320 kbps | 120 MB | LINKS
Tracklist:
01 – A Bag of Dutch
02 – That Easy
03 – The Tree I Climb
04 – Holding On
05 – I Believe in Love
06 – Lately I
07 – I’ve Been Thinking Too Hard
08 – Tired
09 – Hurt in Love
10 – A Smiling Face
11 – Nothing’s Going to Keep Me Down
12 – Weight of the World
13 – Outro (Lost in a World with You)
320 kbps | 103 MB | LINKS
Margo Price cut her 2016 debut, Midwest Farmer’s Daughter, on her own dime, hawking everything she and her husband had to record the album at Sun Studio. Its rawness grabbed the attention of Third Man Records, which released the record unadorned. Critics and a cult of fans also found the rough edges appealing, but that ragged immediacy also suggested Price was more of a traditionalist than she actually was, a situation she remedies with 2017’s All American Made. Written and recorded in the aftermath of Donald J. Trump’s November 2016 election, All American Made doesn’t disguise Price’s liberal politics — “Pay Gap” addresses gender inequality among salaries, the title track is a stark bit of protest that reaches its boil thanks to sampled news clips — which is a shift from the personal vignettes of her debut, and she broadens her musical range, too. Price is particularly drawn to laid-back slow, going so far as to set “Cocaine Cowboys” to a lackadaisical funk beat. She hasn’t abandoned country — the album opens with the rockabilly of “Don’t Say It,” which is quickly countered by the barroom swing of “Weakness,” while Willie Nelson later swings by to sing on “Learning to Lose” — which means All American Made winds up drawing an expansive portrait of American roots music, one that touches on R&B, Tex-Mex, girl group pop, spacy indie rock, and even Glen Campbell’s trippiest moments. Price isn’t a dilettante; these disparate styles are unified by a musical and lyrical aesthetic that views American life not only as a continuum, but a place where the past and present, rural and urban are in constant dialogue. Despite some deservedly hard edges, it’s this vision of an open-hearted, open-bordered U.S.A. that gives All American Made its lasting power.
FLAC | 238 MB | LINKS
Tracklisting:
01. Lovin’ Up A Storm (2:10)
02. Everything I Do Is Wrong (2:53)
03. Think It Over (2:32)
04. Boll Weevil Song (2:07)
05. Livin’ Loving, Wreck (2:11)
06. One Long Kiss (9:46)
07. Dixie Fried (2:23)
08. Down The Line (2:19)
09. Fabulous (2:23)
10. Breathless (2:39)
11. Rave On (2:07)
12. Lonely Weekends (2:23)
13. Burn Up (5:49)
320 kbps | 95 MB | LINKS
After thirteen years and thirty-two CDs Zorn’s expansive Book of Angels project is now complete! This final installment presents the last ten unrecorded compositions from Masada Book Two and the variety, drama and lyricism is just as strong as the very first volume. Mary Halvorson, a long time Masada fan and one of the most acclaimed guitarists of her generation leads a dynamic quartet featuring Miles Okazaki, Drew Gress and Tomas Fujiwara. The music is intense, wild and incredibly varied, a beautiful and fitting conclusion to this historic Masada series, hailed as one of Zorn’s best!
Personnel:
Drew Gress: Bass
Tomas Fujiwara: Drums
Mary Halvorson: Guitar
Miles Okazaki: Guitar
320 kbps | 103 MB | LINKS
Some 20 years after first starting to translate French chanson favourite Serge Gainsbourg’s hefty catalogue, Australian outsider Mick Harvey has announced his third volume of covers. Titled Delirium Tremens, the album arrives June 24 through Mute.
A press release explains that work on the collection began after mid-’90s entries Intoxicated Man and Pink Elephants were compiled as a double album in 2014, which led to a few live performances of Harvey’s French-to-English translations. Apparently, the third volume includes work he had wanted to do the first time around.
“Many of the songs I have recorded are ones I had hoped to translate the first time I approached this material, but I just thought they would be ones that were too hard to translate,” Harvey explained in a statement, “but once I sunk my teeth into the task I found they were no more problematic than most of the songs from the first two albums.”
Calling this latest project “enormous fun,” it finds Harvey tackling the title track to Gainsbourg’s funky, 1976 offering, L’homme à Tête De Chou (a.k.a. The Man with the Cabbage Head), the controversial “SS C’est Bon” from the World War II-themed Rock Around the Bunker, early material like “Couleur Café” and more.Recording sessions were split between Melbourne and Berlin. The Aussie sessions found Harvey working with his regular live band, while the German performances had him teaming up with Toby Dammit (the Stooges, the Residents) and esteemed string arranger Bertrand Burgalat.
Furthermore, Xanthe Waite added vocals to a series of tracks adapted from Gainsbourg’s Anna TV special with Anna Karina, while Harvey’s wife, Katy Beale, sung the Jane Birkin parts from “La Décadanse.”
Below, you’ll find the tracklisting info for Delirium Tremens, as well as Harvey’s version of Anna number “Ne Dis Rien,” presented here as “Don’t Say a Thing.”
320 kbps | 184 MB | LINKS
Tracklist:
01. Roy Harvey & Jess Johnson – Guitar Rag 03:20
02. Allen Brothers – Bow Wow Blues 03:16
03. Dick Justice – Cocaine 03:11
04. Dock Boggs – Down South Blues 03:06
05. Frank Hutchison – Stackalee 03:04
06. Jimmie Rodgers – Mule Skinner Blues (B 02:58
07. Chris Bouchillon – Born in Hard Luck 03:18
08. Clarence Greene – Johnson City Blues 02:58
09. Charlie Poole & The North Carolina Ram 03:06
10. Sam McGee – Buck Dancer’s Choice 02:55
11. Darby And Tarlton – Slow Wicked Blues 03:05
12. Walter Smith – The Cat’s Got the Measl 02:57
13. Larry Hensley – Match Box Blues 02:54
14. Bayless Rose – Black Dog Blues 03:08
15. South Georgia Highballers – Blue Grass 02:48
16. Dixon Brothers – Weave Room Blues 02:31
17. Tom Ashley – Haunted Road Blues 03:13
18. John Dilleshaw & The String Marvel – S 03:11
19. Cliff Carlisle – Trouble Minded Blues 02:37
20. Riley Puckett – The Darkey’s Wail 02:54
21. The Williamson Brothers & Curry – Lone 03:06
22. Lester McFarland – K.C. Whistle Blues 02:54
23. David Miller – Cannon Ball Rag 02:47
24. Narmour & Smith – The New Carroll Coun 02:53
25. Emry Arthur – Reuben, Oh Reuben 02:57
Neil Campbell & Richard Youngs
Six Scores
(Shaking Box Music, 2017)
more details
Tomas Fujiwara
Triple Double
(Firehouse 12 Records, 2017)
more details
FLAC | 337 MB | LINKS
Planet Drum, the voice to Hart’s book of the same name, represents a musical atlas of the World Beat. Hart and company extend the sonic territory traversed in his album At The Edge for a powerful and passionate journey.’It had long been a dream of mine to bring together great drummers from around the world to make a recording based entirely on percussion,’ says Hart. ‘In 1991, that dream became reality.’ For the companion recording to his second book, Mickey Hart drew upon the stellar musical friendships he had made over several decades to make real his dream of a percussion masterwork, blending the talents and native instruments of percussion giants from five traditions into a celebratory classic.
His home in Petaluma, California was converted — room by room — into a recording facility wired for video as well as for sound, and recording sessions spanned several weeks in this comfortable, ultra-creative communal setting. The resulting album won the Grammy for Best World Music Album in the first year of that category’s existence, and set the standard for world music as a genre. Winning numerous other critics’ and audience polls, it continues to establish itself as a true perennial of world music in general and percussion genius in particular. The 25th Anniversary Edition of the album features three new bonus tracks, ‘Sea of Showers’, ‘Throat Games’, and ‘The Spot’.
FLAC | 308 MB | LINKS
Little Axe’s debut album, The Wolf That House Built, issued in 1994, created the mold for Moby’s Play album — and he knows it. With its blend of deep, slow-grooved beats, loops, sampled voices of blues singers, heavy dub reggae effects, kicking drums, and wailing guitar, it was the roots music precedent to the bald one’s fine record by half a decade. Eight years later, Little Axe returns with a new set that will no doubt be compared to Play when in reality it is in a league of its own. The sophomore effort issued by legendary reggae producer and mixmaster Adrian Sherwood, guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc is a dreamy, hazy cipher of an album that settles slowly and lazily over the listener, displacing his or her sense of time and space in the mix and then turning his or her approach to listening to blues and rhythm inside out. It features the voices of bluesmen telling stories and snippets of singers wafting ghostily out of the ether only to re-enter the mist and wind themselves around a slow, sultry, steamy rhythm, a heavily seductive mix that slithers around McDonald’s awesome and understated guitar playing. It comes from the swampy underbelly of the Delta blues bible, and Sherwood’s smoky, dubbed-out effects, loops, and echo chambers are everywhere, with sounds that come from out of time yet seem to belong right where they are. The set opens with a read of Blind Willie Johnson’s “Dark Was the Night Cold Was the Ground,” with his voice coming out of the grave and talking about the blues. On “All Night Party,” the late Junior Kimbrough’s voice entwines with those of absent friends and collaborators such as historians, preachers, and the players themselves with a shifting, careening mix that turns the blues motif into the fifth element, in the terrain where it encounters the seam of reggae becoming undone. On “Walk Right Shoes,” country blues gets the hoodoo treatment, and the refrain of “Riding on the White Horse” is as much a metaphor for heroin as it is for a ride to heaven amid the voices of some well-known blues-rock greats. Overall, the record is spooky, almost mystical; it’s a soundtrack for a film that could never be made, so complex is its plot (and blood) line, and is more enjoyable than anything Ry Cooder ever laid down for celluloid. This is music from another world; its roots are swindled, warped, and turned upside down and inside out, but they are never disrespected. The notion of song is ever-present and hypnotic; the continuity and consistency in the mixes from one track to the next are without peer. Hard Grind is the album that should have been the soundtrack for writhing late-night sexual trysts, dark morning soul-searching, long drives into the unknown, and sitting still and staring into the face of oblivion.
