 | My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare |  |
| Posted: Tue Aug 04, 2009 12:48 am |
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Freakwater - Thinking of You (2005)
mp3 VBR~192kpbs | 69 MB | 49:03 min.
| Quote: | Despite their alternative rock pedigree and their home on a label better known for experimental music, Freakwater was one of the most traditionally grounded bands on the alternative country scene. Singers/guitarists/songwriters Janet Beveridge Bean and Catherine Ann Irwin mix original material (with a contemporary lyrical perspective) and traditional covers, all done in a spare, acoustic country-folk style with close vocal harmonies. Their instrumentation often features string band staples like steel guitar, fiddle, mandolin, and dobro, and the strong Appalachian overtones that result have often drawn the duo comparisons to the Carter Family.
End Time was a major step for Freakwater, changing the sound of the band from its strictly acoustic origins without changing the feel of the band. Thinking of You takes another step in that evolution, but manages to achieve the same balancing act: a fuller sound that never abandons the past. This time out, producer Tim Rutili and the band enlist the other members of Califone to add to and expand the Freakwater sound, but it's still the sharp songwriting and vocal harmonies that carry the tunes. Freakwater albums are still the domain of the lovelorn and downtrodden, where alcohol is just about the only solace and circumstances are met with a weary acceptance just shy of hope and a dash of gallows humor, like in "Loserville": "where the bourbon flows like a river, so deep and still" or the "friend who tried to give me the good news, like solace candy found in pills and booze." Tales of loss and loneliness are the order of the day, perhaps most poignantly on "Cathy Ann," which isn't about Catherine Ann Irwin at all, but about one of Woody Guthrie's children who died following a fire caused by an electrical short. And unlike folks like the Carter Family, who turned to the Lord in times of need, religion offers no redemption in Freakwater songs ("Hi ho Silver, high on pills/Use your hands and tell me how I feel/Higher power, higher hand of mine/Tell me why your god is so divine"). There's even a nod toward the political (something new for Freakwater) in "Buckets of Oil," "where the winners and the losers, from sea to shining sea, have been bought and sold and most often have for free." The talented men of Califone provide sympathetic backing, adding everything from distorted bass clarinet to pump organ and tremolo guitar, but never get in the way of the songs. There's even some buzzing feedback guitar in one spot (the likes of which have never been heard on a Freakwater album before), but again, it never intrudes or takes the spotlight from the vocals or the song itself. The focus, however, is always those gorgeous aching vocal harmonies and the great set of all-original tunes. Freakwater might often sound like a band from another time, but their attitude couldn't be more contemporary, a dichotomy nicely summed up by the title and cover art, with "Thinking of You..." accompanied by a flaming bouquet of red roses. It's another excellent offering from Freakwater. -- AMG |
1. Right Brothers
2. Cricket versus Ant
3. Buckets of Oil
4. So Strange
5. Loserville
6. Cathy Ann
7. Double Clutch
8. Sap
9. Jack the Knife
10. Jewel
11. Upside Down
12. Hi Ho Silver
| Code: | | http://rapidshare.com/files/258689106/FREAKWATER_-_2005_Thinking_Of_You.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Thu Aug 06, 2009 8:58 am |
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Tom Jones - 24 Hours (2008)
EAC | FLAC + cue + log | 383 MB | Incl. covers
| Quote: | Music icon Tom Jones returns with his first album of new material to be released in the United States in over 15 years. "24 Hours" represents another milestone for Tom Jones; from interpreting a classic Bruce Springsteen track (The Hitter) to writing and working alongside the likes of Bono and The Edge (Sugar Daddy).
Utilizing modern day producing maestros, Future Cut (Lily Allen), Tom Jones' "24 Hours" showcases the best of what has made him a legend. From the pulsing first single, If He Should Ever Leave You, to the soaring I'm Alive; from the reflective title track to the emotional depths of The Hitter, Tom Jones delivers one of the most powerful albums of his career.
Having sold over 100 million albums throughout his career and still touring and performing over 200 days out of the year, Tom Jones brings his best to this latest recording and shows why he remains at the top of his craft after 40 years. <Amazon> |
| Quote: | | To quote an earlier comeback record from Tom Jones (not that he ever left), he not only has the lead but he knows how to swing it. While it's true that 24 Hours appears close to 50 years after Jones first started playing with local Welsh beat groups, there's still plenty of evidence that this is the same singer who caused timid radio broadcasters to reconsider playing his records and women to throw uncountable pairs of knickers toward the stage. Helmed by production team Future Cut -- also behind tracks by Lily Allen, Estelle, and Kelis, among others -- the record charts a perfect balance between the type of throwback soul that would appeal to fans of the artists mentioned above (plus Amy Winehouse or Nikka Costa) as well as those who treasure his beefy late-'60s productions. After all, not many listeners want to hear a refined Tom Jones. They want the power and bravado of "It's Not Unusual" and "What's New, Pussycat?" And, fortunately, that's exactly what they get here, from the knockout first single "If He Should Ever Leave You," the opener "I'm Alive," the aggressive and flirtatious "Sugar Daddy," and "In Style and Rhythm." Often, when performers attempt to update their sound, they end up sounding hopelessly lost or bewildered, but Jones has changed with the times throughout his career. Just as importantly, he's always chosen collaborators who can pinpoint how his classic sound would work in a contemporary context. Here, it's a pounding and drum-heavy production that still allows room for organic touches (blazing horns, stinging brass, twanging guitars). The quality of the songs is high, and most are kept in-house, so they match his persona well. Besides Future Cut, Tom Jones also gets help on a pair of tracks from two other great producers: Betty Wright and Nellee Hooper. The latter appears on "Sugar Daddy," an excellent song written for Jones by Bono and the Edge, and it also features both of them playing on the track. Best of all, Jones' voice is still strong, only rarely betraying his 68 years on the planet. -- AMG |
1. I'm Alive
2. If He Should Ever Leave You
3. We Got Love
4. Feels Like Music
5. Give A Little Love
6. The Road
7. In Style And Rhythm
8. Sugar Daddy
9. Seasons
10. Never
11. The Hitter
12. Seen That Face
13. 24 Hours
| Code: | http://rapidshare.com/files/263628889/Tom_Jones_-_24_Hours.part1.rar
http://rapidshare.com/files/263629019/Tom_Jones_-_24_Hours.part2.rar
http://rapidshare.com/files/263632848/Tom_Jones_-_24_Hours.part3.rar
http://rapidshare.com/files/263632354/Tom_Jones_-_24_Hours.part4.rar |
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Last edited by exy on Tue Nov 24, 2009 7:43 am; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Aug 07, 2009 3:10 am |
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Jon Langford & the Pine Valley Cosmonauts - The Executioner's Last Songs (2002)
mp3 256kpbs | 118MB | 63:44 min.
| Quote: | It's a great idea, an album to benefit the Illinois Death Penalty Moratorium Project, and who better to execute it (pun intended) than the linchpin of the Chicago alt-country movement, Mekons and Waco Brother member Jon Langford? He's reassembled the occasional Pine Valley Cosmonauts to back a bunch of artists on tales of death, murder, and execution. There's everything from the traditional and gruesome ("Knoxville Girl" from Brett Sparks and a very powerful, gritty "Tom Dooley" by Steve Earle, as graphic as any gangsta rap) to straight-up country (Johnny Paycheck's "Pardon Me (I've Got Someone to Kill)," which these days stands almost as a parody of a country song, albeit a chilling one), all the way to standards (post-punk feminist icon Jenny Toomey on a lovely acoustic rendition of Cole Porter's "Miss Otis Regrets"), punk (the Adverts' "Gary Gilmore's Eyes" interpreted by Dean Schlabowske), and originals (Johnny Dowd's "Judgement Day," among others). It's an odd assemblage, but it hangs together very well, not just because of the thematic content, but also the intensity of the performances, like Edith Frost's luminous "Sing Me Back Home" or Dianne Izzo's raw take on "Oh Death." Apart from contributing guitar and some vocals throughout, Langford does get a couple of moments in the spotlight, duetting on the Dowd cut, then on "The Plans We Made," a tale of love gone awfully wrong that he sings with fellow Mekon Sally Timms. There's no bad cut here, although Tony Fitzpatrick's "Idiot Whistle" proselytizes a little too much, and "The Hangman's Song" from Christa Meyer and Tim Kelley of Puerto Muerto is just plain weird. But this album makes its points in very plain, blunt terms, and offers some excellent music along the way. If you still don't think music and politics can mix, start here. --
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:kbfpxqr0ld0e |
1. Knoxville Girl - Brett Sparks
2. I'll Never Get Out of This World Alive - Rosie Flores
3. Gary Gilmore's Eyes - Dean Schlabowske (with Sally Timms, Kelly Hogan, and Tracey Dear)
4. The Snakes Crawl at Night - Janet Bean
5. Tom Dooley - Steve Earle
6. The Hangman's Song - Puerto Muerto
7. Pardon Me (I've Got Someone to Kill) - Lonesome Bob
8. Poor Ellen Smith - Neko Case
9. Miss Otis Regrets - Jenny Toomey
10. Judgement Day - Johnny Dowd and Jon Langford
11. Great State of Texas - Chris Ligon
12. Sing Me Back Home - Edith Frost
13. Oh Death - Diane Izzo
14. Hanged Man - Rick Cookin' Sherry
15. The Plans We Made - Jom Langford and Sally Timms
16. 25 Minutes to Go - Frankie & Johnny Navin
17. Idiot Whistle - Tony Fitzpatrick
18. Walls of Time - Paul Burch
| Code: | http://rapidshare.com/files/264397241/The_Executioner_s_last_Songs_Vol.1._pt.1.zip
http://rapidshare.com/files/264400396/The_Executioner_s_last_Songs_Vol.1_Pt.2.zip |
Jon Langford & the Pine Valley Cosmonauts - The Executioner's Last Songs Vol. 2 & 3 (2003)
mp3 256kpbs | 165MB | 90:31 min.
| Quote: | Jon Langford and the Pine Valley Cosmonauts' second collection of songs about murder, death, and dying — recorded to benefit the Illinois Coalition Against the Death Penalty and the National Coalition to Abolish the Death Penalty — certainly ups the ante of ambition and diversity over The Executioner's Last Songs, and while Vol. 2 & 3 lacks some of the purity and concision of the first disc, the consistent quality of the performances certainly compensates. Where for the most part The Executioner's Last Songs sounded like the work of a single band with a number of different singers taking their turns at the mike, on the follow-up Langford, Steven Goulding, Tom Ray, Celine, and the various guest Cosmonauts on deck bend more to the style of their guests, which given the artists on board was perhaps inevitable. Mark Eitzel, Kevin Coyne, Kurt Wagner, and David Yow, to name but four of the artists teaming up with the PVC here, are simply the sort of performers who can't help but sound like themselves, and with more original songs and contemporary compositions on display, this two-CD set suggests less of a ramble through the morbid tributaries of Anglo-American traditional music than some sort of death-obsessed folk and pop festival, where the Grim Reaper is met with good cheer (Rhett Miller's "Dang Me"), snide wit (Pat Brennan's "Death Where Is Thy Sting"), fatalistic nostalgia (Dave Alvin's "Green Green Grass of Home"), or resigned regret (Otis Clay's "Banks of the Ohio"). All 27 tracks are worth hearing, and regardless of your stand on the death penalty, The Executioner's Last Songs, Vol. 2 & 3 boasts far too much good music from too many worthy artists for anyone with even a passing interest in roots music to pass up. --
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:axfpxqqaldde |
1. Gallows Pole - Tim Rutili
2. Louis Collins - Dave Alvin
3. The Fall of Troy - Kurt Wagner
4. Banks of the Ohio - Otis Clay
5. Homicide - Skid Marks with Sally Timms
6. Green Green Grass of Home - Kelly Hogan
7. Death Row - Rico Bell
8. Gulag Blues - Lu Edmunds
9. Horses - Chris Mills
10. Strange Fruit - Diane Izzo
11. One Dyin' & A Buryin' (live) - David Yow
12. Delilah - Jon Langford
13. Willie O'Winsbury - Charlotte Grieg
14. Bad News - Alejandro Escovedo & Jon Langford with Dave Alvin
15. The Ballad of Billy Joe - Rebecca Gates
16. Dang Me - Rhett Miller
17. Forever To Burn - Rex Hobart
18. Death Is Where Thy Sting - Pat Brennan
19. Long Black Veil - Sally Timms & Edith Frost
20. God's Eternal Love - Mark Eitzel
21. Hangin' Me Tonight - Gurf Morlix
22. John Hardy - Meat Purveyors
23. Pardon This Coffin - Jon Rauhouse
24. Saviour - Kevin Coyne
25. Green Green Grass Of Home - Dave Alvin
26. Angel Of Death - Tom Greenhalgh
27. Tom Dooley (live) - The Sundowners
| Code: | http://rapidshare.com/files/264399233/THE_EXECUTIONER_S_LAST_SONGS_VOL.2.zip
http://rapidshare.com/files/264399364/THE_EXECUTIONER_S_LAST_SONGS_VOL.3.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Aug 11, 2009 4:44 am |
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William Elliott Whitmore - Hymns for the Hopeless (2003)
| Quote: | | William Elliott Whitmore has the ancient sounding voice of an 80-year-old Appalachian moonshiner, and while he is yet to turn thirty, his bleak and death-haunted tales are full of the kind of regrets that only a long life full of loss and struggle can validate. On Hymns for the Hopeless, his debut release, Whitmore mines a strip of narrow Americana that conjures Dock Boggs more than it does Ralph Stanley, and if this isn't exactly the blues, well, it sure isn't bluegrass, either. Actually, the simple, stark three-note melodies of Whitmore's dirges sound more like church hymns than anything else, and his ragged crow-croak of a voice (which makes Tom Waits sound glib and Leonard Cohen sound like a pop diva) comes from a place where the blues and gospel first converged into country. From the first track, the unaccompanied "Cold and Dead," Whitmore begins an unrelenting search for redemption and reaches out for death as the only true reckoning of a man's life, and if he seems to share little of a street preacher's faith in a paradise beyond that reckoning, he seems to reach out for it anyway, and by the album's closer, the full-tilt gospel romp of "Our Paths Will Cross Again," he seems to suggest that yes, there's hope, even for the hopeless. This is timeless stuff, delivered in stark arrangements of just banjo or guitar, with occasional touches of junkyard percussion, and throughout there is Whitmore's harrowing, convincing voice that sounds like it has crossed the River Styx and returned to preach to the living. If there is a problem with this striking album, it is in a lack of variety, as each song unwinds at the same slow pace, and occasionally Whitmore simply tries too hard and loses believability, as he does with "From the Cell Door to the Gallows," which, although striking, suffers from an obvious case of jailhouse noir, and it is the lone track where Whitmore fails to completely inhabit his voice. In the end, this is an amazing debut, a country album that is as far from today's hat acts as a hat can get, an album of rare artistic courage, one that faces death, embraces it, and comes out the other end in a gospel hoedown. Hymns for the Hopeless is a brilliant beginning for William Elliott Whitmore. -- AMG |
1. Cold and Dead
2. Sometimes Our Dreams Float Like Anchors
3. Does Me No Good
4. Lord Only Knows
5. Pine Box
6. From the Cell Door to the Gallows
7. Burn My Body
8. Our Paths Will Cross Again
| Code: | | http://rapidshare.com/files/240396454/william_elliott_whitmore_-_hymns_for_the_hopeless.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Aug 25, 2009 5:31 pm |
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Caitlin Cary & Thad Cockrell - Begonias (2005)
mp3~192kpbs | 73MB | 49:35 min.
| Quote: | | While Caitlin Cary's solo albums have made it abundantly clear she can make splendid music by her lonesome, there's no arguing that she collaborates very well indeed, as her work with Whiskeytown and Tres Chicas has proven. For Begonias, Cary teamed up with another gifted singer/songwriter, her friend Thad Cockrell, and the two mesh beautifully on these sessions. Cockrell's voice bears a slight resemblance to Cary's old vocal partner Ryan Adams on this set, and his lonesome tenor blends perfectly with the sweet ache of Cary's instrument; the beauty of their harmonies alone would make this an album worth hearing, but that's hardly Begonias's only virtue. Cary and Cockrell wrote most of these songs together, and they've conjured up a handful of gorgeous meditations on love and its absence, and "Whatever You Want," "Two Different Things," and "Something Less or Something More" reveal a quiet strength and passion that's nearly heartbreaking in its power. The album doesn't rock out much, but "Second Option" shows they know how when they're of a mind, and the backing combo offers marvelously sympathetic support, especially Pete Finney and Pat Buchanan on guitars and Logan Matheny on percussion. And Cary and Cockrell's take on the old Percy Sledge chestnut "Warm & Tender Love" is so beautifully realized that it's enough to make you forget the truly great original. Begonias is an album that was produced on a modest scale, but its beauties and rewards are tremendous, and one can only hope this is the first in a long series of collaborative efforts between this two very compatible artists. -- AMG |
1. Two Different Things
2. Something Less Than Something More
3. Second Option
4. Please Break My Heart
5. Whatever You Want
6. Don't Make It Better
7. Warm & Tender Love
8. Party Time
9. Conversations About a Friend (Who's in Love With Katie)
10. Waiting on June
11. Big House
| Code: | | http://rapidshare.com/files/271081513/Caitlin_Carey___Thad_Cockrell_-_Begonias__2005_.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Wed Aug 26, 2009 1:28 am |
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Scott H. Biram - Graveyard Shift (2006)
mp3 VBR V0~275kpbs | 90MB | 45:39 min.
| Quote: | | Scott H. Biram has a sound as gritty as sandpaper. The one-man band owns his own style, which meshes the raw muddiness of blues, the rowdiness and down-to-earth simplicity of country, and the mutiny of punk. And with all this variety existing in nearly every song on Graveyard Shift, no two songs sound exactly alike. In fact, most of them are so starkly different from the next that it's hard to believe it's the same album. The title track is a raucous, messy punk-blues fusion and it yields to "Lost Case of Being Found," a mellow alt-country toe-tapper. The rest of the album follows suit, rebelliously howling and meandering through heartsick ballads, highway songs, and salutes to inebriation. Graveyard Shift is all over the place, but it's never chaotic. It makes perfect sense. No matter how different each song might or might not be from the next, Biram's soulful presence and gritty vocals tie everything together. It's tempting to try to compare Biram to other artists, in order to help describe such a unique musician. In Biram's case, comparisons are simply too vague. Though while listening to Graveyard Shift, one will likely be reminded of certain artists as unique as Biram (though he is a one-man band, which is exceedingly rare). His eclectic eccentricity is reminiscent of Beck; many of his songs are punked-out neo-traditionalist country -- something he and Hank Williams III have in common; and the unprocessed blues riffs and unique rhythm that occupies much of his sound could stand up to a more intoxicated Lightnin' Hopkins. Biram's unique blend of his own attitude and a variety of musical styles make him accessible to all types of music aficionados. Biram's high-energy live performances are said to be the only way to truly experience his music, but Graveyard Shift will give you an idea of the unique brilliance you've been missing. -- AMG |
1. Been Down Too Long
2. No Way
3. Graveyard Shift
4. Lost Case Of Being Found
5. Only Jesus
6. Goin' Home
7. 18 Wheeler Fever
8. Plow You Under
9. Work
10. Long Fingernail
11. Reefer Load
12. Have No Fun
13. Santa Fe
14. Church Babies
| Code: | | http://rapidshare.com/files/271085438/biram.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Wed Aug 26, 2009 6:50 am |
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Martha Scanlan - The West Was Burning (2007)
| Quote: | | Martha Scanlan was a member of the contemporary old-time string band the Reeltime Travelers, who probably are best known for their appearance on the T-Bone Burnett-produced Cold Mountain soundtrack. For her first solo outing, Scanlan keeps one foot in the past and the other in the present. There is plenty of fiddle, mandolin, Dobro, and banjo playing on this disc (often courtesy of producer Dirk Powell), but Scanlan doesn't limit her sound to acoustic instruments. The second track, "Get Right Church," is a robust, foot-stomping rendition of the Rev. James Cleveland gospel classic that is more Saturday night than Sunday morning. Later on, her original "Isabella" nicely balances front-porch fiddling with juke joint guitar. This song of sisterhood also slips in some subtle political references, name-checking the mother of civil rights figure Emmitt Till as well as Anna Mae Pictou Aquash, a female Native American political activist who was mysteriously murdered in the '70s. Scanlan doesn't hammer her listeners with her music, but takes an appealing low-key approach to both her songwriting and arrangements. The warm-hearted, winter-set courting tune "Walkin'" makes a simple yet poetic observation: "Ordinary is as ordinary sees/The quiet beauty in the shapes of trees." She uses the evocatively down-to-earth lyric "Somehow packing up your things/Didn't seem to bring/The peace I'd hoped to find" to describe post-breakup angst in "I Don't Even Have to Ask." Her songs are also very much rooted in nature and the outdoors, whether physically (the bittersweet rancher's tale "Up on the Divide") or metaphorically (the picturesque love song "Seeds of the Pine"). Trees are a recurring image, popping up in almost all of her original tunes. Besides her own earthy, folksy tunes, she also tackles the obscure Bob Dylan number "Went to See the Gypsy" and conjures up comparisons to Emmylou Harris on her tender, spare cover of the spiritual "Ten Thousand Charms." The Powell instrumental "Call Me Shorty" makes for a curious inclusion, as this bluegrass interlude seemingly serves -- at least on this disc -- as a showcase for the backing band. Still, Scanlan's unpretentious but thoroughly charming debut should appeal to fans of Gillian Welch and Iris DeMent and lovers of other Americana angels. -- AMG |
1 The West Was Burning
2 Get Right Church
3 Went To See The Gypsy
4 Seeds of the Pine
5 I Don't Even Have to Ask
6 Call Me Shorty
7 Walkin'
8 Up On The Divide
9 Set Up Me Up High
10 Isabella
11 Ten thousand Charms
| Code: | | http://rapidshare.com/files/271080912/martha_scanlan.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Mon Aug 31, 2009 6:00 pm |
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Hayes Carll - Little Rock (2005)
mp3 VBR~240kpbs | 73MB | 40:16 min.
| Quote: | | Little Rock is only Hayes Carll's second album, but already he sounds like a veteran singer/songwriter. His tales of drifters and searchers, full of sharp observations and biting wit, invite comparisons to Townes Van Zandt, Steve Earle, and Robert Earl Keen, while his talent has brought collaborations with Ray Wylie Hubbard and Guy Clark. For a Texas singer/songwriter, those are big shoes to fill, but the Houston native fills them admirably. Carll has said, with tongue undoubtedly in cheek, that he chose to write about Little Rock because there are already so many songs written about Texas, but the terrific title track ably demonstrates that he has no need for a songwriter inferiority complex. The rip-roaring tune, featuring ace sessionman Kenny Vaughn's down-and-dirty guitar work, has Carll crisscrossing America searching for happiness before deciding to return to Little Rock. His up-tempo, rockier numbers -- like the aforementioned "Little Rock," the colorful front-porch rap "Down the Road Tonight" (that name-checks everyone from the Dali Llama to Michael Jackson), and the rollicking life-of-a-musician tune "Sit in With the Band" -- jump off the disc and immediately grab the listener's attention. But Carll is just as impressive on his quieter, more introspective tunes. "Long Way Home" is a touching ode to a departed friend, while the Earle-esque "Leave Here Standing" essays a relationship come undone. His gifts for observation and humor also are showcased on the vibrantly written opening track, "Wish I Hadn't Stayed So Long," and the western-style jazzy tale "Good Friends." The former is a bittersweet journey through his past, while the latter, a duet with Allison Moorer about his old high school buddies, finds Carll pondering, "where did all my good friends go." With just two albums under his belt, Hayes Carll has stepped into the forefront of the Texas troubadour scene. -- AMG |
1. Wish I Hadn't Stayed So Long
2. Take Me Away
3. Down The Road Tonight
4. Good Friends
5. Hey Baby Where You Been
6. Rivertown
7. Little Rock
8. Leave Here Standing
9. Sit In With The Band
10. Long Way Home
11. Chickens
| Code: | | http://rapidshare.com/files/273613176/Little_Rock.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Sep 01, 2009 9:00 am |
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Ray Wylie Hubbard - Crusades of the Restless Knights [1999]
mp3 VBR~192kpbs | 60MB | 44:22 min.
| Quote: | | "I wanted to be a folk singer," Ray Wylie Hubbard told annotator Geoffrey Himes of his early goal in the liner notes of his second Philo album, Crusades of the Restless Knights, and the record bore out the renewal of that ambition. Although the arrangements of Hubbard's tunes usually found several pickers playing stringed instruments (acoustic and electric guitars, steel guitar, bass, mandolin, Dobro), the simple song structures and restrained lyrics gave them the feel of old folk songs. Even when he waxed verbose, on "Conversation With the Devil," Hubbard was employing the talking blues form that dated back to Woody Guthrie and beyond. More typically, he would sing an entire song about a woman getting dressed up for a night on the town ("Red Dress"), each verse describing another article of clothing or makeup. There was a lot deliberately left out of such songs, but the suggestions of meaning were filled in by Hubbard's world-weary persona and rough, south-Texas-accented singing voice. It was music for anyone who liked his peers, especially Jimmie Dale Gilmore and the name-checked Townes Van Zandt, using a similar language and attitude. The strain of '70s-era Texas singer/songwriters turned out to be amazingly rich, and even this late-breaking legend lived up to his reputation after surviving to sobriety. -- AMG |
1. Crows
2. There Are Some Days
3. The Lovers In Your Dreams
4. Conversation With The Devil
5. Red Dress
6. The River Bed
7. This River Runs Red
8. After The Harvest
9. Airplane Fell Down In Dixie
10. The Messenger
| Code: | | http://rapidshare.com/files/273611789/Crusades_of_the_Restless_Knights.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Sep 04, 2009 4:20 am |
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| Location: http://musical-heritage.blogspot.com/ |
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Reckless Kelly - Wicked Twisted Road (2005)
mp3 VBR~224kpbs | 79MB | 47:53 min.
| Quote: | | One might argue that Reckless Kelly is good at a lot of the same things other alternative country bands excel in. They've got the same nice rootsy mix of acoustic-electric instruments, and a scruffy sounding singer to deliver world-weary lyrics. But there's a difference on Wicked Twisted Road, and that's in how the band -- guitarist David Abeyta, fiddler Cody Braun, singer Willy Braun, bassist Jimmy McFeeley, and percussionist Jay Nazz -- puts it all together. From the get-go, the band shows its ability to deliver songs like the title track and "Dogtown" in the most natural, unaffected manner. The latter unwinds at a nice, lazy pace perfectly suited for Willy's vocal and harmonica solo. In other words, Reckless Kelly never gives one the impression that it's striking an alternative country pose consisting of one part talent and two parts attitude. The band also knows how to stretch itself stylistically. "Seven Nights in Eire" offers a SPAMising mix of Celtic and country and blending fiddles and steel guitar, while "Sixgun" offers brash, country-rock. If Wicked Twisted Road is a tale of life and love on the road, then Reckless Kelly has told it well. Fans will appreciate the solid effort, while everyone else -- who's never quite gotten around to checking out the band -- will find it a nice introduction. -- AMG |
1. Wicked Twisted Road
2. Dogtown
3. Seven Nights In Eire
4. A Lot To Ask
5. Motel Cowboy Show
6. These Tears
7. Sixgun
8. Nobody Haunts Me Like You
9. Wretched Again
10. Broken Heart
11. Stick Around
12. Baby's Got A Whole Lot More
| Code: | | http://rapidshare.com/files/275155084/Wicked_Twisted_Road.zip |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Sep 04, 2009 6:10 am |
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| Joined: Feb 21, 2009 |
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Dale Watson - The Truckin' Sessions, Vol. 2
mp3 VBR~256kpbs
| Quote: | In 1998, Texas country & western singer and songwriter Dale Watson issued his debut volume of Truckin' Sessions for Koch International. It was a stunning collection of 14 self-penned tunes written in the tradition of Red Simpson, Dave Dudley, Merle Haggard, and Red Sovine. Since that time, Watson's cut over a dozen more records in studio and live. All of them could have been written in the 1960s. This is not to say that Watson's merely a historical revivalist: he simply writes and records his songs without the use of modern effects and takes no note of what's happening in the music world of the 21st century. What's more, it works. Watson is one of the most remarkably consistent, prolific, and significant songwriters to emerge from Texas since the '60s, even if no one outside of Americana and hardcore country & western music fans know it.
This second volume in the Truckin' Sessions, issued on New York's Hyena, is every bit the monster its predecessor was and mirrors it from the cover -- which merely shows an older Watson in the same coveralls get-up and pose as he was on the first volume -- to the song count, production values, and excellent sense of craft. For those who think that Watson employs irony in his music, it's best to get that notion out of your head. He is as authentic as Texas two-lane blacktop in the Hill Country outside Austin. Accompanying the songwriter on this set are the venerable guitarist Redd Volkaert (formerly of the Haggard band) pedal steel boss Don Pawlak, fiddle master Don Raby, bassist Gene Kurtz, and drummer David Bowen. This quintet lays down the hard swinging trucker country of the Bakersfield sound in "10-4," the Dave Dudley burners such as "Drag 'n' Fly," that opens the set, and the rockin', honky tonk storytelling country of Haggard in "Yankee Doodle Jean," just to name three. The twinning of the guitars and fiddle make for an irresistible front line, while Pawlak's steel is a shuffling, whining, hot pickin mess of sound right dead set in the center of the mix. Another stunner is "No Help Wanted," just before the end of the set, with a smokin' vocal chorus, and the anthems "I Got to Drive," and "Me and Freddie and Jake" rank with the best of truck driving country from any period. For any punter who enjoyed the first set of these killer trucker's tunes, or any of Watson's albums for that matter, this one will prove just as satisfying -- AMG |
1. "Drag 'N' Fly"
2. "Jack's Truck Stop and Caf‚"
3. "Truck Stop in LaGrange"
4. "10-4"
5. "Yankee Doodle Jean"
6. "Hey Driver"
7. "Hero"
8. "I Got To Drive"
9. "Truckin' Man"
10. "Me and Freddie and Jake"
11. "Truckin' Queen"
12. "Let This Trucker Go"
13. "No Help Wanted"
14. "Texas Boogie"
| Code: | | http://rapidshare.com/files/240513601/dwts2.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Sep 04, 2009 10:32 pm |
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Gretchen Peters - Burnt Toast & Offerings (2007)
mp3 256kpbs | 98MB | 51:40 min.
| Quote: | When it comes to articulating your own inspiration, sometimes it takes a while. Gretchen Peters is well-known in Nashville and pop circles as a top-shelf songwriter whose tunes have been woven into hits by everyone from Neil Diamond to Bonnie Raitt to Martina McBride. She has been able to dig into an aesthetic terrain in second and third persons and come up with topics and stories that are distilled archetypes for every woman and man; they offer metaphors, accidental instruction, and the direct transfer of emotion to anyone who has truly heard them. She's been making her own records for over a decade now and performing live, but she's never been able to completely deliver on tape those beautiful songs she's written. Not until now, that is. Peters' 2007 recording, Burnt Toast & Offerings, was written completely in the first person, a change for her. As a writer, she's peered down into her own well far enough to be able to see what's there, and bring out what she sees into her songs. On this set, she's simply jumped off the edge, without looking for a place of safety to grasp onto. She doesn't see around and through the emotions that come up to greet her. Instead, she's immersed herself in them. She's gotten wet and dirty in the center of that abyss and discovered a baptism, in the fountain of her own heart. In this seemingly dark and dank place, where the sunlight above is just a glimmer, she's discovered an inner guiding light, the voice of her own hunger and the answer to prayers and pleadings to earthly and heavenly powers: the revelation of love.
Burnt Toast & Offerings is a record about the messiest part of love -- the barren desert where it unravels, falls apart, and empties one out, leaving one broken and seemingly alone, in a strange land where all previously known has been spirited away. She reveals that love demands nothing less than total surrender in order to open to it fully and experience its bounty. No matter what it looks like, its promise is enough. With the help of producer/guitarist Doug Lancio, piano and keyboard wiz Barry Walsh, bassist Dave Francis, and drummer John Gardner (with guest musicians in tow), Peters delivers a set of new songs that is simply searing in its lyric honesty and accompanying melodies, sophisticated enough in musical arrangements to carry them to the listener as a gift. The songs offer an encounter with beauty in all its marred, tragic, and transformative glory. The sound of the recording is pristine; it reveals in clear, wide-open tones and abundant -- though never excessive -- atmospheric ones, the struggles and epiphanies these protagonists experience. The hunger is heard in the set's opening cut, "Ghost," as a single harmonic chord and bowed cello usher in these a cappella words: "There was a girl who used to live here/Sometimes you still can hear her laugh...but you let her beauty go unnoticed/And let her music go unheard/You should've listened when she told you/You should've hung on every word/Now I'm a ghost, I haunt this house/And wait for love to lift this shroud/Take these withered dreams and let 'em go/I'm a ghost...." The acoustic guitars swell; Lancio poignantly fills the space between Walsh's organ and synths. Peters abandons herself to the maelstrom, which is enveloping. It's one of the bravest opening tracks on a record in an age.
Lest things get too dark too quickly, "Sunday Morning (Up and Down My Street)," with its nearly nursery rhyme melody -- thanks to the counterpoint guitars creating "ding-dong" effect -- Peters paints a picture of contentment and stillness, a gratitude that embraces the moment when love is present and abundant. The listener has to wonder if this is a reminiscence of what was, or lives in the present. The temptation is toward the latter, especially as Peters' voice rings so clearly, in a way it never has before, above the Hammond B-3 swells, an emergent cello, and a glockenspiel all sewn inside the slippery guitars. "Jezebel," introduced by a fingerpicked acoustic guitar, is in the protagonist's mirror-imaged, self-referential voice, but it's a manifesto. She confesses that her only sin is love, and that it is the only refuge, all that matters now. She reveals that she became an angel in her way, but has experienced heaven with those wings, too. Though the tune is plaintive and stark, it's a real blow to the gut; it leaves the listener breathless. It's followed by the smoky, film noir-ish jazz blues of "Thirsty," driven by spooky guitars and that wily B-3, colored by Jim Hoke's clarinet. The key line: "I'm always thirsty/But never satisfied." "The Lady of the House," a shimmering confessional pop/rock song with a hypnotic little groove, offers this scandalous truth: "The lady of the house is in and might be so inclined/If you're selling something sacred I might be ready to buy." Her cover of Harold Arlen's "One for My Baby" is a slightly woozy, empty-barroom confessional. The protagonist is feeling painless enough to let it show in front of a trusted barkeep in the wee small hours of the morning. Walsh's piano lines move through the blues and early jazz of the masters, finessing the melody while harmonically engaging history. The trio of strings -- cello, violin, and viola -- rises on the second verse, and brings the timelessness of both the emotion and the melody of the tune itself into the present moment. It's a sad song, but it comes with the weight of nostalgia, and in the acceptance of loneliness, she conveys Arlen's great hidden truth: "...Buddy, I'm a kind of poet/And I got lots of things to say...." Peters could have written that song herself.
Peters and her band cleverly follow this with "The Way You Move Me," a straight-up contemporary country love song that is at the crux of the album, and indeed is its hinge. The heroine, after all the crushing emotions and emptying bankruptcy of her spirit, has embraced love again -- totally. She's in its first flush: strong, dizzying, wondrous. The warm, flowing guitar fills, open basslines, and swirling keyboards only underscore the complete tenderness and amazement in the gorgeous grain of Peters' voice. This song is likely to be covered, but it will never sound truer than it does right here. The genuine humility and willingness to open and embrace another on love's tightrope is simply articulated with the most impure and elegant kind of poetry; the tune skips out of the gate and nearly staggers in the delight of the heightened awareness love brings. The last two songs here are truly climactic: "Breakfast at Our House" is a folk dirge about the breaking point, reached in an epiphany during breakfast across the kitchen table. Finally, there is "To Say Goodbye," a song that's tricky, because all the conflict and pain -- gracefully and dramatically carried by a wall of cello, bowed bass, twinkling guitars, and synth -- given as the reason for letting go and for severing ties is not good enough; true resolution comes in remaining in the cradle of tribulation, in the face of difficulty and strain to see how it plays out. The singer's final words are: "'Cause I'm not ready, to say goodbye/You're not ready to say goodbye/We're not ready...."
There is no fairy tale ending on Burnt Toast & Offerings; in fact, it does not end at all. As another fine songwriter once said: "Sometimes the truth that love brings/Is the hardest one to take." The observations and truths on this album actually feel like real life. This is Gretchen Peters' finest moment as a recording artist, and perhaps her finest as a song-lyric poet as well. Her rhymes and melodies are sometimes stretched here, pushing at the meaning of words themselves to communicate what is clearly beyond them. And it is here, in these grooves, that the strength and determination in her voice -- illustrated by musical accompaniment and production verging on brilliant -- carry these songs from the depths and the darkness of her private well into the open air to be kissed by the light. The flaws she discovers are not merely revealed; they are celebrated. They come to us in the form of a record album of ruddy but welcome gifts, and we can accept or reject them but we cannot ignore them. Burnt Toast & Offerings is the most sophisticated and truthful recording about love since Nick Cave's The Boatman's Call. It's not the next step for this contemporary singer and songwriter, but a giant leap, an aesthetic milestone that sets the bar higher not only for her but for anyone wishing to write songs honestly about the inside of a life in the process of being lived, a life that holds love as its zenith. --
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:axfpxzq5ld6e~T1 |
1. Ghost
2. Sunday Morning (Up & Down My Street)
3. Summer People
4. Jezebel
5. Thirsty
6. England Blues
7. The Lady Of The House
8. One For My Baby
9. The Way You Move Me
10. This Town
11. Breakfast At Our House
12. To Say Goodbye
| Code: | | http://rapidshare.com/files/265298374/GP_BTAO_2007.rar |
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Last edited by exy on Mon Sep 07, 2009 5:28 am; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Fri Sep 04, 2009 11:53 pm |
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The Rockingbirds - Whatever Happened to the Rockingbirds (1995)
mp3 320kpbs | 90MB | 44:06 min.
| Quote: | The Rockingbirds were an anomaly, a British country-rock band on the hip Heavenly label whose peak activity unfortunately coincided with the fallow period between the roots-rock movement of the 1980s and the "No Depression" resurgence of the mid-'90s. Formed in London in 1990, the Rockingbirds were founded by singer/songwriter Alan Tyler, singer/tambourine player Sean Reed guitarist Andy Hackett, pedal steel guitarist Patrick Arbuthnot, bassist Dave Goulding and former Weather Prophets drummer Dave Morgan. The success of their debut singles "A Good Day for You" and "Jonathan, Jonathan" (a tribute to Jonathan Richman) led to the release of their 1992 eponymous debut, which earned a warm critical response but met with commercial failure. A cover of Right Said Fred's "Deeply Dippy," released on an EP of Fred covers recorded with Heavenly labelmates Saint Etienne and Flowered Up, garnered some airplay, but a subsequent EP, Rockingbirds R Us, also stiffed. After 1995's oft-delayed but excellent Whatever Happened to the Rockingbirds met a similar fate, the group disbanded.
Whatever Happened to the Rockingbirds is a more subdued, introspective collection than the group's debut; Alan Tyler's songs -- especially the stunning "I Woke Up One Morning" -- are uniformly excellent, the harmonies are gorgeous, and Edwyn Collins' production sparkles. Never tongue-in-cheek or self-conscious, the only hint of irony here derives from the fact that one of the most authentic country records of 1995 came out of London, not Nashville. |
1 Roll On Forever
2 I Like Winter
3 Everybody Lives With Us
4 Band Of Dreams
5 We Had It All
6 I Woke Up One Morning
7 The High Part
8 Bitter Tear
9 Before We Got To The End
10 Hell
11 Let Me Down Slow
| Code: | | http://rapidshare.com/files/258910990/Whatever_Happened_to_the_Rockingbirds.rar |
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Last edited by exy on Tue Nov 24, 2009 7:48 am; edited 1 time in total |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Sep 08, 2009 10:00 am |
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The Band Of Heathens - One Foot In The Ether (2009)
| Quote: | How do you follow a debut album that hit No. 1 on both U.S. and Euro Americana radio? If you’re Austin’s The Band of Heathens you change the formula. While their eponymous debut was more on the acoustic side of things, “One Foot in the Ether” is a plugged-in rock record. This is a band that has rightfully been compared to the likes of The Band, Little Feat and The Black Crowes. They’re brand of rock is one that combines elements of blues, R&B, gospel and country, complete with Hammond organ and pianos – even some well-placed handclaps. They also happen to have three frontmen, and instead of simply swapping lead vocals from song to song the way Drive-by Truckers function, BOH trade verses on some of the tracks here.
With opening track “L.A. County Blues” paying tribute to the late Hunter S. Thompson, it’s a little SPAMising how many biblical allusions and spiritually tinged songs follow on the album. Don’t misunderstand, with lyrics like “We clean our guns while we turn our cheeks. We’re like demons and angels and dogs in heat,” and “She wants to do right, just not right now,” BOH isn’t aiming for Christian radio, and the songs are all pretty universally themed (One of the best, “Shine a Light,” draws heavily from gospel, showcasing the strength of voices in the band.). Those songs are balanced out with more earthly subjects on songs like “You’re Gonna Miss Me” and “Right Here with Me” (Both of which, along with “Say” would be very well received on classic rock radio.).
There’s nary a misstep on the album, other than a slightly awkward chorus or two, and even those songs aren’t songs I would skip. It’s very strong album from top to bottom, and it’s one I’ll be listening to for a while. |
1 L.A. County Blues
2 Say
3 Shine a Light
4 Golden Calf
5 What's This World
6 You're Gonna Miss Me
7 Right Here with Me
8 Let Your Heart Not Be Troubled
9 Somebody Tell the Truth
10 Look at Miss Ohio
11 Talking out Loud
12 Hey Rider
| Code: | | http://rapidshare.com/files/277001487/081BHOF2009.rar |
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| My collection (Blues,Jazz,Americana,Country) mp3 & FLAC rapidshare | |
| Posted: Tue Sep 08, 2009 9:28 pm |
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Kieran Kane - Shadows on the Ground (2002)
mp3 256kpbs | 78MB | 41:17 min.
| Quote: | Kieran Kane, formerly of the not-quite-neo-trad (but utterly compelling) country group the O'Kanes, has released his finest album to date with the primarily acoustic Shadows on the Ground. On this effort, Kane pares back his tunes to only their most essential, suggestive elements, and the result can be compared to the most evocative short stories of Ernest Hemingway. This is his simplest effort yet -- but there's great artistry at work. Shadows on the Ground was recorded in a couple of days in a single room in Nashville, and is dedicated to Kieran's son Lucas, who had been diagnosed with Hodgkin's disease. The hard, simple truths on the album perhaps stem from that situation, with the lyrics often coming off like unadorned little nuggets of Eastern thought (such as the title track's "Truth is always truth, stone is always stone/We all live and die but not alone/We go by different roads/We go by different names/Shadows on the ground all look the same"). The combination of the stark but intelligent lyrics and low-key yet impressive instrumentation and arrangements -- in fact, two songs feature only one chord -- results in an album that, like the best art, doesn't telegraph its message. Rather, it's suggestive enough to draw the listener in for the act of discovery. (On a blunter level, it's also a darn fine listen.) The intelligence and artistry at work on this album are remarkable, and here in the new millennium, it baffles the mind that a talent like Kieran Kane and the O'Kanes once hurtled up the mainstream country music charts. --
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:39foxq9aldae |
1. Ain't Holdin' Back
2. Will You Miss Me
3. Shadows On The Ground
4. Mountain Song
5. One Raindrop
6. The Baby Keeps Cryin'
7. Shut Up
8. Better When You Take It Slow
9. Handsome Molly
10. June Carter (Sure Can Sing)
11. Harmony
| Code: | | http://rapidshare.com/files/265298357/KK_SOTG_2002.rar |
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