Released , the follow-up to 2011’s excellent “Rancho Alto” showcases the worn-leather baritone of singer/songwriter/guitarist Boland as well as the hard-earned musicianship of his road-tested red dirt outfit, which includes guitar, pedal steel and resophonic guitar player Roger Ray, bassist Grant Tracy, drummer Brad Rice and fiddler/mandolin player Nick Worley.
More than that, the album, which Boland coproduced with Shooter Jennings, son of the legendary Waylon Jennings, affirms the band’s dedication to its hard-core country sound, folk songwriting sensibilities and outlaw country attitudes.
mp3 192 kbps | 65 MB | UL
Israel Nash Gripka was born and raised amongst the sightly and unsightly scenes of the backdrop of the Midwest, where cattle outnumber people and dirt roads hug the country side. Watered daily with old school country and receiving the nutrient rays of rock ‘n’ roll, Gripka has developed roots strong enough to not only hold his own as a singer songwriter, but also strong enough to grab the listener by the foot and put them on the ground.
Beginning by fronting numerous band projects, Gripka has now embarked on his solo endeavors and in doing so has relocated to New York City. Gripka’s solo debut, New York Town, serves up a portion of tasty Americana music that is backed up by a stellar band of swirling organs, quivering pedal steel strides, gospel infused harmonies, and well seasoned percussion. Taking lead is Gripka’s commanding voice which sounds most like a rusted out steam train that is coming to either pick someone up or run them over.
mp3 320 kbps | 96 MB | UL
1. Turn Me Round
2. High Time For A Detour
3. Diet Of Strange Places
4. Got The Bull By The Horns
5. Watch Your Step Polka
6. Rose Garden
7. Tune Into My Wave
8. Angel With A Lariat
9. Pay Dirt
10. Three Cigarettes In An Ashtray
mp3 320 kbps | 73 MB | UL
Bummer alert! For those half-to-fully-baked music fans who gloriously tripped on Mr. Stephen McBean’s wild retro-rock ride, Black Mountain, don’t go expecting a similar buzz from sobering side project Lightning Dust. Sure, they sound like they’re named after a volatile drug combination (PCP and pop rocks?), but as Lightning Dust, Black Mountaineers Amber Webber and Joshua Wells seek better living through histrionics, not chemistry. Fortunately, they didn’t also kick their awesomely nasty late 60s/early 70s rock habit, making their self-titled debut just as potent a blast from the past as their full-time band.
Webber’s dour vocals attracted some criticism on Black Mountain, and in the context of that free-wheelin’ album, the gripes are somewhat fair. However, with opening track “Listening On”, Webber and Wells make no bones about the pall cast over their new incarnation. Like nearly every track on the LP, you can count the total instrument and vocal parts on one hand, a compositional illusion that seems to catapult Webber’s stark quivering wails out of your speakers. Even ghostlier, the absence of percussion and other auxiliary touches helps to create ephemeral melodies that materialize briefly, only to vanish at the delicate touch of an organ key.
mp3 VBR~167 kbps | 40 MB | UL
Australian rock and roll veterans Kim Salmon (The Scientists) and Spencer P Jones (Beasts of Bourbon and Paul Kelly & the Coloured Girls) will soon release their first, and perhaps only, album Runaways, due out this Friday, 15th February.
The beginnings of Runaways date back to early 2012 when Salmon and Jones played together at grimy rock stalwart The Old Bar in Melbourne for a month-long residency. During their tenure, the duo developed an assortment of covers both classic, like I Need Somebody by The Stooges, and modern, a la Runaway by Kanye West. The pair also wrote a handful of originals, including bluesy lead single A Bitter Projection, which would go on to form the backbone of Runaways.
mp3 320 kbps | 118 MB | UL
The album features original compositions by Mick Harvey alongside a song by long time collaborator PJ Harvey (‘Glorious’) and interpretations of The Saints’ ‘The Story of Love’, Van Morrison’s ‘The Way Young Lovers Do’, Exuma’s ‘Summertime in New York’ and Roy Orbison’s ‘Wild Hearts (Run Out of Time)’.
FOUR (Acts of Love) was recorded at Grace Lane, North Melbourne and Atlantis Sound, Melbourne and features regular collaborators Rosie Westbrook on double bass and JP Shilo on guitar and violin.
mp3 320 kbps| 85 MB | UL
“Warm Your Heart” was Aaron’s first full length solo album release of original material since the seventies and came hot on the heels of his award wining work with his brothers and after the biggest hit of his career with Linda Ronstadt on “Don’t Know Much”.
01. Louisiana 1927
02. Everybody Plays The Fool
03. It Feels Like Rain
04. Somewhere, Somebody
05. Don’t Go Please Stay
06. With You In Mind
07. That’s The Way She Loves
08. Angola Bound
09. La Vie Dansante
10. Warm Your Heart
11. I Bid You Goodnight
12. Ave Maria
13. House On A Hill
On Golden Rules for Golden People, Pretty & Nice preserve the fizz of youth while finding a way to grow up a little. Rather than slow down, they’ve incorporated a wider range of sounds. The band’s previous efforts excelled by working within a very specific framework, which fell somewhere between the new wave of Elvis Costello’s first few albums and of Montreal’s least soulful songs. Here, however, they mine vintage surf-rock, orchestral pop, and power-pop. The results are occasionally illogical (funky yet math-y, with eight-bit flourishes) and make for some unusual comparisons (Devo with an ELO-ish vibe). The spazz remains, but it’s accompanied by the kitchen sink.
mp3 320 kbps | 75 MB | UL
02. Cold Skin
05. Cannibals With Cutlery
06. Besides She Said
10. Children Who Start Fires
11. Fictional State
13. Letters To My Lover, The Dylan Fan
Stephen Malkmus’ solo career seems to be settling into a pattern of alternating between skewed, spiky pop albums bearing his lone credit and long, languid collections of jams with the Jicks — as 2005′s Face the Truth belonged to the former category and its 2008 follow-up, Real Emotional Trash, fits neatly into the latter. That’s not to say that this is a retread of the lazily intriguing, formless Pig Lib. Where Pig Lib wandered aimlessly, adrift on its insular guitars, Real Emotional Trash is focused and propulsive, even if the band invariably circles around a point instead of tackling it directly. Perhaps some of this precision is due to the presence of former Sleater-Kinney drummer Janet Weiss as the Jicks’ new anchor — she grounds them and pushes them harder, giving Malkmus a solid foundation he’s never quite had either in Pavement or on his own — but Malkmus also sounds clear-headed here, as any new father of two should be. He’s shed the haziness that plagued Pig Lib, yet he’s still intoxicated by the sounds he can make, usually with his guitar but also with his mouth, as his words have never sounded so much like a fanciful collection of sounds, each syllable bouncing off the next in the melody. He sings like he plays his guitar, twisting and turning, grooving on the very sound of it all, and it’s hard not to ride along on his wave. In a decade when indie rock has been dominated by preciously plucked six-strings and symphonies, it’s rather thrilling to hear the surge of sound on Real Emotional Trash. It, as much as any modern record could be, is a love letter to the guitar, but Malkmus’ love of rock & roll arcana has pushed early influences of the Fall and Sonic Youth to the side in favor of the seriously weird, often maddeningly uneven, post-hippie ramble of obscure psychedelia and acid rock. With this incarnation of the Jicks, Malkmus has finally created his own version of Mad River, the Groundhogs, or the Coloured Balls, a band that is casually yet deeply idiosyncratic and certainly not to everybody’s taste, including legions of Pavement fans who may miss the mess he conjured a decade ago. Frankly, it’s their loss if they don’t want to follow Malkmus down this road, as Real Emotional Trash is invigorating simply as pure sheets of sound. It’s heavy on long tunes — six of the ten weigh in at well over five minutes, with the title track pushing a bit past ten — but each cut rides its own rhythm, with the shorter numbers — the sprightly, bubblegummy “Gardenia” and easy-rolling “We Can’t Help You” — acting as palette cleansers. Real Emotional Trash isn’t quite the Jicks’ spin on Wowee Zowee — it explores one place thoroughly instead of wandering all over the map — but it has that same untrammeled spirit that made Pavement’s third album so addictive, and like that masterpiece, it may be a bit of a litmus test among fans, as a bit of time is required for it to grow. That, more than anything — more than the heady ’70s guitar worship on display, more than the warm growl of the amplifiers — gives Real Emotional Trash a welcome old-fashioned feeling: it’s an album meant to be discovered and lived with, revealing its jokes and its beauty over time.
mp3 192 kbps | 78 MB | UL
“Let Me Sing My Song To You” is Larry Jon Wilson’s second album.On this album Larry Jon picks up the tempo a little and frequently gets funky. Best song, is the song “Sheldon Churchyard”, which any Southern Rock fan would find a find. Again, the songs are all top notch, the playing impeccable and the singing spellbinding. It’s hard to believe that no label has yet arranged to get his four albums from the 70′s released on CD.
Born from the influences of Chicago blues greats Howlin’ Wolf, Muddy Waters, and Little Milton to the Mississippi Delta of Robert Johnson, Ledbelly, and Honey Boy Edwards their sound covers 100 years of down and dirty American blues. The band’s performances have been called “engrossing” and “high energy”, especially when the harmonica player jumps on the bar & walks the entire length while playing one of his signature solos.
There’s not really much point in giving any type of back story to Gary Louris. If you are a fanatical Jayhawks fan, you already know more about the man than do, and if you aren’t, well it doesn’t really matter. The main thing is that after 20 years of making music, Louris has finally released a solo disc that should find a home on everyone’s shelf.
The record is simply beautiful.This collection of songs, but it deserves more. Louris manages to channel the floating melodies of LA in the 70′s – hear early Gram Parsons or David Crosby, but never feels dated or forced.
The band and contributers balance his spot on vocals with pedal steel and keys (they twinkle like stars in the sky on To Die a Happy Man) and gentle swells of choral backings (courtesy of Jenny Lewis, Johnathan Rice, Susanna Hoffs, and The Chapin Sisters).
mp3 VBR~175 kbps | 56 MB | UL
Bridging the gap between the wide-open sprawl of classic Americana, the insightful observations of folk and the grit and honesty of authentic country, Whisky Girl is both a powerful statement and a great listen.
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Townes Van Zandt
First released in 2004 as a private CD-R run then later re-released formally in 2006, the softly spooked-out acid folk of The Pirate’s Gospel is a captivating debut from Alela Diane, whose enthusiasm and ability for a then-extremely-fresh learner on guitar is quite something. Recorded by her father, who also helps perform on many tracks along with other friends and family members, the disc showcases Alela Diane’s knack for gentle, immediate melodies and her fine voice, possessed of a hint of twang that suggests a combination of Dusty Springfield and Kristin Hersh, with a rich maturity beyond her years. The high and lonesome catch on songs like “Foreign Tongue” and “Clickity Clack” is quite something, while the interplay of vocals and guitar on the latter is particularly beautiful. Like her contemporary Larkin Grimm, she brings older forms of music to life with vivid performances, sometimes striking imagery, and a love for surprising little touches, such as the line “And a choir of little children sing along” from “Pieces of String,” which is, indeed, sung by two young kids. The title track may just be the standout among them all with its low, moody backing vocals and an appropriate hint of sea shanty atmosphere in the chorus, while guest banjo from Matt Gottschalk adds a further tinge of mysteriousness. It’s important to note that the 2006 version of the album differs greatly from the private release — the sequencing is somewhat altered, while a number of tracks are dropped, and a separate one, “Can You Blame the Sky?,” is added. Both versions of the album are excellent but the earlier CD-R release is worth seeking out if one enjoys the later edition, especially for such fine songs as “Gypsy Eyes” and “Heavy Walls.”
mp3 VBR~207 kbps | 49 MB | UL
1. I Think I’ll Just Stay Here And Drink
2. Workin’ Man Blues
3. Okie From Muskogee
4. Ramblin’ Fever
5. The Bottle Let Me Down
6. Mama Tried
7. I Take A Lot Of Pride In What I Am
8. Sing Me Back Home
9. Misery And Gin
10. I’m A Lonesome Fugitive
11. Branded Man
FLAC | 206 MB | UL
Since 1996 Jason Molina has been delivering his sparse tales of woe in various forms from Songs: Ohia to Magnolia Electric Co. he has done collaboration albums with artists such as Alistair Roberts and My Morning Jacket and more recently has begun trading under his own name. Let Me Go, Let Me Go, Let Me Go is his second full length and his best yet.
Molina opens his album with a song entitled It’s Easier Now. This sends a shudder down my spine at the thought of what it was like, as Let Me Go is as bleak as it gets. But if anyone can do bleak it’s Molina. The whole album sounds like a last gasp cry for release as expressed in the title through to the final note of this trickling 34-minute slope into blackness. We get bombarded with albums with the same agenda as this all the time, but most of them are a struggle to get through and the only thing that moves quickly is your emotional shift from interest to boredom. This is far from the case here. Molina has an absolutely captivating voice and coupled with the impeccable production his words chime with crystal clarity that keeps you listening and hanging on his every devastating word. Though he rarely rises above a whimper his voice has a dormant strength that threatens to roar.
mp3 VBR~175 kbps | 47 MB | UL
The album was produced in part by Jim Abbiss (Artic Monkeys, Adele) and Dan The Automator (Kasabian, DJ Shadow) and includes the tracks “Sad, Sad World”, which began life on a train journey into London and “You’re Not The Only One”, a song written in response to being a judge on Sky One’s reality show Must Be The Music alongside Dizzee Rascal as well as the first single “Everything You Didn’t Do”.
Recorded in Boston, mixed in Alabama and mastered in Nashville, the truth is bears the mark of its travels. “This album crosses a lot of borders,” Ferrick says. “It’s got a little bit of the Northeast, a bit of the South, and a bit of Nashville, too.” The album features the talents of Natalia Zukerman on vocals, lap steel and dobro, Matt Pynn (Lucinda Williams, Evan Dando) on pedal steel, Richard Gates (Richard Thompson, Suzanne Vega) on bass, Ro Rowan (Bob Forrest, Tiffany) on cello and both Steve Scully (Howie Day, Juliana Hatfield) and Dave Brophy (Will Daily, Patty Larkin) on drums. Boston-based collaborators Anne Heaton and Rose Polenzani show up to sing backing harmonies, and fellow Berklee College alum Paula Cole appears as guest vocalist with Ferrick on the album’s first song, “Wreck Me.”
Ten live songs, performed at various venues in Southern California between 1977 and 1979 (several at a club in Santa Monica, a couple for a public radio show in L.A., and one at the San Diego Folk Festival). Wolf never exactly went in for heavy production on her studio albums, yet these tracks are notably sparser, featuring little besides Wolf’s vocals and guitars (by Wolf and accompanists). The approach is different enough from her studio work to make this worth hearing by fans, especially as it includes both original songs and unexpected covers of compositions by Leonard Cohen, Jackson Browne, Tom Paxton, Utah Phillips, and others.
mp3 320 kbps | 93 MB | UL