320 kbps | 112 MB | LINKS
Tracks:
01. Better Days
02. Things I Won’t Do
03. Restless Soul
04. Hey America
05. Freedom
06. Heading Back Home
07. Wrong Kind Of Crazy
08. Stop That Bronco
09. Wise Man
10. Waiting
11. Welcome To The Circus
12. Hangin’Around
320 kbps | 144 MB | LINKS
The Radiators’ Welcome To The Monkey House is the band’s first studio album of all new material in 11 years. 2018 marks the 40th Anniversary for this legendary New Orleans rock band and they are celebrating in style with this release. Monkey House contains many of the band’s better-known songs that have not appeared on any past authorized releases. Recorded in New Orleans in October 2017 the album features the classic Rads sound of twin lead guitars and funky piano.
320 kbps | 104 MB | LINKS
Ashley McBryde will release her major label debut Girl Going Nowhere on March 30 and the singer has already been getting rave reviews from Garth Brooks, Eric Church, and Miranda Lambert.On McBryde’s 11-track project, her songwriting skills are at the forefront as she penned each song on the release. Opening track “Girl Goin’ Nowhere” has become an anthem for both the singer and country fans, and it’s easy to see why. Inspired by an algebra teacher who told the Arkansas native she should have a backup plan when she shared her dream of moving to Nashville to write songs, “Girl Goin’ Nowhere” is a powerful and heartfelt ballad that has McBryde proving her naysayers wrong.
FLAC | 700 MB | LINKS
Ray Davies and company had already participated in one failed television musical when the movie Percy came along it wasn’t as original as Arthur, nor did Davies have nearly as much to do with its creation, but he still outdid himself given the material at hand. Directed and co-produced by Ralph Thomas, who had been responsible for some brilliant thrillers (The Clouded Yellow, Above Us the Waves) and very popular comedies (Doctor in the House) in past decades, Percy was the story of the world’s first penis transplant (it was probably inspired, or at least justified, by big-budget efforts of the period like Myra Breckinridge). Although virtually unseen in the United States, it was still popular enough to yield a sequel (Percy’s Progress), but its real impact came from its soundtrack. Davies wrote some hauntingly beautiful ballads and some solid blues and country as well “God’s Children” and “Animals in the Zoo” have turned up on some career anthologies, but there’s a lot more to Percy than those two tracks. “Completely” is as fine a slow blues as the band ever recorded, with a sizzling performance by Dave Davies, and “Dreams” is a pretty solid rocker, even up alongside “Animals in the Zoo.” To this day the album has never appeared in the U.S. catalog recorded at the tail end of their contract with Pye Records in England and Warner/Reprise in America, and connected with a movie that was never going to see much exposure in the U.S.A., Reprise passed on it at the time.
FLAC | 1,08 GB | LINKS
HighRes-ReMaster of this 1969 album from the iconic British Rock band led by brothers Ray and Dave Davies. “Arthur (Or the Decline and Fall of the British Empire)” is the seventh studio album by The Kinks, released in October 1969. Kinks frontman Ray Davies constructed the concept album as the soundtrack to a Granada Television play and developed the storyline with novelist Julian Mitchell; however, the television programme was cancelled and never produced. The rough plot revolved around Arthur Morgan, a carpet-layer, who was based on Ray Davies’ brother-in-law Arthur Anning.
“Arthur (Or the Decline and Fall of the British Empire) extends the British-oriented themes of Village Green Preservation Society, telling the story of a London man’s decision to move to Australia during the aftermath of World War II. It’s a detailed and loving song cycle, capturing the minutiae of suburban life, the numbing effect of bureaucracy, and the horrors of war. On paper, Arthur sounds like a pretentious mess, but Ray Davies’ lyrics and insights have rarely been so graceful or deftly executed, and the music is remarkable. An edgier and harder-rocking affair than Village Green, Arthur is as multi-layered musically as it is lyrically. “Shangri-La” evolves from English folk to hard rock, “Drivin'” has a lazy grace, “Young and Innocent Days” is a lovely, wistful ballad, “Some Mother’s Son” is one of the most uncompromising antiwar songs ever recorded, while “Victoria” and “Arthur” rock with simple glee. The music makes the words cut deeper, and the songs never stray too far from the album’s subject, making Arthur one of the most effective concept albums in rock history, as well as one of the best and most influential British pop records of its era.” (Stephen Thomas Erlewine, AMG)
John Dalton, bass, background vocals
Dave Davies, lead guitar, background vocals, co-lead vocal on “Australia” and “Arthur”
Ray Davies, lead and background vocals, rhythm guitar, keyboards (harpsichord and piano)
Pete Quaife, bass, background vocals
Mick Avory, drums, percussion
Recorded May–July 1969 at Pye Studios, London
Produced by Ray Davies
320 kbps | 90 MB | LINKS
Earlier last year, American Songwriter caught Caitlin Canty at Folk Alliance, writing that the Nashville-by-way-of-Vermont artist “hypnotized the crowd with her brooding folk sound.” At that time, Canty was still performing in support of her 2015 album Reckless Skyline, an album that earned her acclaim from outlets like NPR and The Telegraph.
Now, Canty is preparing to release Motel Bouquet, a new collection of tunes due out March 30 via Tone Tree Music. Noam Pikelny, known for both his solo work and his work with the Punch Brothers, produced the album, which also features guest contributions from Aoife O’Donovan and Stuart Duncan.
“This record was written on the move — in airplanes, motels, backstage, and upon uprooting my life to leave behind the concrete of NYC for the green edges of Nashville,” Canty says of Motel Bouquet. “I wrote these songs while looking back at loss, while falling in love, while traveling around the country on tour.”
Ahead of Motel Bouquet‘s release, Canty has shared a new song, “Take Me For A Ride.” It’s a mesmerizing number, Canty’s low, incandescent vocals anchored by a gentle guitar twang and gossamer pedal steel. Canty wrote the song with Kristin Andreassen (Uncle Earl), on Andreassen’s porch in Nashville. It was the first song Canty and Pikelny recorded for Motel Bouquet, and also serves as the album’s opening track.
“The song is a take on the frustration in circling back to a vice or a person that you’ve been trying to quit,” Canty says. “Noam Pikelny produced and gathered a band of brothers and strangers — some of us had played music together for years and others were just meeting that morning. That familiarity and newness fostered an ease and intensity and fueled our three days in the studio — it is the spark and the smoke in this song. ‘Take Me For A Ride’ set the tone for the session, and it felt like the natural opening track for the record.”
FLAC | 922 MB | LINKS
Lola , of course, became a classic-rock radio mainstay, but this entire 1970 album is nothing less than essential: Apeman; Got to Be Free; A Long Way from Home; Rats , and more songs that run from the funny to the furious.
“Lola” gave the Kinks an unexpected hit and its crisp, muscular sound, pitched halfway between acoustic folk and hard rock, provided a new style for the band. However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about. It didn’t matter that Ray Davies just had his first hit in years — he had suffered greatly at the hands of the music industry and he wanted to tell the story in song. Hence, Lola — a loose concept album about Ray Davies’ own psychosis and bitter feelings toward the music industry. Davies never really delivers a cohesive story, but the record holds together because it’s one of his strongest set of songs. Dave Davies contributes the lovely “Strangers” and the appropriately paranoid “Rats,” but this is truly Ray’s show, as he lashes out at ex-managers (the boisterous vaudevillian “The Moneygoround”), publishers (“Denmark Street”), TV and music journalists (the hard-hitting “Top of the Pops”), label executives (“Powerman”), and, hell, just society in general (“Apeman,” “Got to Be Free”). If his wit wasn’t sharp, the entire project would be insufferable, but the album is as funny as it is angry. Furthermore, he balances his bile with three of his best melancholy ballads: “This Time Tomorrow,” “A Long Way from Home,” and the anti-welfare and union “Get Back in Line,” which captures working-class angst better than any other rock song. These songs provide the spine for a wildly unfocused but nonetheless dazzling tour de force that reveals Ray’s artistic strengths and endearing character flaws in equal measure.” (Stephen Thomas Erlewine, AMG)
Ray Davies, lead vocals, guitar, harmonica, keyboards, resonator guitar
Dave Davies, lead guitar, banjo, backing vocals, lead vocals on “Strangers” and “Rats”
Mick Avory, drums, percussion
John Dalton, bass, backing vocals
John Gosling, keyboards, piano, organ
Recorded April–May and August–September 1970 at Morgan Studios, Willesden, London
Produced by Ray Davies
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