320 kbps | 81 MB | LINKS
“This record is ultimately about women and the ways in which we love men. It is the byproduct of me healing my need for male validation, or rather not letting male validation control my choices. The one thing I keep taking away from life through all the shuffle is that there is always both. Intense happiness and intense sadness mingle. The longer I’m alive, the more I can’t feel one without the other. It is the crushing beauty of existing.” — Anna McClellan
320 kbps | 91 MB | LINKS
Tracklist:
01. The Island 03:10
02. Differences 04:58
03. The Gold In Everything 03:52
04. Come On Over 03:47
05. The Bells 03:25
06. The Art Of Being Alone 03:42
07. Water and Truth 02:42
08. Heaven 04:07
09. Everything We Are Not 04:39
10. Not The End 04:18
320 kbps | 458 MB | LINKS
1 The W.S. Walcott Medicine Show (Live at the Syria Mosque, Pittsburgh, PA 1970)
2 This Wheel’s on Fire (Live at the Syria Mosque, Pittsburgh, PA 1970)
3 Rockin’ Chair (Live at the Syria Mosque, Pittsburgh, PA 1970)
4 Strawberry Wine (Live at the Syria Mosque, Pittsburgh, PA 1970)
5 The Unfaithful Servant (Live at the Syria Mosque, Pittsburgh, PA 1970)
6 The Weight (Live at the Syria Mosque, Pittsburgh, PA 1970)
7 We Can Talk (Live at the Syria Mosque, Pittsburgh, PA 1970)
8 Up on Cripple Creek (Live at the Syria Mosque, Pittsburgh, PA 1970)
9 The Shape I’m In (Live at the Syria Mosque, Pittsburgh, PA 1970)
10 Time to Kill (Live at the Syria Mosque, Pittsburgh, PA 1970)
11 King Harvest (Has Surely Come) [Live at the Syria Mosque, Pittsburgh, PA 1970]
12 Look out Cleveland (Live at the Syria Mosque, Pittsburgh, PA 1970)
13 The Rumor (Live at the Syria Mosque, Pittsburgh, PA 1970)
14 Stage Fright (Live at the Syria Mosque, Pittsburgh, PA 1970)
15 The Night They Drove Old Dixie Down (Live at the Syria Mosque, Pittsburgh, PA 1970)
16 Across the Great Divide (Live at the Syria Mosque, Pittsburgh, PA 1970)
17 I Shall Be Released (Live at the Syria Mosque, Pittsburgh, PA 1970)
18 Slippin’ and Slidin (Live at the Syria Mosque, Pittsburgh, PA 1970)
19 Loving You Is Sweeter Than Ever (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
20 The Shape I’m In (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
21 The Weight (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
22 Stage Fright (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
23 I Shall Be Released (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
24 Don’t Do It (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
25 Endless Highway (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
26 The Night They Drove Old Dixie Down (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
27 Across the Great Divide (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
28 This Wheel’s on Fire (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
29 Saved (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
30 Life Is a Carnival (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
31 The W. S. Walcott Medicine Show (Live at the Roosevelt Stadium, Jersey City, New Jersey 1973)
32 Don’t Do It (Live at the Carter Baron Amphitheater, Washington DC 1976)
33 The Shape I’m In (Live at the Carter Baron Amphitheater, Washington DC 1976)
34 It Makes No Difference (Live at the Carter Baron Amphitheater, Washington DC 1976)
35 The Weight (Live at the Carter Baron Amphitheater, Washington DC 1976)
36 King Harvest (Has Surely Come) [Live at the Carter Baron Amphitheater, Washington DC 1976]
37 Twilight (Live at the Carter Baron Amphitheater, Washington DC 1976)
38 Ophelia (Live at the Carter Baron Amphitheater, Washington DC 1976)
39 Tears of Rage (Live at the Carter Baron Amphitheater, Washington DC 1976)
40 Forbidden Fruit (Live at the Carter Baron Amphitheater, Washington DC 1976)
41 This Wheel’s on Fire (Live at the Carter Baron Amphitheater, Washington DC 1976)
42 The Night They Drove Old Dixie Down (Live at the Carter Baron Amphitheater, Washington DC 1976)
43 Organ Solo (Live at the Carter Baron Amphitheater, Washington DC 1976)
44 Chest Fever (Live at the Carter Baron Amphitheater, Washington DC 1976)
45 Up on Cripple Creek (Live at the Carter Baron Amphitheater, Washington DC 1976)
46 The W. S. Walcott Medicine Show (Live at the Carter Baron Amphitheater, Washington DC 1976)
320 kbps | 715 MB | LINKS
Albums:
1985 – She’s The Boss
1987 – Primitive Cool
1993 – Wandering Spirit
2001 – Goddess In The Doorway
2004 – Alfie (With Dave Stewart) (OST)
2007 – The Very Best Of Mick Jagger (Compilation)
320 kbps | 180 MB | LINKS
Los Angeles-based singer-songwriter/multi-instrumentalist/producer Jonathan Wilson (Father John Misty, Karen Elson, Conor Oberst), returns with his third solo release. The ambitious “maximalist” album, titled Rare Birds, is released 2nd March on Bella Union and features contributions from Father John Misty, Lucius, Lana Del Rey, and New Age music legend Laraaji.
Although much of the album is comprised lyrically of meditations on a failed relationship and its aftermath, Wilson insists that Rare Birds is not really a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.”
And, for this one, music critics will need to retire the comparisons to heritage rockers and Laurel Canyon troubadours as they’re hardly useful anymore. Wilson’s new sound takes a synthetic/acoustic, best-of-both-worlds analog/digital hybrid approach to achieve the complexity, sonic density and glossy hi-fi coating of Rare Birds. Heard for the first time on a Jonathan Wilson album are the sounds of synthesizers and drum machines.
“The Neil Young, CSN, Dennis Wilson and Tom Petty comparisons for the first two records were flattering, but I didn’t ever really see it that way myself”, he explains. More genuinely influenced by such disparate artists as Talk Talk, Arthur Russell and a ‘Sleigh Bells-meet-George Harrison kinda thing’, Wilson has made a “maximalist”, high density album more influenced by 80s British production more than anything to do with Southern California in 1970s. It’s a dynamic new approach for Wilson that calls to mind one of Peter Gabriel’s early solo albums or even mid-period Kate Bush. “This album is a hell of a lot more Trevor Horn than anything, you know, Laurel Canyon-related,” he muses. Recorded during the same timeframe he was in the studio with Roger Waters, working on Is This The Life We Really Want?, Wilson felt inclined to expand into certain psychedelic and sound labyrinths. There are voices, sirens, children playing, and more enhancing spatial sounds, while musical compadres Lana Del Rey and Josh Tillman (Father John Misty) appear as backing vocalists on “Living With Myself” and “49 Hairflips”, respectively.
Says Tillman, “Jonathan’s talent – “mastery” may be more apt – places him among a rarefied class of musical auteur. You’d be hard pressed to find a comparison, or contemporary for that matter, that would do his recent work ju
stice.”
Simon Winsé was born into a family of musicians in a village in Burkina Faso. He sings and plays flute, ngoni, guitar, mouth bow, kora and drums. Now living in Paris, he’s amassed 22 musicians (many Burkinabe) to play his original music. Dangada means ‘joy’, and it’s full of joie de vivre.
Calls and responses run throughout the album – there’s a sense that all the musicians are having involved conversations. The acoustic Ma Yerenda Dabo is intimate, violin riffs and layered backing vocals replying to Winsé’s gentle, throaty singing. Winsé has been working with French violinist Clément Janinet since 2005, and their musical rapport is at the heart of the album. Malemaye is upbeat, somewhere between soukous and samba with talking drums. The instruments seem…
…to be circling round the same riff, examining it before throwing it around, in between thrilling brass stabs and a bluesy electric guitar solo. There’s a variety of moods; the musicians’ role in Winsé’s village is to provide a commentary on life, and Molokoloba is slowly tender. The rustling percussion augments the jazz-infused guitar; its lines are so complex, it’s a surprise when it unmasks itself as being in 4/4. There‘s some of Didier Lockwood’s style in the yearning violin solo, with its woody tones and eastern scales – Janinet has worked with him. The cloudy flute trails behind the reggae-inflected ending.
The opening horns of Kabebafue demand your attention; it draws on Afrobeat, with its infectious dance rhythms. Winsé learned flute from his father, who played it at village mask ceremonies. Here, he cries out as if urging it to play more and more wildly. Dounia Lorame has a slow country rock feel with drawled choral backing vocals and melting violin solo. The delicate ngoni arpeggios of Bemamendare are pitted again the groovy subtonal bass (Sylvain Dando Paré.) Multiple stringed instruments mysteriously interlock their individual riffs. You can absorb yourself in the intricate details or listen to the big picture, like an Impressionist painting. The strong rhythms of Labatombouri are urged on by a powerful second lead vocal (Victor Démé) and rocked-out interludes. Nangandeka has a burning groove fired by a percussive off beat, like an insouciant shrug.
Logue opens with a mouth bow, its percussive tone as bitter sweet as the berimbau, before lurching into a rocky Chicago blues feel with dramatic dynamics and simmering guitar fills. Noaga has a sybaritic funk groove bursting from the delicate flute opening. Winsé sings passionately. “Chez moi, you don’t sing just for the sake of singing,” he said in one interview. “If you have nothing to say, you keep quiet.” Tchinenebamane is a joyful conclusion, almost a samba, with tingling string sounds over the deep funky bass. As in all the songs, the arrangement is taut, taking you through many moods and pulling you in. The energy of the song finally dissolves into melting violin notes.
320 kbps | 74 MB | LINKS
Tracklist:
01. Ride Out The Rain
02. Before I Knew Better
03. A New Day
04. Spend The Night
05. Get While The Gettin’s Good
06. Out Of Your Mind
07. In Comes The Night
08. Out Of Your Mind (Radio Edit)
09. Out Of Your Mind (Live)
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