katrina Elam, Lee Ann Womack, LeAnn Rimes, Guy Clark, Trisha Yearwood, Bekka Bramlett, and Michael McDonald. The end result is a magical mystery tour through Gill's own wildly varying aesthetic interests and his uncanny ability to pull off his diverse ideas on tape. These Days is not only a showcase of Gill's multidimensional musical persona, but a virtual treatise on the expansive, open-minded, under the umbrella viewpoint that has taken over Nashville in the current era.
"Workin' on a Big Chill" lives up to its name as a rock record as reflected in the tunes, the beats, and the instrumentation. The title track alone, with Gill's own considerable bluesed-out guitar-slinging skills burning down the house, punches a hole in expectations; the track also includes a Wurlitzer, a B-3 and Bramlett's killer backing vocals. "Love's Standin'" was written with co-producer John Hobbs (Justin Niebank and Gill, of course, also inhabit these chairs), and the wonderfully iconoclastic songwriter and producer Joe Henry (it could have been a smash for Fleetwood Mac), and showcases the sheer white soul backing chorus of Bramlett (who was a member of the latter day Fleetwood Mac), Gene Miller, and Gill. Wilson guests on "Cowboy Up," is more an upscale blues tune than a country song and proves Wilson can sing anything she wants and belongs where she is -- at the top. While there isn't a weak moment on this set, some of the other standouts include the popping "Sweet Thing," with a full-on horn section, the Jerry Lee Lewis-inspired "Nothin for a Broken Heart," with Crowell, and the utterly sexy and soulful country rocker "The Rhythm of the Pourin' Rain," with Bramlett. The only complaint here is that there isn't more of this material: four CDs of rock & roll tracks would have been welcome, and if rock radio were worth a damn Gill would easily crossover with a couple of these songs.
With its subdued tone, and generally slicker productions that include strings, some muted synthesizers, jazzy arrangements, and pop music stylistic tropes, one might think that "The Reason Why: The Groovy Record" would be the least desirable here. Not so. From the opening cut, "What You Don't Say," with Rimes and a full-on string section with ringing pedal steel, Gill proves he is an American pop songwriter par excellence. If all the music on the charts was done this well, with this much passion and soul and pomp, radio would never have lost its appeal. This is the album in the set that reveals the depth of Gill's craft as a songwriter. The early rock & roll waltz trappings and vibes, as well as distorted piano on the title cut with Krauss, is a gorgeous love song with some of Gill's finest vocals on tape. Period. "Rock of Your Love" could have been featured on any of Raitt's latter recordings, and that's a compliment. The slow, dirty guitar line and Raitt's R&B slow burning voice carry it home. Where Gill uses guest vocalists -- female vocalists have always provided a wise counterpoint to his own husky tenor -- the tunes work so well most could be singles. Check "What You Give Away," with Crow, and "The Memory of You," with Yearwood. They're solid; full of honest emotion and pop brilliance. The beautiful love song and gospel tune, "Tell Me One Time About Jesus," with Grant, and "Time To Carry On," with Jenny Gill, are excellent album tracks and give depth, dimension and warmth to this set and are indispensable to it. The duet with Krall is the greatest chance Gill could take. He works in her idiom -- and, of course, she plays that wonderful piano of hers -- and pulls it off with grace and aplomb in the same way Tom Waits pulled off his duets with Crystal Gayle on the soundtrack for One from the Heart.
"Some Things Never Get Old" is subtitled "The Country & Western Record." This is an important distinction because what Gill has assembled here is nothing short of a honky tonk set. Though Gill's voice is a little smooth and high, it hardly matters because he's got the two things that count most on an old-school C&W set: the songs and the band. With Emmons on pedal steel (he's one of the great sonic and stylistic innovators on the instrument) guitarist Billy Joe Walker, Jr., fiddle boss Stuart Duncan, and a slew of backing vocalists who include Dawn Sears, Liana Manis, Jon Randall, Andrea Zonn, and Wes Hightower, as well as his core band, he's in the pocket. The music here collects styles from hardcore honky tonk, countrypolitan, late-night loving and torch songs done as only country singers can, and of course, hillbilly anthems. Some of the top-notch tracks here include "Out of My Mind," with Patty Loveless, the title cut, "Sweet Little Corrina" with Everly (which harks back to those classic Warner Brothers Everly sides), "If I Can Make Mississippi" with Womack, the rowdy good ole boy outlaw anthem, "Take This Country Back," a duet with the truly incomparable John Anderson.
This leaves, finally, "Little Brother, The Acoustic Record." True; some fans of country -- especially modern country, may have a harder time with this disc because it is both a bluegrass record full of banjos, dobros, mandolins, white Southern gospel, and mountain music -- and simply recorded country ballads. Fans of Gill's shouldn't be SPAMised; his membership in the Grand Ole Opry, his deep reverence for this tradition, and his ability to write, play, and sing in it like an old master, -- and his previous recordings featuring these qualities -- qualify him to indulge that Muse. But Gill's approach, as old-school in thinking as it may be, uses both the music's early reliance on blues and folk styles of the British Isles as a way of expressing the mountain tradition and also the modern scholarship and musical innovations informing it. He is accompanied by the Del McCoury Band on a couple of selections here -- "Cold Gray Light of Gone," "A River Like You," with Jenny Gill, "Ace Up Your Pretty Sleeve," co-written with the great and criminally under-noticed Mark Germino, and "Give Me the Highway" -- but his own takes on country are actually quite creative in his interpretation on the form. But the chiller here is "Girl" with Rebecca Lynn Howard. Here, the deep, high lonesome sound is informed by all of the early folk musics that came before it, and Gill gives them all free reign as this tune wafts from the Appalachian mountain country to Celtic, Irish, and Scottish meadows and coastlines. And although the set's final cut, "Almost Home," with Guy Clark, has no commercial potential, it's a fitting way to close an album; it's a storyteller's tune, one where Clark speaks in that age-old wizened rogue manner of his, and helps to create a myth of near-epic proportion.
What it all adds up to is that this is Gill's masterwork. It's an exhaustive, profound, fun and fulfilling set that not only gives fans something to delight in, but goes wide and if given half a chance could and would attract many new ones. It is one of the major recordings not only of 2006, but of the decade so far -- in any genre. This is the treatment a seasoned artist like Gill deserves, and along with the benefit and support of being able to indulge in such a project, it lives up to the responsibility of delivering the goods in abundance. This is yet another example that the new media-savvy form of country music introduced by Brooks in the '90s has yielded something far more interesting and exciting than some folks are willing to accept, and yet still others are able to believe. |
Disc One | Workin' On A Big Chill - The Rockin' Record
1. Workin' On A Big Chill
2. Love's Standin'
3. Cowboy Up (Guest Vocalist: Gretchen Wilson)
4. Sweet Thing
5. Bet It All On You
6. Nothin' For A Broken Heart (Duet with Rodney Crowell)
7. Son Of A Ramblin' Man (Guest Vocalist: Del McCoury)
8. Smilin' Song (Guest Vocalist: Michael McDonald)
9. The Rhythm Of The Pourin' Rain (Guest Vocalist: Bekka Bramlett)
10. Nothin' Left To Say
Disc Two | The Reason Why - The Groovy Record
1. What You Don't Say (Guest Vocalist: LeAnn Rimes)
2. The Reason Why (Guest Vocalist: Alison Krauss)
3. The Rock Of Your Love (Guest Vocalist: Bonnie Raitt)
4. What You Give Away (Guest Vocalist: Sheryl Crow)
5. Faint Of Heart (Duet with Diana Krall)
6. Time To Carry On (Guest Vocalist: Jenny Gill)
7. No Easy Way
8. This Memory Of You (Guest Vocalist: Trisha Yearwood)
9. How Lonely Looks
10. Tell Me One More Time About Jesus (Guest Vocalist: Amy Grant)
11. Everything And Nothing (Guest Vocalist: Katrina Elam)
12. Which Way Will You Go
13. These Days
Disc Three | Some Things Never Get Old - The Country & Western Record
1. This New Heartache
2. The Only Love
3. Out Of My Mind (Guest Vocalist: Patty Loveless)
4. The Sight Of Me Without You
5. I Can't Let Go (Guest Vocalists: Alison Krauss and Dan Tyminsk)
6. Don't Pretend With Me
7. Some Things Never Get Old (Guest Vocalist: Emmylou Harris)
8. Sweet Little Corrina (Guest Vocalist: Phil Everly)
9. If I Can Make Mississippi (Guest Vocalist: Lee Ann Womack)
10. Take This Country Back (Duet with John Anderson)
Disc Four | Little Brother - The Acoustic Record
1. All Prayed Up
2. Cold Gray Light Of Gone (Featuring The Del McCoury Band)
3. A River Like You (Guest Vocalist: Jenny Gill)
4. Ace Up Your Pretty Sleeve
5. Molly Brown
6. Girl (Guest Vocalist: Rebecca Lynn Howard)
7. Give Me The Highway (Featuring The Del McCoury Band)
8. Sweet Augusta Darlin'
9. Little Brother
10. Almost Home (Duet with Guy Clark)
| Code: | http://rapidshare.com/files/306898114/VG_TD_CD1.rar.html
http://rapidshare.com/files/306891443/VG_TD_CD2.rar.html
http://rapidshare.com/files/306901051/VG_TD_CD3.rar.html
http://rapidshare.com/files/306930337/VG_TD_CD4.rar.html |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Nov 16, 2009 11:04 pm |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Waco Brothers - Cowboy In Flames (1997)
mp3 256kpbs | 91MB | 49:47 min.
| Quote: | | On To the Last Dead Cowboy, the Waco Brothers sounded like one of Jon Langford's better side projects; on Cowboy in Flames, they sounded like a real band, and a damn good one at that, and that made all the difference in the world. A year and a half of gigging around the Midwest had given substance to the Wacos claim of being "the World's Tuffest Country Band," while the full-time addition of Mark Durante on steel guitar reinforced the twang in their tone as Langford and Dean Schlabowske kicked up the wattage on their guitars. The working-class rage that bubbled under the surface of the first album came to a full boil on Cowboy in Flame, and that passion fueled the sweaty, urgent rage of the best cuts, especially "See Willy Fly By," "Take Me to the Fires," and the title cut. At the same time, the band proved the could slow things down and still make their music connect, as "Dollar Dress" and "Dry Land" eloquently testify. The inspired covers (supercharged arrangements of "White Lightning" and "Wreck on the Highway") make clear the band's nitro-fueled take on classic country comes from a place of love and respect, and the final cut, "Death of Country Music." speaks volumes about what's wrong with the current state of mainstream C&W (and, by extension, American culture). Some wag once described the Waco Brothers as "half Cash, half Clash, and, on Cowboy in Flames, they sound strong enough to make good on both halves of that equation. A triumph, and one of the finest albums to emerge from the Chicago alt-country scene. |
# See Willy Fly By
# Waco Express
# Take Me to the Fires
# Out There A Ways
# Dollar Dress
# Out in the Light
# Cowboy in Flames
# Fast Train Down
# Wreck on the Highway
# Dry Land
# Do What I Say
# White Lightning
# Big River
# The Death of Country Music
| Code: | | http://rapidshare.com/files/307777432/Waco_Brothers_-_Cowboy_In_Flames.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Wed Nov 18, 2009 6:16 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Jason Ringenberg - All Over Creation (2004)
mp3 256 kpbs | 80MB | 43:55 min.
| Quote: | While Gram Parsons may have the distinction of being the grandaddy of the ill-named "alt country" genre, Illinois farm boy Jason Ringenberg is certainly is certainly the man who brought the music-before the phrase was coined-- to the stages of the world with a vengeance.
In his liner notes to All Over Creation, Jason Ringenberg writes that touring as a solo act behind A Pocketful of Soul caused him to spend a lot more time jamming with other musicians in his off hours than he ever had before, which led to this album, which finds him sharing each track with a different act (except for Kristi Rose and Fats Kaplin, who pop up twice). While A Pocketful of Soul focused on the traditional country side of Ringenberg's musical personality, All Over Creation is, well, all over the place, spinning between frantic rockabilly ("Honky Tonk Maniac From Mars" with Hamell on Trial), old-school country (a gender-reversed "Don't Come Home a Drinkin' [With Lovin' on Your Mind]" cut with BR5-49), balls-out rock & roll (the Wildhearts sit in on "One Less Heartache"), and subtle acoustic ballads ("I Dreamed My Baby Came Home," with Rose and Kaplan). If All Over Creation lacks the tighter focus of A Pocketful of Soul, its eclecticism certainly mirrors the embrace of country and rock in all their forms that fueled Ringenberg's music with Jason & the Scorchers, and there are more than a few truly stellar tracks here: a new version of "Bible and a Gun" featuring superb vocals from Steve Earle, a masterful tune about the Irish emigration; "Erin's Seed," recorded with Lambchop; a striking bluegrass version of the Gun Club's "Mother of Earth"; and a beautiful lament for the changing south and the ravages of time, "Last Train to Memphis." Despite the many talented guest stars on hand, this is Jason Ringenberg's show, and All Over Creation proves once again as both a singer and a tunesmith, he's a talent to be reckoned with. Great stuff. |
# Honky Tonk Maniac From Mars (03' 18'')
# I Dreamed My Baby Came Home (02' 22'')
# Bible and a Gun (04' 36'')
# Too High to See (04' 48'')
# James Dean's Car (04' 17'')
# Camille (04' 08'')
# One Less Heartache (03' 47'')
# Mother of Earth (02' 36'')
# Don't Come Home Drinkin' (With Lovin' on Your Mind) (02' 32'')
# Sun Don't Shine (03' 05'')
# Erin's Seed (04' 36'')
# Last Train to Memphis (03' 21'')
| Code: | | http://rapidshare.com/files/294792094/Jason_Ringenberg_-_All_Over_Creation.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Thu Nov 19, 2009 12:05 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Jim White - Drill A Hole in That Substrate and Tell Me What You See (2004)
mp3 256kpbs | 116.5MB | 62:44 min.
| Quote: | | Jim White writes like a Southern gentlemen. When he released his cryptic debut, Wrong-Eyed Jesus, in 1997, he was approaching 40, and with each record his civil invective and genuine yearning for redemption have become more focused, culminating in an eccentric -- yet fully realized -- body of work that requires no aging to prove itself worthy. Drill a Hole in That Substrate and Tell Me What You See preens like an alley cat with a bellyful of chicken scraps. The thick veil of gloss that co-producers Joe Henry and Tucker Martine use to coat each of the 11 hypnotic tracks is entirely transparent, resulting in a glass-bottom boat ride that's both cathartic and uncomfortably voyeuristic. White's characters are always teetering on the edge of a bridge, faces cast skyward, wondering if whatever it is that's left them might swoop down just seconds before the first shoe drops. He meets his subjects on level ground, allowing them to speak through him as well as serve as their master's mouthpiece. On the spooky Tom Waits-style dirge "Borrowed Wings," the ghosts of doomed Bonnie and Clyde-cursed lovers weep "For in the fallow field where what's reaped is what's sown/There lies a road to ruin and it's paved with our tombstones." It's not all hellfire and brimstone, though, as evidenced by the goofy Barenaked Ladies collaboration "Alabama Chrome" and the bright -- almost hopeful -- hidden track, "Land Called Home." There's a deep Southern gothic vibe at work here that brings to mind the Spanish moss meanderings of Daniel Lanois' For the Beauty of Wynona, but it's the shadow of Waits that always gets the last word; "If Jesus Drove a Motor Home" sounds like a cross between something off of The Black Rider and the theme to The Sopranos, but it's interesting that despite all of the celebrity guests (Aimee Mann, Bill Frisell, M. Ward), it's White's self-produced tracks that mirror their creator's sewn up -- but still bleeding a little -- heart. |
# "Static on the Radio" – 6:31
# "Bluebird" – 5:29
# "Combing My Hair in a Brand New Style" – 6:24
# "That Girl from Brownsville Texas" – 6:22
# "Borrowed Wings" – 4:34
# "If Jesus Drove a Motor Home" – 4:36
# "Objects in Motion" – 5:58
# "Buzzards of Love" – 7:00
# "Alabama Crome" – 4:25
# "Phone Booth in Heaven" – 7:09
# "Land Called Home" – 4:11
| Code: | http://rapidshare.com/files/258664433/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-1.zip
http://rapidshare.com/files/258664532/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-2.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Nov 20, 2009 7:29 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Blanche - Little Amber Bottles (2007)
mp3 256kpbs | 94MB | 51:18 min.
| Quote: | | If We Can't Trust the Doctors' dusty drama brought the members of Blanche acclaim and opportunities: the band supported Loretta Lynn on Van Lear Rose, toured with the White Stripes and Calexico, and Dan and Tracee Miller appeared in I Walk the Line. Though these commitments -- not to mention Little Jack Lawrence's stint with the Raconteurs -- delayed the band's second album, it was clearly time well spent. Little Amber Bottles is the work of an even richer, more experienced band, pairing the masterful atmospheres of Blanche's debut with powerful songwriting and outstanding production. Less self-conscious and more versatile than they were on If We Can't Trust the Doctors, Blanche switch easily from mood pieces like the swampy instrumental "Exordium" to "The World I Used to Be Afraid Of," a darkly witty, downright rollicking murder ballad with a heart full of darkness and a twinkle in its eye. Just why the song's character is so cheerful and how he won his beloved makes for a typically twisted, and wonderfully written, tale from Dan Miller. Little Amber Bottles tackles many of the same themes that Blanche delved into on If We Can't Trust the Doctors -- faith, love, and redemption (or the lack thereof) -- but this time the songs are more urgent. The album is full of stories of outrage, big and small, personal and universal: "Last Year's Leaves" is an elegant and bitter kiss-off; on "A Year from Now," Miller insists that "all these tears will help someday," but sounds unconvinced as the song grows increasingly turbulent. "No Matter Where You Go"'s character sketch of a hopeless narcissist is as subtly insistent as a nagging conscience, but "What This Town Needs" is blunt and brash, hitting home big questions like "How can you sleep at night?" with equally big guitars. Musically speaking, Little Amber Bottles casts a wide net, touching on everything from punk to gospel to bluegrass. Recorded in Nashville with Mark Nevers and in Detroit with Dave Feeny, these songs show off Blanche's abilities to their fullest. The Millers may have played Mr. and Mrs. Luther Perkins in Walk the Line, but on the album's duets, they feel like Lee Hazlewood and Nancy Sinatra. "I'm Sure of It" is a study in contrasts, pitting Dan Miller's nasal sneer against Tracee's breathy drawl as the song goes from simmering verses to roiling, rocking choruses. The title track's narcotic glow and Feeny's delicate, molten pedal steel (which is stellar throughout Little Amber Bottles) nod to countrypolitan's rootsy glamour, while "I Can't Sit Down" is joyfully old-timey, all close harmonies and revival-ready hollers. Blanche's cover of "Child of the Moon" transforms the Rolling Stones' psych pop classic into a winsome, slow-motion waltz so successfully that they might want to think about doing a full-fledged covers album. Crucially, all these nods to Blanche's influences end up enhancing the band's uniqueness; rooted equally in the traditional and more experimental sides of Americana, country, and rock, Little Amber Bottles expands what a Blanche album can be, and it's a joy to hear. |
1. I'm Sure Of It
2. Last Year's Leaves
3. A Year From Now
4. No Matter Where You Go...
5. What This Town Needs
6. Child Of The Moon
7. Little Amber Bottles
8. The World I Used To Be Afraid Of
9. O Death, Where Is Thy Sting?
10. I Can't Sit Down
11. (Exordium)
12. The Worlds Largest Crucifix
13. Scar Beneath The Skin (bonus)
| Code: | http://rapidshare.com/files/306877828/Blanche_-_Little_Amber_Bottles.zip
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Nov 24, 2009 7:58 pm |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Drag the River - Bad at Breaking Up (2009)
mp3 VBR~192kpbs | 64MB
| Quote: | Based out of Fort Collins, CO, Drag the River was a musical outlet for some of punk's seasoned veterans. All frontman Chad Price hooked up with Armchair Martian's Jon Snodgrass and Paul Rucker and the Nobodys' J.J. Nobody and formed Drag the River for a country-rock fix in 1996. Hobo's Demo's was released in mid-2000 (reissued by Suburban Home in late 2006) and captured Drag the River's rough-cut rock & roll woven around lyrical introspections. Pedal steel guitarist Zach Boddicker was added to the fray by 2001 and Drag the River prepped for a sophomore effort while playing gigs out west. Closed, which shaped into a booze-soaked storybook of heartbreak and loneliness, was issued on Upland in spring 2002. Recorded that July, Live at the Starlight was also released by the year's end through Mars Motors Records. Chicken Demos appeared in May 2004, comprised mostly of songs that didn't make the cut for Hobo's Demo's, before the Hey Buddies... EP followed late that fall. Boddicker then exited to return to school, and Chad Rex filled in from time to time before Hot Rod Circuit's Casey Prestwood took over steel duties. Rucker exited in late 2005 and was replaced on drums by Dave Barker (ex-Pinhead Circus). Drag the River then released It's Crazy in June 2006, also contributing the track "Portland" to October's Replacements tribute album, We'll Inherit the Earth. They closed out the year on tour dates with Lucero and spent the first part of 2007 on the road opening for Rocky Votolato. The latter tour saw Snodgrass dropping out of the band's ranks midway through (he simply left the tour, not the band), which left fans asking questions. Things didn't really get better for Drag the River, and in May members announced they were amicably going their separate ways.
2009 Drag the River have compiled 7" only tracks, B-sides, their tracks from their split LP with the Dents, and more to make up the 20 song collection CD, Bad at Breaking Up. |
1. Having a Party
2. Jeff Black Song
3. Re-Rangement
4. I Remember Now
5. Sea Miner
6. Jake Song Too
7. Return
8. Caleb’s Grave
9. Best & Worst
10. R.I.A.
11. A Way With Women
12. This Star
13. J.J.’s Drivin’
14. Dirty Lips
15. Beautiful & Damned
16. Get Over It Or Get It Over With
17. Crawling
18. Last One Standing
19. Trainwreck
20. A Shame
| Code: | | http://rapidshare.com/files/304691241/Drag_The_River_-_Bad_At_Breaking_Up.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Wed Nov 25, 2009 9:06 pm |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 346 |
| Location: http://musical-heritage.blogspot.com/ |
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Alberta Cross - Broken Side Of Time (2009)
mp3 320kpbs | 110MB | 44:38 min.
| Quote: | Alberta Cross are a blues and country-influenced roots rock act drawing their sound from the foundation built by the Band and Neil Young. The London group's main members and songwriters are bassist Terry Wolfers and vocalist/guitarist Petter Ericson Stakee, who as a child traveled with his singer/songwriter father. The full band includes John Alexander Ericson (organ) and Seb Sternberg (drums). The self-produced EP The Thief & the Heartbreaker was delivered through the prestigious U.K. label Fiction in May 2007, followed by Broken Side of Time in 2009.
This ten track debut fumes testoster0ne and oozes hair-rock brute; epic guitar onslaughts, eerie vocals and firing cymbals, indeed it’s a rather spectacular effort by the wandering four.
There’s something of the Deep South preacher man in Stakee’s yearn ('City Walls'), though at times the incredibly melodic guitar ('The Thief and Heartbreaker') make bare the crew's British genesis. A somewhat dark album for dark times and tragic lullabies for the lonesome, ‘Broken Side of Time’ is an ode to the forefathers of dirty blues-rock. |
1. "Song 3Three Blues" 3:18
2. "ATX" 4:45
3. "Taking Control" 4:22
4. "Old Man Chicago" 3:08
5. "Broken Side of Time" 5:15
6. "Rise from the Shadows" 6:50
7. "City Walls" 3:37
8. "The Thief & the Heartbreaker" 4:41
9. "Leave Us and Forgive Us" 3:22
10. "Ghost of the City Life" 5:19
| Code: | | http://rapidshare.com/files/343900680/AC.rar |
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Last edited by exy on Mon Feb 01, 2010 2:17 am; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Nov 27, 2009 2:38 am |
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The Watson Twins - Talking To You, Talking To Me (2010)
mp3 256 kpbs | 74MB
| Quote: | Following on the critical success of Rabbit Fur Coat, their 2006 collaboration with Jenny Lewis, Southern Manners (2006 self-released EP) and Fire Songs, their 2008 Vanguard Records full-length debut, The Watson Twins return with Talking To You, Talking To Me (February 9th/Vanguard) their most groove-heavy and ambitious album to date. The 12 songs on TTY, TTM, produced by Russell Pollard and J. Soda of Everest, display a new sonic direction previously only hinted at in past efforts. Yes, the folk, country and Americana roots of Leigh and Chandra Watson remain, but the duo also explores and reveals their long-held love of R&B, Bossa Nova, indie pop and most prominently, classic soul. "We wanted your body to move with every song," says Leigh.
Where the gorgeous Fire Songs was slower and more meditative, TTY, TTM showcases the twins' admiration of classic soul vocalists, torch singers and chanteuses such as Etta James and Aretha Franklin. "I think elements of that existed on Fire Songs, but they were buried and just hinted at that," says Chandra. "When you're insecure about something, you don't necessarily have the confidence to invoke those styles."
Those insecurities can be laid to rest with TTY, TTM. The soulfulness of "Midnight" sounds like a heartbroken lover crying the blues at a late night bar. "Harpeth River" updates the vibe of classic Portishead. The Hammond B3 and defiant vocals of "Devil in You" could be a lost b-side to Dusty in Memphis, while "Savin' You" and "Snow Canyons" hearken back to the pair's more traditional Americana-based tracks.
In June 2009, having already written the lyrics for the album separately, the twins, Pollard and Soda decamped to a remote cabin in the High Sierras near Yosemite National Park with no phones, television or music. In four days, armed with only guitars, a drum kit, and computer to record the results, the foursome finished the sketches for TTY, TTM. (The album would later be recorded at Fairfax Recordings on the same mixing console as Pink Floyd's The Wall. It features prominent contributions by members of Everest and My Morning Jacket's Bo Koster.) |
1. Harpeth River
2. Forever Me
3. Midnight
4. Savin’ You
5. The Brave One
6. Devil In You
7. Snow Canyons
8. Tell Me Why
9. Calling Out
10. Give Me A Chance
11. U-N-Me
12. Modern Man
| Code: | | http://rapidshare.com/files/314759893/Talking_To_You__Talking_To_Me.rar |
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Last edited by exy on Tue Dec 01, 2009 11:30 pm; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Sat Nov 28, 2009 7:24 pm |
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| Location: http://musical-heritage.blogspot.com/ |
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Louisiana Red & Little Victor's Juke Joint - Back To The Black Bayou (2009)
mp3 320kpbs | 89MB | 39:05 min.
| Quote: | Louisiana Red (born Iverson Minter) is a flamboyant guitarist, harmonica player and vocalist. He lost his parents early in life through multiple tragedies; his mother died of pneumonia a week after his birth, and his father was lynched by the Klu Klux Klan when he was five. Red began recording for Chess in 1949, then joined the army. After his discharge, he played with John Lee Hooker in Detroit for almost two years in the late '50s. He maintained a busy recording and performing schedule through the 1990s, having done sessions for Chess, Checker, Atlas, Glover, Roulette, L&R and Tomato among others.
"Raw" is an overused and sometimes misapplied term of admiration, especially in the realm of the blues, where it is all too often used as a euphemism for "incompetent and off-key." In the case of Louisiana Red's Back to the Black Bayou, however, it's the only apt descriptor, and it's fully justified as a term of praise: his sound is ragged-edged and fiery, though its center is utterly solid and his delivery is unfailingly powerful. Having lived in Germany since the early '80s, he went to neighboring Norway to record this album with producer and guitarist Little Victor, and even if the program leans heavily toward old and familiar material ("Ride on Red," "Too Poor to Die," "I Come from Louisiana"), he gives every track an almost shocking immediacy and energy; the subtle rhythmic shifts and adjustments on "Alabama Train" are handled with both grace and authority, "Roamin' Stranger" is given a powerfully grinding rendition, and the traditional gospel song "Don't Miss That Train" provides a nicely shuffling changeup in both lyrical theme and rhythm. But he is perhaps at his most impressive on "Sweet Leg Girl," a slow blues that shows just how much an expatriate bluesman with 60 years of experience can still do. |
# I'm Louisiana Red
# Alabama Train
# Crime In Motion
# Ride On Red, Ride On
# Sweet Leg Girl
# The Black Bayou
# Too Poor To Die
# Don't Miss That Train
# You Done Quit Me
# I Come From Louisiana
# Roamin' Stranger
# At The Zanzibar
| Code: | | http://rapidshare.com/files/313046962/LRaLVJJ2009BTTBB.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Nov 30, 2009 4:31 am |
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| exy |
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ANA POPOVIC - Blind For Love (2009)
FLAC (12 tracks, Logfile, Infofile And Playlist File) | 336,83MB | All Tracks SFD, 5% Recovery Records
| Quote: | "Still Making History" signified Ana Popovic's first official entry into the U.S. market and it was a smashing success. The album spent a total of 19 weeks on the Billboard blues chart and hit a peak position of #3! After tirelessly touring the U.S. and Europe for the last two years Ana finally returns with her follow up effort Blind For Love produced by David Z (Prince, Jonny Lang) and Mark Dearnley (AC/DC, Paul McCartney). Here Ana offers up a little something for everyone including rock, blues, jazz and funk and is joined by members of her regular touring band - Ronald Jonker - bass, and Andrew 'Blaze' Thomas - drums, plus special guests Tony Braunagel on drums and Mike Finnigan on Hammond B-3 from the Phantom Blues Band.
"Blind For Love" - Ana's second Eclecto Groove album - has have something for everyone; rock, jazz blues and funk. It's recorded in March / April 2009 at the Castle Oaks Studio in Los Angeles with producers David Z (Prince, Jonny Lang) and Mark Dearnley (AC/DC, Paul McCartney). Both Ronald Jonker (bass) and Andrew 'Blaze' Thomas (drums) from Ana's regular band that she tours with in the US and Europe were in the studio, as well as Tony Braunagel (drums) and Mike Finnigan (keyboards) from the Phantom Blues Band. Ana's very best work so far! |
01. Nothing Personal
02. Wrong Woman
03. Steal Me Away
04. Blind For Love
05. More Real
06. Putting Out The APB
07. Get Back Home To You
08. The Only Reason
09. Part of Me (Lullaby for Luuk)
10. Lives That Don't Exist
11. Need Your Love
12. Blues for M
| Code: | http://rapidshare.com/files/313870604/AP_2009_BFL.part1.rar
http://rapidshare.com/files/313869578/AP_2009_BFL.part2.rar
http://rapidshare.com/files/313876155/AP_2009_BFL.part3.rar
http://rapidshare.com/files/313883069/AP_2009_BFL.part4.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Nov 30, 2009 9:23 am |
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| Joined: Feb 21, 2009 |
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Spanky Wilson & the Quantic Soul Orchestra - I'm Thankful (2006)
mp3 192kpbs | 46MB | 35:53 min.
Soul, Funk, Deep Funk Revival
| Quote: | Since she burst onto the scene in the late 60s, Spanky Wilson has recorded with the likes of Marvin Gaye, Sammy Davis Jr., Lalo Schifrin, Jimmy Smith and Willie Bobo.
Renowned as a soul singer beyond comparison on both sides of the Atlantic, she has consistently released quality music for the past four decades, always collaborating with some of the most talented and respected producers of the day.
True to form, her new album “I’m Thankful” sees her team up with Will Holland of The Quantic Soul Orchestra to produce a stunning collection of 21st Century jazz, funk, big band and soul music.
It was much to soul singer Spanky Wilson's surpise -- she didn't realize she had had such an impact -- when British multi-instrumentalist/producer Will Holland contacted her in her Los Angeles home in 2004, professing his love of her music and wondering if she'd collaborate with him. Still, she agreed to go the studio, and together they did two songs, "Don't Joke with a Hungry Man" and "When You're Through," for Holland's solo project, Quantic, on the album Mishaps Happening. That collaboration worked out so well that they decided to make an entire record together, this time with Holland's full band, the Quantic Soul Orchestra. Wilson's lovely voice is the centerpiece of I'm Thankful, and it does show a bit of its age, but only in the best of ways, deepening it and giving it an added measure of credibility and authenticity while still preserving its expressiveness and strength. Attesting to Wilson's tremendous ability is the fact that the record is very intimately and sparsely produced, making it seem as if the singer is almost in the room right with the you, the sometimes raspy and breathy line endings audible in that professional, practiced way. The band, which plays J.B.'s-inspired tight funk riffs, occasionally branching into modern jazz horn solos or even wah-wahed guitars, often uses a modern dancefloor-esque beat (in both versions of "Don't Joke with a Hungry Man," for example, which are different from the Quantic one), which makes sense as Holland is an able electronica producer as well as composer (besides the cover of Bo Diddley's "You Can't Judge a Book by Its Cover," all the pieces on the album are completely written and arranged by him). But the music here is still funk, horns and all, and since the drums are always live, there's still a nice organic sense about it. The neo-soul "That's How It Was," which reflects upon Hurricane Katrina, is touching and affecting, and as Wilson sings, "Now people are talking 'bout a need for a change/Hoping and fighting for power exchange/Thank heavens for life, but not for the pain/Thousands of tears just washed away in that rain," there's a real emotion and tenderness in her voice that comes through clearly and honestly. Because I'm Thankful is about clarity and avoiding pretension, it's about rhythm and groove, it's about playing soul music for its own sake, which makes it a very successful album, a great melding of two talented artists -- and an introduction to Spanky Wilson for many who haven't heard her before, and need to -- and a lot of fun. |
# 01. I'm Thankful (Part 1)
# 02. A Woman Like Me
# 03. Blood From A Stone
# 04. Don't Joke With A Hungry Man (Part 2)
# 05. Don't Joke With A Hungry Man (Part 3)
# 06. That's How It Was
# 07. Message To Tomorrow
# 08. Waiting For Your Touch
# 09. You Can't Judge A Book By It's Cover
# 10. I'm Thankful (Part 2)
| Code: | | http://rapidshare.com/files/346346113/SWilson2006.rar |
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Last edited by exy on Sat Feb 06, 2010 4:47 am; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Nov 30, 2009 10:41 pm |
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| Joined: Feb 21, 2009 |
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Old & In The Way - Old & In The Gray (2006)
mp3 320kpbs | 102MB | 51:04 min.
Progressive Bluegrass, Contemporary Bluegrass
| Quote: | Old and in the Way was a bluegrass supergroup in the 1970s. The group performed traditional tunes such as "Pig in a Pen" as well as bluegrass-flavoured versions of The Rolling Stones' "Wild Horses" and Peter Rowan's "Panama Red".
Old and in the Way's debut album Old and in the Way which was released in 1975 was the top selling bluegrass album for decades. The group, without Jerry Garcia and John Kahn, released a reunion album in 2002, called Old and in the Gray. <Wikipedia> |
| Quote: | | This follow-up to earlier recordings by Old & In the Way reunites mandolinist David Grisman with guitarist Peter Rowan and fiddler Vassar Clements (with Herb Pedersen replacing the late Jerry Garcia on banjo and guitar and Bryn Bright playing bass in place of the late John Kahn); the new group was renamed Old & In the Gray. The music stretches boundaries as much as the earlier band, with a mix of vintage bluegrass and country classics such as Ira Louvin's "Childish Love" and Bill Monroe's "On the Old Kentucky Shore," along with more modern pieces like John Hartford's "Good Old Boys," Townes Van Zandt's "Pancho and Lefty," and Rowan's "Rainmaker." An unusually brisk rendition of the Rolling Stones' "Honky Tonk Women" adds a degree of freshness to a now decades-old song, but the highlight of the session is easily the hilarious "Barefoot Nellie," though both have terrific solos. It's obvious that the musicians had a lot of fun trading vocals and instrumental licks as well as harmonizing throughout the date; the brilliant cover art by Ivan Artucovich (with terrific caricatures of the players) is a nice additional touch to a very rewarding CD. |
# "Good Old Boys" (John Hartford) - 4:57
# "Pancho and Lefty" (Townes Van Zandt) - 5:14
# "Meadow Green" (Peter Rowan) - 2:49
# "The Flood" (Carter Stanley) - 4:06
# "When The Springtime Comes Again" (A. P. Carter) - 3:14
# "Barefoot Nellie" (Don Reno/J. Davis) - 2:28
# "Childish Love" (Ira Louvin) - 3:21
# "Victim To The Tomb" (John Duffey) - 4:28
# "Vassar's Fiddle Rag" (Vassar Clements) - 3:10
# "Two Little Boys" (Charlie Waller/John Duffey) - 3:57
# "On The Old Kentucky Shore" (Bill Monroe) - 4:17
# "Honky Tonk Women" (Keith Richards/Mick Jagger) - 2:35
# "Let Those Brown Eyes Smile At Me" (R. Nail) - 2:35
# "Rainmaker" (Peter Rowan) - 3:56
Personnel:
# David Grisman - Mandolin and vocals
# Peter Rowan - Guitar and vocals
# Vassar Clements - Fiddle
# Herb Pedersen - Banjo, guitar and vocals
# Bryn Bright - Acoustic bass
| Code: | | http://rapidshare.com/files/260360145/OitGray.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Dec 01, 2009 2:00 am |
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| exy |
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| Joined: Feb 21, 2009 |
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Pokey Lafarge - Marmalade (2007)
mp3 320kpbs | 74MB | 37:29 min. | Folk, Folk Blues
| Quote: | Since before the 20th century, it has been the idea behind the work of the songster to showcase a wide variety of playing and songwriting styles. Timelessly original, Louisville, Ky’s Pokey LaFarge delivers a contagious mix of folk, ragtime, and blues that will warm your blood! With dark and dreamy lyrics and a deeply powerful voice, Pokey presents a lights out performance wrapped in cynical humor and quirky style. He has also been known to highlight his original sets with accapella gospel numbers while clapping and stomping. “Marmalade”, the debut record from Pokey LaFarge is like a first novel; raw, visionary, and passionate. It is a must have for any lover of true acoustic music. It features all original tunes by Pokey LaFarge.
Pokey’s music really started to take shape in 2001 with a string band known as The Schwillbillies. Public acclaim soon followed in local and national newspapers as well as local and national television and radio stations. After three years of nationwide performing he left the ensemble to pursue a solo career in 2004. Years of experience on the road developed his music into what it is today: personal, even sorrowful at times, yet retaining his stylish and joyous perspective in his music. LaFarge has had the honor of sharing stages with prominent and influential acts such as Old Crow Medicine Show, Backyard Tire Fire, The Crooked Jades, The Derek Trucks Band, Nick Africano, Robinella, and Donna the Buffalo. Pokey has also toured extensively with the Hackensaw Boys where he is a guest mandolin player. |
# Sweet Seventeen
# Ain’t Coming Back No More
# Sad Girl
# You Can’t Be Satisfied
# Josephine
# Fake in Heart
# Raindrops
# Home Away From Home
# Going Back (Baby to Loving You)
# Don’t Come Here
| Code: | | http://rapidshare.com/files/260129849/Marmalade.zip |
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