320 kbps | 73 MB | LINKS
Kapell’s music has the familiarity of a country song. You feel like you know it the first time you hear it. Becky has a very pretty voice – pretty and strong. The high notes are sweet but her voice doesn’t stay up there, it comes down to a range that’s easy to listen to as well. The songs are simple, the stories are universal yet specific as all good country songs are.
320 kbps | 100 MB | LINKS
Tracks:
01. The Only One
02. Out of my League
03. Fitzroy Bowl
04. Pentridge Wasteland
05. Stand Up and Be My Man
06. How Crazy I’ve Been
07. Remember The Time
08. Bridget Agnew
09. Tram Stop
10. Take Me Away
11. Make Up Your Mind
320 kbps | 88 MB | LINKS
Ryan Gustafson remembers very little about the origins of the ten songs on Unsung Passage, his profound new reflection on the emotional architecture of love, loneliness, and life at large.
He mostly knows that the songs were written during quick spans scattered between various tours of the last two years—as a supporting guitarist for his kindred North Carolina spirits Hiss Golden Messenger and Phil Cook’s Guitarheels and as the leader of his own long-evolving vehicle for a beautifully fractured vision of folk, country, blues, and cosmic American rock, The Dead Tongues. Gustafson’s third and best album under that name, Unsung Passage depends more on the songs themselves than the sounds around them. It is a first-person reckoning with the things Gustafson, a chronically peripatetic adventurer, has seen enough to sing about. “Every turn, every changing that occurs,” Gustafson offers during “The Broken Side of People Everywhere,” his voice sweetly yearning for whatever it is that might come next. “There’s a string attached, with a promise at the end.”
Indeed, funneling the lessons of the road into songs isn’t new for Gustafson; during the last two decades, it has become his standard practice. When he was twenty, he left North Carolina for the first of many backpacking trips across Europe, little but a sense of adventure and wonder to his name. He has hitchhiked from Oregon to New Orleans with a banjo and a bag and lived in and rebuilt an aging school bus, meant for an extended trek across the continent (that is, until the cost of gas proved prohibitive). After several years in a commune in the western woods of Asheville, North Carolina, he now lives in a nearby camper, at least when he’s off the road long enough to call anything home. “When I’m traveling, it’s like walking into these different windows. I’m a witness, with my mouth shut,” Gustafson says. “The people you meet, the way the landscape speaks to you, how a desert is different than a mountain: It has the potential to bring out something you didn’t know was there.”
The ten remarkable songs of Unsung Passage are long-distance distillations of such experiences, of events lived and places seen and pondered and ultimately poured into reflective anthems for our harried times. During “Like a Dream,” a gentle gallop of grinning harmonica and trickling guitar, Gustafson explores the balance of existence from a hillside vantage. He sees the curve of the earth while pondering his need for a paycheck, a moment that eternally pits the banal against the beautiful. “The Broken Side of People Everywhere” is a gorgeous love song written with the wisdom of someone who knows that nothing is forever or perfect, that there’s no real risk in a life where everything ends, anyway. There are meditations on mortality and devotion (the flute-laced dream “My Other”), on money and temporality (the banjo trot “The Giver”), and on impermanence and acceptance (the achingly gorgeous “Pale November Dew.”) This isn’t Gustafson’s idle speculation about life and the world; these are the realizations of a restless mind, of a songwriter who sings “this old town ain’t gonna watch me die” and means it.
Gustafson recorded these songs much as they were written—during short summer sojourns away from the road, when he and a quartet of friends could gather in the Chapel Hill studio The Rubber Room for two-day sessions. Longtime North Carolina confidants and collaborators James Wallace, Jeff Crawford, and Casey Toll form the rhythm section, while Mountain Man’s Molly Sarlé harmonizes softly and adds a filigree of unexpected flute. Other friends offer fiddle and percussion, cello and extra guitar, softly padding songs that stand as statements unto themselves. “Sitting down with an acoustic instrument and making a song, singing, and playing it was the idea,” says Gustafson. “I’ll follow a song to wherever it goes, but I tried to keep this one in the room. This sounds like what we played, what you’re hearing.” These ten songs are snapshots in time, then, glimpses at the sorts of emotional upheavals and adjustments we’re all forced to face as we move from day to day and, as in Gustafson’s way, place to place. The familiar sounds of Unsung Passage, a reflection of Americana bedrock, present a comforting score for some of life’s most uncomfortable situations. But they will pass. “Ain’t it all right?” Gustafson demands at one point. “Ain’t it all like a dream?” After all that living, it surely is.
320 kbps | 105 MB | LINKS
Throat cancer nearly felled Jerry Jeff Walker last year as he wrapped recording for It’s About Time. That brush with mortality now adds a reflective tinge to the progressive country stalwart’s first album in nearly a decade. Even as his voice settles into a lower key, Walker continues spinning gorgeously easy melodies and true narratives on a life now more front porch than rowdy bars. “It took me years to give it up, but I felt I might lose her love, or myself,” Walker acknowledges on sobriety ode “Rain Song,” reeling hard-earned epiphanies. Opening trifecta “That’s Why I Play,” “California Song,” and “Because of You” all gracefully take stock of what matters, as does a turn on Guy Clark’s “My Favorite Picture of You.” Walker maintains an ear for others’ songs, most notably on dusky ballad “South Coast” and barrel piano roll “Ballad of Honest Sam,” while his son Django’s “Somethin’ Bout a Boat” – covered by Jimmy Buffett – gets a Seventies Hill Country makeover.
320 kbps | 103 MB | LINKS
A melodic blend of Americana and Southern Rock…
320 kbps | 111 MB | LINKS
Canadian singer, songwriter and guitarist Judy Brown writes and performs her unique blend of original blues, country and rockabilly songs, telling stories about love, loss and resiliency.
| Artist: | Caadi Ma-Ahan |
| Title of Album: | The Album: Twenty Twelve |
| Genre: | Ethnic |
| Year of Release: | 2012 |
| Tracks: | 11 |
| Total Time: | 55 minutes and 4 seconds |
| Format: | MP3 |
| Bitrate: | 236 Kbps |
| Total Size: | 93.37 MB |
| # | Song Title | Artist | Time |
|---|---|---|---|
| 01 | Dheesha, Dheesha | Caadi Ma-Ahan | 1:24 |
| 02 | Qaraami | Caadi Ma-Ahan | 5:04 |
| 03 | Maxaa Guurka | Caadi Ma-Ahan | 5:14 |
| 04 | Jallaleey | Caadi Ma-Ahan | 4:48 |
| 05 | Madfacii Kalgacalka | Caadi Ma-Ahan | 6:59 |
| 06 | Imaaw | Caadi Ma-Ahan | 7:22 |
| 07 | Macalinka-Mudane | Caadi Ma-Ahan | 4:57 |
| 08 | Fardowsa | Caadi Ma-Ahan | 4:16 |
| 09 | Shaleydeya | Caadi Ma-Ahan | 5:53 |
| 10 | Nabad | Caadi Ma-Ahan | 4:15 |
| 11 | Jaceyl | Caadi Ma-Ahan | 4:52 |
The post Caadi Ma-Ahan-The Album Twenty Twelve-2012-GCP appeared first on AlbumDL.
320 kbps | 108 MB | LINKS
Soul singer/songwriter David Brinston was born in Marks, Mississippi in 1959. He grew up performing gospel with his brothers and sisters, and in his early thirties he emerged with his own solo material, signing with Memphis, Tennessee label Jomar Records. Throughout the early ’90s he scored several regional hits, with his biggest hit being 1993’s “Two Way Love Affair.” With a style informed by such soul figureheads as Al Green and Tyrone Davis, Brinston wrote and recorded songs at a furious clip, releasing new albums for various labels almost annually throughout the mid-’90s, 2000s, and beyond. Highlights were many, including the party-loving atmosphere of both 2001’s Fly Right and 2008’s Party Time. Along with touring the circuit of Southern summer festivals, Brinston would stay active into the 2010s with his irreverent and celebratory R&B styles, releasing a collection of hits in 2014 and Sidepiece Motel, an album of brand-new material, in 2017. ~ Fred Thomas
320 kbps | 104 MB | LINKS
Stonehills was formed just like many other bands in Finland. Guys hung out in a bar and decided to start a band. In the fall 2016 in Joensuu, these guys were a die-hard Mötley fan Josa (drums), and his old friend Hans (bass) who he used to play soccer with. Hans’s brother Sam (guitar) had a garage with a hang-out space, where Josa’s drum set and a couple of players would fit perfectly. Years ago, Sam used to play guitar in garage bands with Veli (vocals & guitar), a guitar player as well, but the common hobby had to give away to other hobbies, work and so on. Back in the early days their musical style used to be rock and metal, but now the age started to make it’s marks… Hans, who didn’t have much musical background, except listening rock and roll, and Sam, who had not actually played in years, decided that Hans takes the bass and Sam starts to play the guitar again. The style would be rock, but maybe more bluesy style, like the Rolling Stones. A little bit less would be more this time…
Veli had sold his electric guitar after the metal band projects and bought himself an electro acoustic dreadnought. Veli had always played some country and folk by himself, and now he had started to sing more and more. Veli had listened to a lot of country and americana, such as Cash, Ryan Bingham, Steve Earle, The White Buffalo, The Pines, Shovels & Rope and all the alt-country and americana playlists that had arrived along Spotify. Sam asked if Veli would like to play again. Veli bought a cheap electric guitar and announced that he would sing and play the rhythm guitar.
The band started to play cover songs, and performed at a party, where Veli also played some country covers. From the start, the band had had a common goal to start writing their own songs. One day, Hans heard that the band would have a chance to play at a local bar in a poem karaoke event (don’t ask what is that), and the country songs Veli played would fit there, so they started practicing them. A day before the show, Veli had issues with playing only cover songs. He thought that they should have at least one own song. So, he wrote the first Stonehills song “Saturday Night”. The Band practiced it briefly before the show and played it. The gig wasn’t a mind blower but the band had got a new common thought: they should play country, and Veli’s voice and songwriting capabilities supported that perfectly.
Veli started writing songs with madness, in some days two songs a day. The setlist had to be filled with own songs. Stonehills was formed in January 2017, and the style would be alt-country, because there isn’t more describable style out there which is influenced by country and rock; Cash and The Doors; instrumental rock and a bit of finnish schlager. The first gig with the name Stonehills was in March 2017 with a set of own songs. Stonehills was a quartet until April 2017, when top of the line violinist, Olli, joined the band. From that day on they started to perform as a five-man group.
The beautiful sound of Olli’s violin became the trademark of Stonehills, along with Sam’s weeping guitar, Hans’ zen-like bass playing style, Josa’s furious drumming and Veli’s smooth but razor-sharp voice and a warm acoustic guitar sound. The music became hypnotic, filled with emotion with thoughts about humanity itself and time running through our fingers.
From the start, gigging has been the lifeblood of Stonehills. When the show starts, there is always something new to offer and magic in the air. Despite the short period of the band’s existence, Stonehills has played quite a lot in their hometown Joensuu. Now it’s time to get on the road and bring their soulscape to the world.
The debut album, “Hearts & Aces”, is here. Stagelights on your face, that’s how you’re being saved – see you on the road!
![Ultimix Digital Crate [Best Of Rhythm & Scratch] Vol. 1-3 (2018)](http://i.imgur.com/xnNMfBm.png "Ultimix Digital Crate [Best Of Rhythm & Scratch] Vol. 1-3 (2018)")
