Articles on this Page
- 09/13/17--09:34: _Tommy Castro & the ...
- 09/13/17--09:34: _Kim Churchill – Wei...
- 09/13/17--09:34: _Hanneke Cassel – Tr...
- 09/13/17--09:45: _(Country) Dustin Ly...
- 09/13/17--10:45: _(Country) Tip Jar -...
- 09/13/17--11:33: _Sufjan Stevens – Ca...
- 09/13/17--12:33: _Grand Funk Railroad...
- 09/13/17--14:30: _Ariel Pink – Dedica...
- 09/13/17--15:40: _Field Report: Rotot...
- 09/13/17--15:45: _(Americana, Roots, ...
- 09/13/17--15:52: _Antibalas – Where t...
- 09/13/17--19:54: _They Sold A Million...
- 09/13/17--20:45: _Global A Go-Go: Sep...
- 09/13/17--20:53: _Gato Barbieri - Cha...
- 09/13/17--22:54: _Ry Cooder and V.M. ...
- 09/14/17--00:24: _The Rolling Stones ...
- 09/14/17--00:24: _Lee Ranaldo – Elect...
- 09/14/17--01:52: _DWIGHT TRIBLE ένας ...
- 09/14/17--02:23: _The Blind Boys Of A...
- 09/14/17--04:22: _Godspeed You! Black...
- 09/13/17--09:34: Tommy Castro & the Painkillers – Stompin Ground (2017)
- 09/13/17--09:34: Kim Churchill – Weight Falls (2017)
- 09/13/17--09:34: Hanneke Cassel – Trip to Walden Pond (2017)
- 09/13/17--11:33: Sufjan Stevens – Carrie & Lowell Live (2017)
- 09/13/17--12:33: Grand Funk Railroad – Trunk Of Funk Vol. 2 [6 CD Box set] (2017)
- 09/13/17--14:30: Ariel Pink – Dedicated To Bobby Jameson (2017)
- 09/13/17--15:52: Antibalas – Where the Gods Are in Peace (2017)
- 09/13/17--19:54: They Sold A Million (2017)
- 09/13/17--20:45: Global A Go-Go: September 13, 2017, Segment 1
- 09/14/17--00:24: The Rolling Stones – Totally Stripped – Brixton (2016)
- 09/14/17--00:24: Lee Ranaldo – Electric Trim (2017)
- 09/14/17--01:52: DWIGHT TRIBLE ένας ωραίος τραγουδιστής
- 09/14/17--02:23: The Blind Boys Of Alabama – Almost Home (2017)
- 09/14/17--04:22: Godspeed You! Black Emperor – Luciferian Towers (2017)
320 kbps | 120 kbps | LINKS
Stompin’ Ground finds Castro letting loose on a set of 12 tracks featuring six originals and new versions of songs he learned and played as a young up-and-comer. He is simultaneously looking back with autobiographical originals and cover songs that inspired him, while forging a forward trail with modern lyrics atop blistering blues-rock.
In addition to the The Painkillers, Castro’s friends Charlie Musselwhite (harp and vocals on “Live Every Day”), Mike Zito (guitar and vocals on “Rock Bottom”), Danielle Nicole (vocals on “Soul Shake”) and Los Lobos’ David Hidalgo (guitar and vocals on “Them Changes”) add their talents to Stompin’ Ground.
FLAC | 302 MB | LINKS
1. Whole Entire (04:29)
2. The Border (04:00)
3. Breakneck Speed (03:48)
4. Heart of You (04:01)
5. Second Hand Car (03:41)
6. Weight Falls (03:52)
7. Golden (03:21)
8. Rosemary (03:51)
9. Rippled Water (02:01)
10. Cygo (03:04)
11. What I’m Missing (03:19)
12. Goes Away (04:14)
13. Night Gloom (04:19)
320 kbps | 114 MB | LINKS
Walden Pond features traditional Scottish and Cape Breton tunes and seventeen new pieces composed in the Scottish idiom. While her lively style is very much evident, this new album carries a deep, soulful.
Dustin Lynch Discography Жанр : Country Страна исполнителя (группы) :USA Год издания : 2012 - 2017 Аудиокодек : MP3 Битрейт аудио : 320 kbps Продолжительность : 02:17:21 Наличие сканов в содержимом раздачи : нет 01.
Tip Jar Discography Жанр : Country Страна исполнителя (группы) : Netherlands Год издания : 2014 - 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 02:31:05 Наличие сканов в содержимом раздачи : нет 01.
FLAC/Hi-Res | 1,oGB | LINKS
01. Redford (For Yia-Yia and Pappou) (Live) 03:27
02. Death with Dignity (Live) 04:07
03. Should Have Known Better (Live) 06:04
04. All of Me Wants All of You (Live) 06:29
05. John My Beloved (Live) 05:49
06. The Only Thing (Live) 05:41
07. Fourth of July (Live) 06:41
08. No Shade in the Shadow of The Cross (Live) 03:33
09. Carrie & Lowell (Live) 04:38
10. Drawn to the Blood (Live) 04:27
11. Eugene (Live) 02:52
12. Vesuvius (Live) 08:13
13. Futile Devices (Live) 03:36
14. Blue Bucket of Gold (Live) 05:35
15. Blue Bucket Outro (Live) 12:45
16. Hotline Bling (Encore) (Live) 04:43
320 kbps | 846 MB | LINKS
1972 – Phoenix
01 Flight Of The Phoenix
02 Trying To Get Away
04 She Got To Move Me
05 Rain Keeps Fallin’
06 I Just Gotta Know
07 So You Won’t Have To Die
08 Freedom Is For Children
09 Gotta Find Me A Better Day
10 Rock ‘N Roll Soul
11 Flight Of The Phoenix (2002 Remix With Extended Ending)
1973 – We’re An American Band
01 We’re An American Band
02 Stop Lookin’ Back
04 Black Licorice
05 The Railroad
06 Ain’t Got Nobody
07 Walk Like A Man (You Can Call Me Your Man)
08 Loneliest Rider
10 The End
11 Stop Lookin’ Back (Acoustic Mix)
12 We’re An American Band (2002 Remix)
1974 – Shinin’ On
01 Shinin’ On
02 To Get Back In
03 The Loco-Motion
04 Carry Me Through
05 Please Me
06 Mr. Pretty Boy
07 Gettin’ Over You
08 Little Johnny Hooker
09 Destitute And Losin’
10 Shinin’ On (2002 Remix)
1974 – All The Girls In The World Beware!!!
04 Look At Granny Run Run
06 All the Girls In The World Beware
08 Good & Evil
09 Bad Time
10 Some Kind Of Wonderful
1975 – Caught In The Act
01 Footstompin’ Music
02 Rock ‘N Roll Soul
03 I’m Your Captain / Closer To Home
05 Some Kind Of Wonderful
06 Shinin’ On
07 The Loco-Motion
08 Black Licorice
09 The Railroad
10 We’re An American Band
12 Inside Looking Out
13 Gimme Shelter
1976 – Born To Die
01 Born To Die
04 I Fell For Your Love
05 Talk To The People
06 Take Me
08 Love Is Dyin’
10 Good Things
11 Bare Naked Woman (Live Rehearsal)
12 Genevieve (Live Rehearsal)
320 kbps | 110 MB | LINKS
Ariel Pink started as a visual artist before becoming a recording artist in the late ‘90s while attending Cal Arts. Drawing on iconoclasts and trailblazers like the Shaggs, the Cure, the Velvet Underground, Destroy All Monsters, Cabaret Voltaire, and R. Stevie Moore, Pink set himself to redefining the musical lexicon for himself and others. “This mission,” he says, “remains mine to this day.”
Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”
Feature image: Teshay Makeda, singer with African Head Charge. Photo by Lorenzo Scaldaferro ©Rototom
The African-Jamaican dialogue has been going strong ever since African rhythms birthed reggae. The Motherland has produced plenty of her own reggae heroes, hosted many others, and is the topic of countless reggae lyrics.
This year the Rototom Sunsplash festival in Benicassim, Spain shined its spotlight on Africa. With 250,000 attendees over eight days, Aug. 12-19, Rototom is both one of the largest and longest-running reggae festivals in the world. With nine stages plus Reggae University and Social Forum panel discussions, there was no shortage of explorations of African music, culture and politics. You could take African dance lessons on the beach in the afternoon, reason with a Nobel Peace Prize recipient in the early evening, and dance to African and reggae sound systems until dawn.
Rototom’s main stage featured four artists a night, and most evenings there was an act with an African connection. Starting things out on Saturday night was Nkulee Dube, the daughter of the late South African roots reggae star Lucky Dube. With a powerful voice and contemporary sound, Nkulee is a worthy successor to her father. Hopefully she’ll get to make her Jamaican debut in the near future–an effort to bring her to the Rebel Salute festival in 2017 was stymied by a paperwork snafu.
Sunday saw two rocksteady-era groups, the Heptones and the Silvertones, share a revue with mixed results. With Heptones’ lead singer, Leroy Sibbles, long a solo artist, the group is kept alive by original member Earl Morgan, but he and his cohorts sang poorly. While the Silvertones may also have a sole original, Keith Coley, they still breathed life into their Lee “Scratch” Perry-produced singles as well as covers of American soul classics like “Midnight Hour,” which they first cut in the ’60s. I actually ran into Coley near my tent in the festival campground where the group stayed for a few days following their performance. He said the group has yet to play the U.S. during its 50-year run. Hopefully word will get out that there’s another fine rocksteady outfit still looking to tour.
The rocksteady segment was followed by Seun Kuti and Egypt 80, who were just as fierce musically and politically as when they touched down in the U.S. earlier this summer. If you read Kuti’s Afropop interview you won’t be surprised to hear he told the audience that he didn’t speak Spanish “because I already speak English, and one colonial language is enough for this black man.”
Benicassim, 2017-08-14. Inna de Yard (Main Stage). Photo by: Patrick Albertini © Rototom Sunsplash 2017.
Earlier this year Afropop explored the acoustic and traditional sides of reggae in the episode “Big A Yard, Big Abroad.” Much of that show focused on the sessions behind the Inna De Yard series of recordings. Several of the artists have started to tour, and at Rototom the showcase included Kiddus I, Kush, Cedric Myton of the Congos and his fellow veteran Winston McAnuff. Instead of a full drum set the members alternated between several Rastafarian Nyahbinghi drums, but anyone expecting a laid-back session was in for a surprise. Myton and McAnuff in particular had mesmerizing, high-energy stage presences that resulted in one of the most unique and memorable sets of the festival.
Another Monday highlight was Don Carlos. While his biographies inevitably mention his brief tenure in an early version of Black Uhuru, Carlos has made scores of excellent roots reggae recordings which powered his set list, and his Dub Vision Band is one of the rare roots outfits which still boasts a full live horn section.
The night was capped off by British two-tone ska stars the Specials, who brought along a live string section for their hits like “Ghostown.” Although a crowd favorite, it was hard to take seriously their bland cover of “Monkey Man” when the song’s originator would grace the stage the next day.
That originator was Toots Hibbert, the gospel-inspired master of reggae soul whose current Maytals band still includes many rocksteady-era session vets like bassist Jackie Jackson. After his fiery set he briefly talked to Afropop about his time touring Africa. “I first went there in the ’80s with Bob Marley—I remember going to Nigeria and the Ivory Coast,” he said. “I would go on stage at 5 [at night] and never come off until the next day at 6 o’clock! And the people, they still wanted more!”
More details about some of the earliest tours of Africa by Jamaican artists were provided when Afropop Worldwide producer David Katz hosted crucial Wailers members Aston “Family Man” Barrett and Junior Marvin for a Reggae University session. (Noted blues guitarist and Marley and Peter Tosh sideman Donald Kinsey was billed but did not appear on this leg of their tour.)
Marvin mentioned how the band did not realize until it reached Gabon in 1980 that its first African appearance was for a dictator. “We didn’t know the political situation, but it was a beautiful experience—we felt like we were finally coming home,” he recalled.
A later show marking Zimbabwe’s independence was Marvin’s favorite memory of playing Africa. “We were celebrating redemption and unity and freedom—the things that Bob sang about,” he said.
On Tuesday night the African representative on the main stage was Treesha, a Kenyan-born resident of Germany. Her reggae/pop sound showcased songwriting from the perspective of a highly empowered female voice. She also included her take on the Swahili classic “Malaika” in tribute to Miriam Makeba, who popularized the tune.
Speaking to Afropop after her set, Treesha revealed that she had grown up as a huge reggae fan in Kenya but had never pursued music professionally until she moved to Germany a decade ago. At first she worked as a doctor’s assistant, but after getting tapped to sing vocals for the hugely popular German reggae singer Gentleman, she became more serious about writing and singing full-time, and is currently working on her second album. (Gentleman himself followed Treesha with a crowd-pleasing set in collaboration with Kymani Marley.)
One of the artists who most inspired Treesha when she was growing up kicked off the mainstage on Wednesday: Beenie Man. In recent years the dominant ’90s dancehall star has broadened his sound and included Afrobeats as well as soca in his mix, and his live set showed his peerless energy and dance moves.
Beenie stuck around to make a cameo with Christopher Martin, a ladies’ man whose East Coast U.S. appearances have generally been at events that cater to the Jamaican community. I was curious to see how his bubblegum reggae would go over in front of a European crowd perhaps more used to roots and hard dancehall stylists. Thanks to a crack band and strong stage presence Martin got the hearty response he deserved.
Wednesday’s main stage ended with a typically enthralling performance by Youssou N’Dour, whose hard summer touring schedule had him in Brooklyn just 72 hours before he touched down in Rototom. His set was clearly the event of the summer for Spain’s Senegalese community, who were well-represented in the audience. “This music is the father of reggae music,” declared N’Dour.
The night before he took the stage, Youssou (who has served as Senegal’s minister of culture and tourism) appeared at the festival Social Forum as part of a conversation on “The Africas of Africa” along with Yohannes Tilahun, director of the Ethiopian Tourism Organization and Boniface Ofogo, a Cameroon-born cultural mediator. “The media only shows the negative—conflict, illness,” said N’Dour. “No one speaks about the growth. We need to show the world the richness of Africa. We need to work the diaspora to portray a more beautiful image.”
N’Dour was in good company at the Social Forum. Other panelists over the week included Nobel Peace Prize recipient Mohamed Ben Cheikh, who discussed his dialogue-centered work in Tunisia, and Senegalese writer and activist Mamadou Dia.
While many reggae artists have sung about Africa, Friday night featured a collaboration between two artists who have made the connection a physical one: the psychedelic dub journeys of African Head Charge, mixed live by Mad Professor.
African Head Charge dates back to the early ’80s, when percussionist, singer and leader Bonjo Iyabinghi Noah first started making music with dub pioneer Adrian Sherwood. “The group wasn’t really formed,” explained Noah to Afropop. “It just come and it gwan. Me and Adrian was always in the studio experimenting and doing different things. We just laid down a lot of different drums, adding different effects and got different ideas. It was like the herd coming together.”
The group was off the scene until recently when it resumed touring and recording, with several of its early albums slated for reissue in the near future. It turns out Noah had been spending the intervening time in Ghana. “My wife and children are there and that’s my heart is,” he said. “I was born in Jamaica but the Rasta vision is always to go to Africa. I feel at home and I learned a lot of drumming there. I’ve been learning a new language.”
At Rototom, African Head Charge’s mind-expanding set was invigorated by the rhythms and acrobatic moves of Emmanuel Okaine. And it was mixed by another legend of the U.K. dub scene, Neil “Mad Professor” Fraser, who returned the following night to mix a lengthy and rewarding revue that featured dancehall pioneers Nadine Sutherland, Big Youth and U-Roy.
Big Youth, The Robotiks with Mad Professor (Main Stage). Photo by: Tato Richieri © Rototom Sunsplash 2017.
Fraser’s Ariwa label has sponsored several editions of the Back to Africa Festival in the Gambia. Taking his sound to Africa was a natural, Fraser told Afropop. “We all have to honor where we come from, whether you’re from Europe or India or Africa, because it’s part of you and you cannot hate it because if you hate it you hate yourself. Africa is where the drums and bass came from. Before the word ‘bass’ even came out we had music with the bottom end.”
Fraser says that producing a festival in the Gambia wasn’t easy, but he promises there will be a follow-up to the most recent edition, which was held in 2016. “We won’t keep it every year, but we will do it again. People there, they loved it—everyone was jumping and dancing. So now from when I reach the airport in the Gambia people ask when I’m going to keep the next one. They really loved and appreciated it.”
Unfortunately one of Rototom’s only sour notes came later on Friday. After a exuberant performance by Chronixx, who showed why he is the biggest name in contemporary roots reggae, the night was slated to end with the Ivory Coast’s reggae icon, Alpha Blondy. A huge crowd was on hand to sing along with Blondy’s classics and hear him speak out against the deadly terrorist attacks that had happened the day before in Barcelona, but after about 40 minutes he stormed off stage, seemingly citing technical issues, and refused to come back despite the pleas of the audience and the MCs.
Besides the previously mentioned Mad Professor revue, the main stage ended on a strong note when Luciano’s rich catalogue and unbeatable stage presence was backed by veteran U.K. riddim section Mafia and Fluxy, a treat for roots and dub fans.
The “Celebrating Africa” theme was also reflected in the programming on the Lion Stage, which featured at least one African artist nearly every night.
Ethnopia Reggae Music Ambassadors’ horn section (Lion Stage). Photo by: Patrick Albertini © Rototom Sunsplash 2017.
A huge block on two nights was devoted to the Ethnopia Music Ambassadors, a sprawling revue of nine singers and DJs backed by a large horn-fueled band. Among the stars were bandleader Henok and singers Haile Roots, Yohanes and Chelina. This was anything but a carbon copy of Jamaican sounds—each act delved deep into Ethiopian scales and rhythms to make a refreshingly new reggae sound. It was announced that Rototom will be attempting to mount an event in Ethiopia sometime in early 2018.
Spain-based African acts like Guinea-born Nakany Kante and Senegal’s Khaly Thioune were highlighted midweek. It was rather surprising to see a world music-circuit star like Bombino slated for a 2 a.m. slot on the smaller stage, and he opened to sparse crowd, but it didn’t take long for his desert blues sound to attract a large audience.
Thursday and Friday included some North African offerings. France-based Maclick combined Moroccan grooves with the slicker side of pop/reggae. They’re on the lineup for the Womaaf Festival in Tangier later this month.
Over the past year Afropop listeners have heard a lot of the versatile Moroccan musician Mehdi Nassouli, who was featured in both the “Moroccan Music Today” and the “Festival in Fes” episodes. Nassouli is no stranger to reggae—he’s a member of Bob Maghrib, one of the most inventive Marley cover bands on the planet. But at Rototom he did two shows with his own band of virtuosos and it was pure Gnawa all the way, played with a modern kick.
Even in years when Africa is not the theme, Rototom always includes an on-site African Village, the home to drum and dance lessons, food and craft demonstrations, book launches, storytelling sessions and even an Ethiopian circus troupe. There was plenty of action on its stage, and special credit has to go to Rototom regular Hermanos Thione, who seemed to be everywhere from the drum lessons on the beach to the late-night full-band performances.
The intimate stage was the perfect place to catch recent Afropop interview subject Mû Mbana and his enthralling solo performance on a variety of stringed instruments. Later that night the Ashanti sound system had the dancefloor rocking for a dancehall vs. Afrobeats session where selections from the two styles were seamlessly mixed together.
Ghanaian drummer Mohammed Alidu has been living in the U.S. for the past few years, leading impressive bands in both New York and Colorado. At Rototom he did a high-energy afternoon workshop before leading a special Spanish and Cuban version of his Bizung Family in an impeccably funky show. We sat down with Alidu for a full interview which will be posted soon on Afropop.org.
Rototom will return in August 2018 in Benicassim. In the meantime, the festival has posted videos from nearly every full set from its main stage.
Woody Pines Жанр : Americana, Roots, Alternative Country Год выпуска диска : 2007-2015 Страна : Nashville, TN, US Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 192-320 kbps Продолжительность : 02:21:45 Albums: 01.
In the five years since Antibalas released their last album (2012’s self-titled affair), the Afrobeat collective have seen a significant number of their musicians leave for other projects, as members have joined Arcade Fire, the Roots, the Black Keys and Mark Ronson in supporting roles. But as their latest LP, Where the Gods Are in Peace, shows, the Brooklyn band have benefited from an influx of new players, too.
It seems as though the youth movement in this 12-piece band were weaned on early Antibalas, as this five-track LP resurrects everything that made the group such an important part of the New York funk scene in the early 2000s. Although the album clocks in at only 35 minutes in length, it’s separated into three lengthy suites, giving…
…Antibalas a chance to see ideas through; “Hook & Crook” benefits greatly from an unbridled mid-track horn breakdown, while “Tombstone Pt. 2” gives guest vocalist Zap Mama room to get loose and emotional with her delivery.
With an album-long theme revolving around the ascent of an alien who joins forces with natives to save the world, Antibalas seem more than ready to push themselves to another musical level with Where the Gods Are in Peace.
Title: They Sold A Million
Label: Union Square Music, BMG Company
Style: Jazz, Traditional Pop, Folk, Neapolitan Song, Big Band, Swing, Jazz
Release Date: 01-09-2017
Format: CD, Compilation
Quality: 320 Kbps/Joint Stereo/44100Hz
Tracks: 50 Tracks
Size: 379 Mb / 02:27:09 Min
Folk-rock with Indonesian and Greek seasoning; new Afrobeat from Professor Wouassa and Antibalas; more of la guitare from the Sahara Desert; Colombia's terapia -- it's good for what ails you
Artist: Gato Barbieri
Title: Chapter Four: Alive In New York
Year Of Release: 1975 (2005)
Label: Impulse/Verve Music Group
Genre: Jazz, Latin Jazz
Quality: FLAC / MP3
Total Time: 43:05 min
Total Size: 302 MB / 109 MB
Ry Cooder & Vishwa Mohan Bhatt – A Meeting By The River (1993) [APO Remaster ‘2008]
PS3 Rip | SACD ISO | DSD64 Stereo > 1-bit/2.8224 MHz | 39:51 minutes | Full Scans included | 1,6 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 669 MB
A Meeting by the River can best be described as a spontaneous outpouring of music, unhindered by convention or form, brought into being by musicians so supremely capable that the music is never labored, the technique of their craft always subservient to the final product. Cooder and Bhatt are genuine masters of the guitar and mohan vina, respectively. The latter, an instrument created by Bhatt himself, is a sort of hybrid between a guitar and a vichitra vina, and is played with a metal slide. This fact is just one of the many things that connect Bhatt’s playing to Cooder’s, who plays nothing but bottleneck guitar here. The musical interplay between Cooder and Bhatt is nothing short of astounding, especially so considering that they met for the first time only a half-hour before the recording of this album. The voices of the two instruments blend marvelously, first alternating melodic statements, then doing so together, each dancing around the other, playing cat and mouse, probing, answering, reflecting. They are ably accompanied by a pair of percussionists: tabla player Sukhvinder Singh Namdhari and Cooder’s own son, Joachim, on dumbek. A Meeting by the River is one of those few cross-genre albums in which the listener never feels for a second that there is some kind of fusion going on; one does not hear the component parts so much as the integrated whole. However, one can theoretically separate guitar from vina, America from India, the Mississippi from the Ganges. Once this is done, the resulting music makes more sense than ever before, the combination of two traditions of stringed instruments that use slides to produce sound and value improvisation and voice-like phrasing. As good as this sounds on paper, the actual results are even more impressive. The splendor of the music is aided in its transmission by the fact that, like all Water Lily Acoustics releases, this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding. A Meeting by the River is a must-own, a thing of pure, unadulterated beauty, and the strongest record in Cooder’s extensive catalog.
01. A Meeting By The River
03. Ganges Delta Blues
04. Isa Lei
320 kbps | 262 MB | LINKS
1. Honky Tonk Women (4:43)
2. Tumbling Dice (4:41)
3. You Got Me Rockin’ (3:26)
4. Live With Me (4:12)
5. Black Limousine (3:59)
6. Dead Flowers (4:18)
7. Sweet Virginia (4:26)
8. Faraway Eyes (4:56)
9. Love In Vain (5:12)
10. Down In The Bottom (3:28)
11. Shine A Light (4:41)
12. Like A Rolling Stone (5:53)
13. Monkey Man (4:23)
14. I Go Wild (6:38)
15. Miss You (13:52)
16. Connection (3:34)
17. Slipping Away (5:50)
18. Midnight Rambler (9:35)
19. Rip This Joint (2:19)
20. Start Me Up (4:05)
21. Brown Sugar (5:22)
22. Jumpin’ Jack Flash (5:39)
320 kbps | 105 MB | LINKS
Lee Ranaldo will release a brand new album called Electric Trim. For the follow-up to 2013’s Last Night on Earth, the Sonic Youth co-founder has returned to his old label home of Mute Records.
“I’m so excited about this record, it represents new developments and directions for me and I can’t wait to hit the road and play this music live,” Ranaldo noted in a press statement. “I’m also so pleased to partner with Mute for this release – it’s like a homecoming of sorts as Sonic Youth’s early records were released on Blast First/Mute. To me Mute has always been a true artist’s label, concentrating first and foremost on the music.”
Electric Trim’s nine tracks were recorded in both New York City and Barcelona alongside producer Raül “Refree” Fernandez. Ranaldo’s longtime band The Dust — that’s former Sonic Youth member Steve Shelley, guitarist Alan Licht, and bassist Tim Luntzel — appear on the LP, as does longtime pal and collaborator Nels Cline of Wilco and Kid Millions. Sharon Van Etten also contributed extensively, singing on six different songs, including the duet “Last Looks”.
VBR~247 kbps | 104 MB | LINKS
The Blind Boys of Alabama will release their first album in three years, entitled Almost Home.The album will be released on the band’s own BBOA Records label and was developed in collaboration with Amazon Music. The 12-song collection serves as a fitting capstone to a seven-decade career that has both defined the sound of the American South and pushed it forward from the 20th century and into the 21st. Starting August 18th, Almost Home will be available to stream exclusively on Amazon Music – both Amazon Music Unlimited and Prime Music, in addition to its exclusive availability as a digital download and physical release.
Almost Home was recorded over four different sessions, with four different GRAMMY-winning producers, in four different cities. The album is composed primarily of original songs, which focus on the remarkable journey of the band’s two surviving original members, long-time leader Clarence Fountain, and current leader Jimmy Carter. It features songwriting contributions from an exceptional collection of artists including Valerie June, North Mississippi Allstars, Phil Cook, John Leventhal, Marc Cohn, Ruthie Foster, and more. Leventhal (Rosanne Cash, William Bell) recorded with the Blind Boys and their band in New York City, Vance Powell (Chris Stapleton, Jack White) in Nashville, Chris Goldsmith (Charlie Musselwhite, Ben Harper) in Seattle, and Los Lobos’ Steve Berlin (Faith No More, Buckwheat Zydeco) at FAME Studios in Muscle Shoals.
Almost Home succeeds in looking backwards, while still sounding as vital and modern as ever. From the propulsive, piano-pounding groove of “I Kept on Walking,” to the album’s shining, soul-filled title track, the epic story of the struggles and triumphs of the octogenarian original members is revealed. A stripped-down, gorgeous cover of Bob Dylan’s “I Shall Be Released,” and an upbeat version of Billy Joe Shaver’s “Live Forever,” both of which fit the theme, help to round out the track list.
Since releasing their debut single in 1948, the Blind Boys have received five GRAMMY Awards (plus one for Lifetime Achievement), entered the Gospel Music Hall of Fame, collaborated with everyone from Mavis Staples and Stevie Wonder, to Prince and Lou Reed, and performed on some of the world’s most prestigious stages. The New York Times said that they “came to epitomize what is known as jubilee singing, a livelier breed of gospel music,” adding that “they made it zestier still by adding jazz and blues idioms and turning up the volume, creating a sound…like the rock ‘n’ roll that grew out of it.” The New Yorker simply called them “legendary.”
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Godspeed You! Black Emperor will return in September with a new album called Luciferian Towers. The experimental outfit’s third release since reuniting in 2010, it follows 2012’s Polaris Prize-winning ‘Allelujah! Don’t Bend! Ascend! and 2015’s Asunder, Sweet and Other Distress.
Luciferian Towers boasts four tracks spanning 44:54 in length. According from Constellation Records, the album was made “in the midst of communal mess, raising dogs and children. Eyes up and filled with dreadful joy – we aimed for wrong notes that explode, a quiet muttering amplified heavenward. We recorded it all in a burning motorboat.”
The band goes on to note that Luciferian Towers was informed by “an end to foreign invasions”; “an end to borders”; “the total dismantling of the prison-industrial complex”; “healthcare, housing, food and water acknowledged as inalienable human right”; and “the expert fuckers who broke this world never get to speak again.”