320 kbps | 103 MB | LINKS
Landry Scott Ritter is a singer-songwriter from small town Hondo, Texas. He currently resides in College Station where he attends Texas A&M University as his “day job”. According to Landry, his parents instilled in him the importance of education, just in case he ever needs a “plan B”. His “A plan” however, is going strong and building steam with the upcoming release of his debut album “Taking Flight”.
Landry’s debut album, “Taking Flight”, is a collection of ten original songs chosen from a variety of tunes written over a six month period of time. The tracks chosen for “Taking Flight” range from slow and serious to fun, upbeat and festive. According to Landry, all of his original music is inspired by life, but doesn’t necessarily follow any rules. In his music, he can write any ending he wants, and that gives him the creative freedom to express whatever he’s feeling at the time.
320 kbps | 106 MB | LINKS
Tracklist:
01. Josephine
02. Dead Man’s Island
03. Empty Bottle
04. First Light
05. Ghost Town
06. House of Love
07. No Man’s Land
08. Pedal to the Metal
09. Renegade, Rebels and Rogues
10. Roses Are Red
11. Sugar Pie
12. The Proposition
13. Wanderlust
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FLAC | 398 MB | LINKS
Up the Junction Soundtrack album Having started out as a series of autobiographical stories by writer Nell Dunn dealing with working class life and people in south London, UP THE JUNCTION made the transition to novel, television docu-drama, and eventually the big screen within five years. Up the Junction Soundtrack CD music Jointly written by Mike Hugg and Manfred Mann, the soundtrack to Peter Collinson’s controversial 1968 film was mainly performed by the composers, using session musicians where necessary. Up the Junction Soundtrack music CDs The full Manfred Mann group can only be heard on the title song, although singer Mike d’Abo does take most of the album’s vocals. Up the Junction Soundtrack songs
The main “Up The Junction” theme occurs in four versions including a jazz-tinged reading that sets the mood for much of the soundtrack. Up the Junction Soundtrack album The jazz influence is particularly in evidence in “Sheila’s Dance,” “Belgravia,” and the menacing “Wailing Horn.” Two versions of the haunting “Love Theme” and a clutch of songs from the pen of the talented Mr. Up the Junction Soundtrack CD music Hugg complete a stand-alone soundtrack which, according to the director himself, “will still exist long after the film has been forgotten.” A bonus track, “Sleepy Hollow,” B-side of the “Up The Junction” single, has thoughtfully been included for completists.
320 kbps | 84 MB | LINKS
Irishman Matt McGinn might share his name with an infamous Glasgow singer and writer but he’s one of Ireland’s foremost artists. His 2013 album Latter Day Sinner was one of The Telegraph’s top ten folk releases of that year and he has played Nashville’s famous Bluebird Cafe and shared a stage with the likes of Elvis Costello, Nanci Griffith, Crowded House and Crosby Stills & Nash. Latter Day Sinner was an excellent collection of Celtic tinged songs which at times recalled Blue Rose Code’s similar forays into that hinterland but The End of The Common Man is a much more robust beast concerned as it is with many of the current woes of the world. There are still sweet moments of glistening folk but much of the content is informed by McGinn’s anger (and bewilderment) at the state of things – populist leaders, corporate greed and an increasing groundswell of warfare across the globe.
The album comes out punching from the bell with the horn laden title song, a powerful rant against big greed pointing out that it’s the common man who suffers as jobs and homes are lost while fat cats coin it in. With its pummelling percussion, brassy riffs and whiff of clangourous guitars the song recalls Blood Sweat & Tears and drives its message home with a slow burning anger. McGinn revisits this fuller band sound (with some twists) on several of the songs with Bells Of The Angelus sounding as if it were being played by some swampers from the South as an electric piano and sinewy slide guitar come to the fore while Out Sinner rings out with some Gospel fervour. The Right Name has one foot in a Springsteen like groove with the other planted in Van Morrison territory as it swings with a fine sense of street cool. However the full fire and fury of the band is kept in rein until the rude and raucous blues eruption of Trump, a no holds barred diatribe against the current incumbent of the White House. An easy target perhaps but the ramshackle and gritty blues riff along with McGinn’s spat out vocals and his clever adaptation of Nelly the Elephant’s chorus will certainly delight those who are not fans of the orange skinned buffoon.
Elsewhere McGinn advances the sounds he conjured up on Latter Day Sinner with more adventurous arrangements. There are aching love songs such as Somewhere To Run To, borne aloft with strings and rippling piano and The Overlanders with its mournful muted horns and softly throbbing rhythm. The pinnacle is achieved on McGinn’s grim tale of a father driven to crime to support his family and ultimately losing them on Marianne. Here the arrangement is delicate with dashes of acoustic guitar, pedal steel, a burbling bass line and weeping strings forming the skeleton of the song while a Theremin adds a lonesome eeriness to the mix. The album closes with another fine arrangement on The End Of Days with its sweeping strings and horns lending a sense of portent to McGinn’s bitter sweet ruminations as he despairs of information overload while sensing that there might be a way out, a light at the end of the tunnel, although the song collapses at the end into a babble of voices snatched from the ether.
FLAC | 1,3 GB | LINKS
While that first album had little commercial success, the band’s relentless touring behind it led to a buzz that led Eric Clapton to enlist Duane Allman to take part on his 1970 Derek and the Dominos album which produced “Layla.” Produced by Tom Dowd, marking his first album with the band, Idlewild South was recorded in a variety of cities, including New York, Miami and Macon, GA, the band’s adopted home, because of their hectic performance schedule. Most of the songs, including two of their most iconic – Gregg Allman and Kim Payne’s “Midnight Rider” and Dickey Betts’ “In Memory of Elizabeth Reed” – were road-tested before they were ever recorded. The album’s title comes from the group’s name for the run-down, isolated hunting cabin the band used for rehearsals and partying. The farmhouse, which they rented for the princely sum of $165 a month, was located on a manmade lake outside Macon, and people came and went with such frequency, the band compared it to New York’s airport of the same name (later changed to John F. Kennedy International). Much of the material on the album was first created in that cabin, where the band’s “brotherhood came to pass,” according to Allmans roadie (and “Midnight Rider” co-writer) Kim Payne. The album didn’t sell well at first, but eventually peaked at #38 on Billboard, setting the stage for their 1971 breakthrough, At Fillmore East.
Idlewild South has since gone on to become one of the Allman Brothers Band’s most iconic releases. Rolling Stone named it one of the “40 Most Groundbreaking Albums of All Time” in 2014: “The Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music.” Allmusic’s Bruce Eder called it “the best studio album in the group’s history, electric blues with an acoustic texture, virtuoso lead, slide and organ playing, and a killer selection of songs.”
If you’re going to listen to the Allman Brothers, make sure you have the first four records. The band made The Allman Brothers Band, Idlewild South, At Fillmore East, and three-fourths of Eat a Peach with its original lineup, before Duane Allman’s fatal motorcycle accident in 1971. The Tom Dowd-produced Idlewild South, their second album, comes off with a little less ferocity than their debut — which is perhaps the result of reaching for new sounds the second time around. “Revival,” the album’s opener, introduces Dickey Betts as a composer. The countrified flavor of his songs gives an indication of where the band will head in the post-Duane era. Betts’ other contribution to Idlewild South is the instrumental “In Memory of Elizabeth Reed,” a centerpiece of the Fillmore East recordings. Gregg’s “Please Call Home” and “Midnight Rider” are built around piano and acoustic guitar, respectively, and have a different feel than the band’s usual twin Les Paul-and-Hammond sound. That sound is showcased in the balance of Gregg’s tunes, however: the funky blues of “Don’t Keep Me Wonderin'” (with Thom Doucette on harmonica) and “Leave My Blues at Home.” The album is also notable for the rollicking version of Willie Dixon’s “Hoochie Coochie Man,” with the only vocal bassist Berry Oakley (who died in a motorcycle accident one year after Duane) ever recorded with the group. Though overall it packs less punch than The Allman Brothers Band, Idlewild South is all the more impressive for its mixture of chunky grooves and sophisticated textures.
Personnel:
Gregg Allman – vocals, organ, piano
Duane Allman – slide guitar, lead guitar, acoustic guitar
Dickey Betts – lead guitar
Berry Oakley – bass, vocals on “Hoochie Coochie Man”, and harmony vocals on “Midnight Rider”
Jai Johanny Johanson – drums, congas, timbales, percussion
Butch Trucks – drums, timpani
Thom Doucette – harmonica, percussion
Tracks:
01. Revival
02. Don’t Keep Me Wonderin’
03. Midnight Rider (Album Version)
04. In Memory Of Elizabeth Reed
05. Hoochie Coochie Man (Album Version)
06. Please Call Home
07. Leave My Blues At Home
