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Posted: Tue Jan 19, 2010 7:53 am
exy
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Calexico - Garden Ruin (2006)
mp3 VBR~198kpbs | 53MB | 40:35 min.
Quote:
Garden Ruin is the fifth studio album from Tucson, Arizona indie rock band Calexico. It is notable for being the first Calexico album to feature no instrumental tracks, instead relying on a more direct, pop-style approach. Foregoing what has been described as "indie-mariachi", the band took their music in a different direction, and the result is a more straightforward indie rock album. <Wikipedia>
1. "Cruel" – 3:59 (Joey Burns, John Burns)
2. "Yours and Mine" – 2:30 (Joey Burns, John Convertino)
3. "Bisbee Blue" – 2:48 (Joey Burns, John Burns, JD Foster, John Convertino, Dan Coleman)
4. "Panic Open String" – 4:09 (Joey Burns, John Convertino)
5. "Letter to Bowie Knife" – 3:06 (Joey Burns, John Burns)
6. "Roka (Danza de la Muerte)" – 3:42 (Joey Burns)
7. "Lucky Dime" – 2:33 (Joey Burns, John Convertino)
8. "Smash" – 3:45 (Joey Burns, John Burns)
9. "Deep Down" – 4:31 (Joey Burns)
10. "Nom de Plume" – 3:19 (Paul Niehaus, Joey Burns)
11. "All Systems Red" – 6:09 (Joey Burns, John Convertino, JD Foster)
Musicians:
* John Convertino - Drums (1-11), Percussion (6), Shakers (10)
* Joey Burns - Acoustic Guitar (1-11), Electric Guitar (1,3-9,11), Vocals (1-11), Piano (1,8,11), Tambourine (1,3,4), Cello (2), Banjo (3), Wurlitzer (3,7,8), Casio Flute (4), Glockenspiel (4), Shaker (4), Bass (5,9), Backup Vocals (5), Vibes (6), Bass Melodica (7), Organ (9), Accordion (10)
* Volker Zander - Electric Bass (1,3,6-8,10), Vibes (9)
* Martin Wenk - Glockenspiel (1), Trumpet (1,3,6), Wurlitzer (3), Nashville Tuning Guitar (3), Elctric Guitar (9,11), Banjo (10), Noise (11)
* Jacob Valenzuela - Trumpet (1,3,6)
* JD Foster - Nashville Tuning Guitar (1,3), Horn Arrangement (1,6), Electric Guitar (1), Banjo Ukulele (3), Mando Bird (3), Electric Bass (4,11), Sleigh Bells (4), Backup Vocals (5), Fender Rhodes Bass (11)
* Rob Burger - Hammond B3 Organ (1)
* Paul Niehaus - Pedal Steel (1,8), Electric Guitar (1,7,9-11), Baritone Guitar (6)
* Nelzimar Neves - Cello (3)
* Dan Coleman - Cello Arrangement (3)
* Naim Amor - Electric Guitar (5)
* Jelle Kuiper - Shakers (6), Thunder Drum (10)
* Nick Luca - Hammond B3 Organ (6), Electric Jazz Guitar (7), Reverse Wurlitzer (11)
* Eldys Isak Vega - Piano (6)
* Roberto Mendoza - Sound Effects (6)
* Amparo Sanchez - Vocals (6)
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Posted: Thu Jan 21, 2010 2:08 am
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Luther Dickinson & Sons of Mudboy - Onward and Upward (2009)
mp3 320kpbs | 90MB | 39:19 min.
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Three days after the death of legendary musician and producer Jim Dickinson, his son, Luther Dickinson, gathered friends at the family Zebra Ranch studio in Independence, MS, and recorded Onward and Upward, an album of gospel songs, hymns, and blues spirituals, tracking directly to half-inch tape with no overdubs or embellishments, and the result was a no-frills and intimate testament of grief and renewal. Luther, long a member of the North Mississippi Allstars and also currently a member of the Black Crowes, dubbed the ad hoc group the Sons of Mudboy, a reference to his father's influential band Mudboy and the Neutrons. On hand were two original members of the Neutrons, Sid Selvidge (guitar, vocals) and Jimmy Crosthwait (washboard, vocals), along with Jimbo Mathus (guitar, mandolin, banjo, vocals), Steve Selvidge (guitar, Dobro, vocals), Paul Taylor (washtub bass), and vocalist Shannon McNally. The album itself is essentially a musical wake, a way to both honor and say goodbye to Jim Dickinson in the one way he would most certainly want, and it is full of muted gems like the gently sad opener, "Let It Roll" (which Luther wrote that day), a haunting version of "Keep Your Lamp Trimmed and Burning," and "Back Back Train," among others. Onward and Upward emerges as a moving tribute, an emotional goodbye, and an honest, loving photograph of a moment in time, a moment when music reaches past entertainment to become the very heart of the matter.
1. Let It Roll
2. Angel Band
3. Where the Soul of a Man Never Dies
4. Leaning on the Everlasting Arms
5. His Eye Is on the Sparrow
6. You've Got to Walk That Lonesome Highway
7. Keep Your Lamp Trimmed and Burning
8. Softly and Tenderly
9. Up Over Yonder
10. In the Garden
11. Back Back Train
12. Glory Glory
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Posted: Thu Jan 21, 2010 8:58 pm
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Ben Harper - Fight for Your Mind (1995)
mp3 192kpbs | 94MB
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Fight for Your Mind fully embraces Ben Harper's influences (Dylan, Marley, Havens, and Hendrix) into a complete sound while simultaneously broadening his thematic and musical palette. Oliver Charles' tactile drumming and Leon Mobley's percussion work give a sparkle to Harper's music that was absent on his debut. Songs like "Gold to Me" and "Excuse Me Mr." show Harper growing as a poet, approaching ideas via more subtle avenues. The single "Ground on Down" and epic jam "God Fearing Man" capture some of the explosive energy of his live performances. The latter makes allusions to "While My Guitar Gently Weeps," and that's exactly what Harper does -- allows his trademark Weissenborn guitar to scream out to his audience. The only misstep on this album is his sophomoric weed anthem "Burn One Down," but one might argue that a little tarnish adds character.
01. Oppression
02. Ground On Down
03. Another Lonely Day
04. Please Me Like You Want To
05. Gold To Me
06. Burn One Down
07. Excuse Me Mr.
08. People Lead
09. Fight For Your Mind
10. Give A Man A Home
11. By My Side
12. Power of the Gospel
13. God Fearing Man
14. One Road To Freedom
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Posted: Fri Jan 22, 2010 9:23 pm
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Rony Elliot - My Nerves Are Bad Tonight (1999)
mp3 256kpbs | 90MB
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An insurgent country singer/songwriter in the vein of Guy Clark or Townes Van Zandt, Tampa native Ronny Elliot had been a working musician for over 30 years before he released his solo debut. Elliot's wandering muse swings from acerbic fare like "South by So What?" (from 1999's My Nerves Are Bad Tonight), which slams the revered music industry fête, to politically charged tracks like "Letter From a Birmingham Jail" (from 2001's Poisonville) to a rumination on Sid Vicious and Nancy Spungen's co-dependent self-destruction ("Room 100").
Elliott lived with his mother and grandmother in Birmingham, AL, until age six, when they moved to Tampa. By the early '70s Ronny had been a member of the groups Soul Trippers, Noah's Ark, Your Local Bear, and Duckbutter, to name a few, and even had a stint with big-time southern rockers the Outlaws. Your Local Bear opened for Jimi Hendrix in 1967, while Duckbutter served as backing band for Chuck Berry and Gene Vincent on a retro tour. (Which is to say that Elliot had been well around the block long before the launch of his solo career.) It wasn't until 1995 that he decided to step out on his own, gathering a group of Tampa musicians and self-recording Ronny Elliot & the Nationals, a lo-fi effort that garnered critical acclaim. A Postcard From Jack followed in 1998 and My Nerves Are Bad Tonight in 1999. 2001 saw the release of Poisonville.
01 They Don't Rob The Trains Any More
02 South By So What
03 My Nerves Are Bad Tonight
04 She Sold The Silver
05 How Many Stars
06 Tahitian Inn
07 Dogs Of Havana
08 Same Three Chords
09 Talkin' To The Man In The Moon
10 Hotel Room In Jacksonville
11 Best I Can Do
12 Heroes
13 Radio Announcement
14 The Twist
Last edited by exy on Thu Mar 04, 2010 10:09 am; edited 1 time in total
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Posted: Sat Jan 23, 2010 10:09 am
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Grayson Capps - Wail & Ride (2006)
Quote:
For those who've been living under a rock, don't go to movies, or don't read books, it suffices to say that Grayson Capps is a songwriter recently departed form New Orleans, just as many of musicians were after Katrina. He was in a film and wrote four songs for the film A Love Song for Bobby Long. The film was made from a screenplay taken from Capps' father's then-unpublished novel about desperate but visionary people who live hard lives, are seized by hard times, and seek redemption. Capps is 39-years-old in 2006, but has the wizened, road-weary face of a wandering troubadour from the Dustbowl or of those who left the Deep South in the 1940s seeking work in Chicago, Detroit, St. Louis, and other Northern climes. Wail & Ride is his second solo album and it's full of blood and spit and raw, raw, heavy soul. As a songwriter, Capps is steeped in the Southern music tradition. His press kit has all kinds of stuff in about J.J. Cale, Ry Cooder, and Townes Van Zandt. Nah -- don't you believe it. You can hear Tony Joe White in there for sure, you can hear, perhaps, a spirit similar to that of the North Mississippi Allstars, or some of the crazies who've recorded on Fat Possum like R.L. Burnside and David Malone, or the desperation of recently departed ghosts of Chris Whitley and the Gun Club's Jeffrey Lee Pierce. You can also hear the raucous blues that comes out of the bars at night and in the little courts and galleries of what used to be New Orleans. Capps has rhythm and time; he's always in the pocket. He can moan and call down thunder or fire, and he can whisper like a man reaching out for the first and last time to someone or something he's only just now understood and hoping it's not too late. He calls himself an actor, but he's really a channeler. He digs into the spirit of things in order to report on the parts of them that people can't readily see, whether that's in the complications of a human heart, the interactions between lovers who can't seem to get it right, or reportage from the gutter on the side of the street where some poor soul is lying face down and can't get up. There are lots of images in these rough and tumble songs. Forget that Americana crap. Capps is not an observer, he's a participant. He's too gritty to really be American Gothic, but he has no idea what year it is, either.
Grayson Capps plays a very strange and particular kind of weird country and blues music. It encompasses many American styles, whether he can name them or not. There are nasty acoustic guitars that delve into country when it was country & western, touch on the old modal blues, and then spit out some honky tonk, funky soul, and rock & roll -- all underneath a singer who keeps going on and on about all these people who are busted up, brokenhearted, lost, abandoned, who refuse to accept the hand that's been dealt them, always holding out for one tiny glimmer -- like he's using his one last dime in the hope that this time, the girl down at the end of the bar will notice him. You already know how the story ends, but that hardly matters. "Daddy's Eyes" has the kind of sorrow that only someone who has lost something can hold close, and his observations about the Mason-Dixon line are curious. Trina Shoemaker's backing vocals underscore the tenderness in the tune "Give It to Me," it's a pumped up, funky and twisted love song to a whore, complete with tinkling upright piano and skittering snares and cymbals -- at least until the electric guitars make it a rocker. "New Orleans Waltz" is a bit clumsy lyrically, too full of images and longing and heartbreak about wanting something that is the living proof that nothing lasts forever. But then, having made his home on S. Front Street (literally) for 20 years and losing it to Katrina, he's got a right to be busted up about it, doesn't he? Take the title track and the story it tells of desperation played out between two people to the accompaniment of a Wurlitzer and a pair of guitars on the chooglin blues tip (Guthrie Trapp is a badass picker), and the slippery drums and percussion that carry that beat all the way home. "Poison" is a song that Commander Cody would kill to have written and Dr. John should cover if he ever gets hungry for his music again. "Broomy" is an off-kilter country blues with some other stuff tossed in. It's got a lyric that turns the heart into an open sore that aches dully and pumps new blood into a cynic's sawdust-filled veins. But the last two tracks, "Cry Me One Tear," and "Waterhole Branch," are worth the price of thew whole album -- the latter could have been used in the film Jesus' Son. Wail & Ride is a winner. Old Joel Dorn and his Hyena label have some new tricks up their sleeve, but this guy is the jewel hidden in the coal.
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Posted: Sat Jan 23, 2010 11:00 am
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Jack Rose – Luck in the Valley (2010)
mp3 320kpbs | 84MB | 37:04 min. | Release Date: February 23, 2010
Quote:
An inventive and self-taught player on acoustic six-string, 12-string, and lap steel guitar, Jack Rose falls into the so-called Takoma revivalist movement that echoes the often Eastern-tinged acoustic guitar experiments of John Fahey, Robbie Basho, and others, although Rose got his start as a musician in an entirely different direction, first as a rock and punk-inspired electric guitarist in the Richmond, VA, drone trio Pelt. Pelt released a series of albums beginning in 1995, but while he officially remains a member of the band, Rose began a solo career as an acoustic guitarist with Hung Far Low (a self-released CD-R) in 2001, following it with Red Horse, White Mule on Eclipse Records that same year; Dr. Ragtime (another CD-R issue) and Opium Musick (on Eclipse) in 2002; Raag Manifestos (the LP appeared from Eclipse with the CD assigned to VHF Records) in 2004; Kensington Blues (Eclipse/VHF) in 2005; and Heraldic Beasts, the live Skullfuck/Bestio Tergum Degero, and Jack Rose aka Self Titled (all on Eclipse) in 2006. Beautiful Happiness reissued Red Horse, White Mule and Opium Musick together as Two Originals Of in 2004 and paired Dr. Ragtime and Self Titled for another combined reissue in 2008. Rose's burgeoning career was cut short when died on Friday, December 4, 2009, of a heart attack. He was 38 years old.
Quote:
Luck In the Valley marks Jack Rose’s tenth album, but his first release on Thrill Jockey. Formerly a member of the punk rock band Pelt, Rose prefers to explore folk and traditional country in his solo releases as well as his work with the Black Twig Pickers. Luck In the Valley will complete Rose’s “Ditch Trilogy,” and was inspired by Link Wray’s Mordicai Jones, using Wray’s three-track recording and composition style as a guide. <Prefix>
1. Blues For Percy Danforth
2. Lick Mountain Ramble
3. Woodpiles On the Side of the Road
4. When Tailgate Drops, the Bullshit Stops
5. Moon In the Gutter
6. Luck In the Valley
7. Saint Louis Blues
8. Tree In the Valley
9. Everybody Ought To Pray Sometime
10. West Coast Blues
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Posted: Sat Jan 23, 2010 11:45 am
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Jack Rose - Kensington Blues (2005)
mp3 192kpbs | 63MB | 45:01 min.
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The (apocryphal) outline of Jack Rose's game runs something like this: Ragtime and "jass" were bequeathed to him by the last words of Dr. Chattanooga Red, a mysterious mentor who allegedly told Rose to "not let the ragtime die, and to bring it into the 21st century"-- twin missions that produced Rose's 2003 homage to his teacher, Opium Musick. True or not (not), it's a nice story, and the myth does seem operative-- Rose often plays as if the health of ragtime rests on his shoulders alone.
Maybe it does. John Fahey and Takoma Records are gone, and Rose's modern compatriots (Ben Chasney, Kevin Barker, Sir Richard Bishop, etc.) are increasingly seduced by the East, by psychedelics, and by a "freak-folk" that owes less to American Primitive than it might claim. Although Rose is no stranger to the raga form-- or to the near 20-minute composition (2004's Raag Manifestoes had both of these in spades)-- his tools are firmly those of the past. While the new century's novel folk has already seen significant definition, Rose is largely alone in talking new century ideas with the old language.
Thus, Kensington Blues is derivative and at the same time nearly brilliant. The styles Rose employs are diverse: twelve-string virtuoso shows, a slide guitar that alludes as much to the sitar as to the blues, solid traditional Takoma ragtime and folk. Out from latter comes a Fahey cover, "Sunflower River Blues", which (not SPAMisingly) works as the soil from which the rest of the record grows. The original was predicated on Fahey's impeccable timing; Rose's take amplifies the feeling and melody, and then runs with it. Hence the stunning "Kensington Blues", a song full of clarity and syncopation, elegant and well composed. Two others, "Rappahanock River Rag" and "Flirtin' with the Undertaker", are less weighty, more jaunty deliveries of Rose's signature modern ragtime.
But Rose is more than a traditionalist, and the other tracks on Kensington Blues veer sharply into newer territory. "Cathedral et Chartres" uses twelve strings to abstract the melodic clarity so abundant elsewhere on the record, speeding it up and then sending it into a droning, buzzing finale. This idea is fully worked out in his closer, "Calais to Dover", in which Rose transfigures the raga into a kind of Dream Music, deep listening project, vibrating his way past individual notes and sequences and arriving at something more akin to pure tone and texture. The minimalist affinity is no coincidence: Rose's folk is not the least bit free, even as he explores freak sonic terrain, and control is his technique, no matter how many notes he stacks.
1 Kensington Blues
2 Cross the North Fork
3 Cathedral et Chartres
4 Rappahanock River Rag (For William Moore)
5 Sunflower River Blues
6 Now That I'm a Man Full Grown II
7 Flirtin' with the Undertaker
8 Calais to Dover
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Posted: Sun Jan 24, 2010 1:48 am
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Joe Pug - Messenger (2010)
mp3 VBR~233kbps | 66MB | 37:46 min.
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A singer/songwriter whose songs offer an updated version of the country-folk archetypes that Bob Dylan and John Prine made famous, Joe Pug was born and raised in Maryland, and began playing guitar when he was in grade school. Pug formed his first band on a dare from his sixth-grade science teacher, who didn't believe Pug and his friends would be able to pull something together in time to appear at a school dance. The boys were able to deliver a presentable version of a tune from the first Foo Fighters album, and Pug was on his way; before long he began writing songs, convinced at an early age that a real band should play its own original material. After graduating from high school, he traveled south to North Carolina to attend college. Pug was studying writing plays, but in time his growing passion for songwriting overwhelmed his interest in drama. Pug dropped out of school and relocated to Chicago, where he supported himself as a carpenter while he wrote songs and began working his way into the city's club circuit. He released his debut EP, Nation of Heat, on his own label in 2008.
Quote:
Joe Pug will release Messenger on February 16, 2010 on Lightning Rod Records. Messenger is the long awaited follow-up to his highly acclaimed self-released EP Nation of Heat.
After playing over 200 shows, including runs with Steve Earle, M.Ward and Josh Ritter, Pug took to the studio to record his sophomore release. While Nation of Heat, Messenger solidifies his spot among the finest songwriters of his generation. Pug’s soulful voice and lyrical vignettes guide listeners through the album’s ten tracks, none of which retreat to the comfortable and familiar haven where typical singer-songwriters rest. may have earned him the title of talent to watch,
With Messenger, Pug explores new territory, sneaking pedal steel guitar into “The Sharpest Crown” and backing “The Door is Always Open” with a powerhouse rhythm section. The album’s subtle beauty is showcased through the supporting cast Pug uses to expand his sound. However, he does not let his solo charm escape the album. Songs like “Bury Me Far (From My Uniform)” and “Unsophisticated Heart” make it obvious that Pug is still master of the-guy-and-the-guitar song.
1. Messenger
2. How Good You Are
3. Not So Sure
4. The Sharpest Crown
5. The Door Was Always Open
6. The First Time I Saw You
7. Unsophisticated Heart
8. Disguised as Someone Else
9. Bury Me Far (From My Uniform)
10. Speak Plainly, Diana
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Posted: Sun Jan 24, 2010 5:12 am
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VA – Black Man’s Cry: The Inspiration of Fela Kuti (2010)
mp3 320kbps | 136MB | 62:01 min.
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Covers and music inspired by the Godfather of Afro-Beat. This Fela Estate-approved anthology includes rare and previously unreleased music from Nigeria, Ghana, Colombia, Trinidad and more.
He’s best known by his first name, Fela. He’s certainly Nigeria’s most famous musical export. His name itself conjures images of 70s Lagos: a metropolis awash in the jubilation that swept in after the 1970 armistice in the civil war between the Nigerian Army and Eastern Biafran secessionists, a capital city in the midst of transition. This is the environment in which Fela and his Africa 70 popularized the hybrid of highlife, jazz and James Brown style, big-band funk he invented: Afro-Beat.
In Nigeria, his countrymen knew his music like Americans know Elvis. On foreign shores, a chosen few Westerners could claim to know the extent of Fela’s genius. As a result, while music historians have filled books with references to the influence of Westerners on Fela’s creation, little has been said about Fela’s inspiration on others. Thus, our compilation begins.
Fela’s music, and that of his organization inspired musicians across the global village when Afro-Beat was new and novel. This compilation focuses on the music Fela inspired – whether by fellow Nigerians recording alongside him in the early 70s, neighbors in Ghana, then-modern Colombian cumbia ensembles inspired by the man who injected a new feel into the Yoruban rhythms that formed cumbia’s base, Trinidadian steel bands or the select few organizations left that have maintained Fela’s fury in the new millennium.
1 Cumbia Moderna de Soledad - Shacalao
2 Dan Satch & His Atomic 8 Dance Band - Woman Pin Down
3 6th Infantry Brigade of the Nigerian Army - Black and Proud
4 Bola Johnson - Hot Pants
5 Segun Bucknor - Adebo
6 Bola Johnson - Never Trust a Woman
7 Jerry Hansen - Sisi Mi
8 The Daktaris - Up Side Down
9 Phirpo y Sus Caribes - Comencemos
10 Lever Brothers Gay Flamingoes - Egbi Mi O / Black Man's Cry (Medley)
11 Mosco Tiles Fonclaire Steel Orchestra - Black Man's Cry
12 Sylvania East Side Symphony - Egbi Mi O / Black Man's Cry (Medley)
13 Lisandro Meza - Shacalao
14 Karl Hector & the Malcouns - Toure Samar
15 The Whitefield Brothers - Lullaby for Lagos
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Last edited by exy on Fri Jan 29, 2010 7:00 pm; edited 1 time in total
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Posted: Tue Jan 26, 2010 7:19 am
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Jaga Jazzist - One-Armed Bandit (2010)
mp3 VBR~246kbps | 95MB | 53:37 min.
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Plenty of your hipper bands might vary their influences list with acts like Tortoise, Charles Mingus, and the Neptunes just to prove they are cool. With the risky, sprawling, and somehow serene Jaga Jazzist, you can actually hear it. The ten-piece, jazz-meets-electronics band from Norway came to life in 1994 when their main brain and songwriter Lars Horntveth was only 14. Two years later their debut album, Jævla Jazzist Grete Stitz, appeared, and Norwegians got their first taste of the band's combination of jazz chops and electronic quirkiness. Two years after that the Magazine EP appeared, but it was 2001's A Livingroom Hush that grabbed all the attention due to rave reviews and distribution by Warner Brothers in their homeland. Coldcut's label, Ninja Tune, picked the album up for worldwide distribution in 2002 and BBC radio listeners crowned it the "Jazz Album of the Year." The remix-based Animal Chin appeared at the end of 2002 and was followed in 2003 by Stix, an album that found the band using more electronics without the help of remixers.
Quote:
More subtle and elegant than its predecessor, One-Armed Bandit is not so much a return to the sound of The Stix as an evolution of whatever genres the band has been amassing over the years. Still firmly driven by a powerful rhythmic section, with at its heart Martin’s flamboyant drumming, and rich orchestrations, this album is once again a vibrant and eclectic collection which obstinately refuses to settle in one particular place, instead erupting in glittering melodies (One-Armed Bandit, Toccata, Prognissekongen), seventies overtones (220 Vv / Spektral), angular rhythms (Bananfleur Overalt), ethnic flavours (Music! Dance! Drama!) or brash progressive stabs (Touch Of Evil)."
1. The Thing Introduces...
2. One-Armed Bandit
3. Banafleur Overalt
4. 220 V / Spektral
5. Toccata
6. Prognissekongen
7. Book of Glass
8. Music! Dance! Drama!
9. Touch of Evil
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Posted: Tue Jan 26, 2010 7:53 pm
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Josh Rouse - El Turista (2010)
Quote:
While inspired by his newfound life in Valencia, Spain, singer-songwriter Josh Rouse created his eighth full-length studio effort, now set for an early 2010 release.
El Turista thus continues where 2007’s Country Mouse City House left off. It contains songs first popularized by Bola de Nieve, a composer often compared to Louis Armstrong, and folk music stylings from Cuba, Brazil, Spain and Venezuela.
“I know it’s kind of funny, this Midwestern guy doing Brazilian songs in Spanish,” the Nebraska native said in a statement. And so he balances the album with a dash of his own Midwestern roots, primarily shown in his own interpretation of “Cotton Eye Joe.”
El Turista is out Feb. 16 through Bedroom Classics/Nettwerk, though an EP of its first single, “Valencia,” is out now through iTunes. <Pastemagazine>
01. Bienvenido
02. Duerme
03. Lemon Tree
04. Sweet Elaine
05. Mesie Julian
06. I Will Live On Islands
07. Valencia
08. Cotton Eye Joe
09. Las Voces
10. Don’t Act Tough
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Last edited by exy on Sat Apr 24, 2010 9:10 pm; edited 2 times in total
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Posted: Thu Jan 28, 2010 6:27 am
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Cyro Baptista - Infinito (2009)
mp3 VBR~201kbps | 71MB | 47:36 min.
Quote:
Multi-talented percussionist Cyro Baptista may have the most dazzlingly eclectic resumé in contemporary music. He's performed and recorded with mainstream jazzers like Herbie Hancock and Wynton Marsalis; downtown experimentalists like John Zorn and Laurie Anderson; pop icons like Sting and Paul Simon and major Brazilian stars like Milton Nascimento and Ivan Lins. And he may be the only artist in the world who can list both Yo Yo Ma and Snoop Dogg among his credits.
Baptista's fourth release on Zorn's Tzadik label, and his second with his Banquet of the Spirits band, is billed as a collection of "experimental Brazilian pop songs." But it's unlike any pop music you're likely to hear on the radio, whether you're tuning your set in Sao Paolo or New York. Infinito is an exuberant, adventurous, at times frenzied blend of jazz, funk, Brazilian, Afro/Cuban and other Latin American musics—often woven together within a single composition. "Kwanza," a tune penned by keyboardist Brian Marsella, for example, starts off with some funky electric-Miles fusion paired with Latin percussion before shifting rhythms, dynamics and instrumentation reveal a simple, sweet folk melody. But despite the wide-ranging sources and inspirations, the music never sounds forced or clumsy; the sound is seamless and organic, owing to the leader's highly developed vision of music as a global art that exists beyond any artificial national or genre divisions.
Baptista plays a huge array of percussion instruments from Brazil and around the world, as well as homemade instruments like a gas pipe, vacuum cleaner hose and something called a waterphone. One cut, "In Vitrous," features a collection of specially made glass instruments. His core group (Marsella, Shanir Blumenkranz on bass and oud and Tim Keiper on drums) is augmented by guests including Brazilian guitar great Romero Lubambo, electronics wizard Ikue Mori and rising saxophone and clarinet star Anat Cohen. Several tunes, like the title cut, the gorgeous "Adeus Às Filhas" and the lively "Cantor Cuidadoso" feature vocals, but the emphasis throughout is on high-spirited instrumental exploration. Infinito is a joyous, carnival-like treat for listeners who appreciate music without boundaries. <allaboutjazz>
01 - infinito coming
02 - batida de cдco
03 - in vitrous
04 - kwanza
05 - noia
06 - adeus as filhas
07 - coronation of a slave queen
08 - cantor cuidadoso
09 - pro flavio
10 - blindman
11 - infinito going
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Posted: Fri Jan 29, 2010 7:48 am
exy
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Mass Ave Project - Mass Ave Project (2009)
mp3 320kpbs | 95MB | 39:45 min.
Quote:
“Mass Ave Project” is a fusion of styles, personalities, grooves and harmonies consisting of some of the best graduates and students of the world-renowned Berklee College of Music. The music played is all-original instrumental Jamiroquai meets John Scofield meets Herbie Hancock. They first came together in the summer of 2007 for the 7th annual Hermitage Jazz Festival in St. Petersburg, Russia in 2007 and continued performing around the Boston area and bombarding audiences all around with their high-energy funk. In 2008, they were invited by MOJO Concert Agency to perform at the famous North Sea Jazz Festival held annually in Rotterdam, The Netherlands, which in addition included shows around the Netherlands at clubs such as Dizzy and The Duke, as well as performances in St. Petersburg at the Delta Neva Festival.
1. Free (7:58)
2. Back Bay (6:02)
3. Mass Ave (6:24)
4. Prophecy (8:41)
5. Natives (5:39)
6. Sunday Morning (5:01)
Last edited by exy on Sat Feb 20, 2010 2:04 am; edited 1 time in total
My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare
Posted: Fri Jan 29, 2010 9:48 pm
exy
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Posts: 655
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Calexico - The Black Light (1998)
Quote:
Calexico, a Tucson collective of musicians focused around Joey Burns and John Convertino, forged an eclectic identity through their exploration of Southwestern culture. Composer Ennio Morricone's spaghetti Westerns as well as Portuguese fado, Afro-Peruvian music, and '50s and '60s jazz, country, and surf music all factored into Calexico's music.
Of all the adjectives in the English vocabulary, the word "languid" is sadly inappropriate for the well- paved, tree- lined roads of my immediate surroundings. There are no sweaty denizens lazily fanning themselves as they lay sprawled upon their porch benches. When I want a burrito, I go to the mall and a pimply faced, greasy- haired teenager does his voice- breaking best to make it feel like Mexico is right around the corner. Around here, tequila is drunk by frat boys screaming "Carpe diem, dude!" as their fellow party goers barf up a beery mess.
Good thing, then, that bands like Calexico exist to remind us of words and emotions that may be absent from our immediate landscape. Somewhere inbetween the creepy non- practicing cowboy aesthetic of Palace and the shuffling beats of Latin jazz clubs, Calexico's The Black Light resonates in gloriously cinematic tones. In the hands of less soulful musicians, such combinations would sound more wanky than wonderful. These boys display impeccable taste, however, and you, the listener, are the beneficiary.
There's a remarkable amount of variety on The Black Light. "Fake Fur" takes a Brazilian rhythm and adds a subdued, shuffling bass that makes the head begin to sway. "Where Water Flows" weaves cello, vibes and expertly plugged guitar to conjure the end of yet another lonely night. The album's title track is a wonderfully reverb- drenched piece that captures the menacing tension of a convict on the loose. "Minas De Cobre (For Better Metal)" bursts into lusty mariachi trumpets that would feel at home in any Sergio Leone soundtrack.
There are also some great lyrics on the record. When on "Missing," vocalist Joey Burns sings, "There's a way the fear creaks right in/ There's an angel at your side/ To save you just in the nick of time," you feel the guilt of luck sitting in your stomach.
Virtually everything about this album bears an obscene attention to detail. Even the record's recording, performed in a seemingly spacious warehouse, is worth spewing oodles of idle, meandering prose. It's enough to make this reviewer move down South to partake in a life of crime.
1. Gypsy's Curse
2. Fake Fur
3. The Ride (Part II)
4. Where Water Flows
5. The Black Light
6. Sideshow
7. Chach
8. Missing
9. Minas De Cobre (For Better Metal)
10. Over Your Shoulder
11. Vinegaroon
12. Trigger
13. Sprawl
14. Stray
15. Old Man Waltz
16. Bloodflow
17. Frontera
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Posted: Sun Jan 31, 2010 8:00 pm
exy
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Posts: 655
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Jason Boesel - Hustlers Son (2010)
mp3 320kbps | 110MB | 45:16 min.
Quote:
Before releasing his first solo album in early 2010, Jason Boesel cut his teeth as the drummer for Rilo Kiley and multiple other bands. He joined Rilo Kiley in the late ‘90s and, several years later, co-founded the Elected with bandmate Blake Sennett. Rilo Kiley began attracting a larger audience with the release of 2004’s More Adventurous, and the band spent the following year opening shows for the likes of Bright Eyes and Coldplay. Boesel eventually joined Bright Eyes’ touring band as well, and his relationship with frontman Conor Oberst later resulted in an invitation to join the Mystic Valley Band. While juggling those responsibilities, he also found time to work on his own album, Hustler’s Son, which found him singing and playing guitar in addition to percussion.
Quote:
The first solo album from Jason Boesel -- drummer extraordinaire for the likes of Rilo Kiley, Bright Eyes, and Conor Oberst’s Mystic Valley Band -- finds the sideman hanging up his drumsticks, picking up the guitar, and strumming his way through 11 tracks of casual, walking-speed Americana. It’s an L.A. record through and through, influenced by California’s country-rock tradition and featuring cameos by SoCal figures like Blake Sennett, Jonathan Wilson, and longtime Tom Petty keyboardist Benmont Tench. Boesel established his songwriting credentials one year before this album’s release, when a pair of his own compositions appeared on the Mystic Valley Band’s Outer South. He’s still new to the frontman game, though, and he plays the role casually, crooning his songs in a straightforward baritone that rarely overwhelms. It may be tempting to compare these songs to those by Boesel’s former bandmates -- he doesn’t prize the pop hook as highly as Rilo Kiley, for example, and his lyrics lack Bright Eyes’ studied punch -- but Hustler’s Son does exactly what it sets out to do, which is establish a mood and keep those dusky vibes burning for 45 minutes.
01. Black Waves
02. Hand Of God
03. French Kissing
04. Burned Out And Busted
05. New World Mama
06. Miracles
07. Hustler's Son
08. Getting Healthy (Good Luck)
09. I Got The Reason #1
10. Was It, Man?
11. Winking Eyes
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