FLAC | 256 MB | LINKS
Tracklist:
01. Lute Suite in C Minor, BWV 997 (Arr. for Guitar): I. Prelude
02. Lute Suite in C Minor, BWV 997 (Arr. for Guitar): II. Fugue
03. Lute Suite in C Minor, BWV 997 (Arr. for Guitar): III. Sarabande
04. Lute Suite in C Minor, BWV 997 (Arr. for Guitar): IV. Gigue-V. Double
05. Escarraman, Op. 177: I. Gallarda
06. Escarraman, Op. 177: II. El Canario
07. Escarraman, Op. 177: III. El Villano
08. Escarraman, Op. 177: IV. Pesame dello amor
09. Escarraman, Op. 177: V. El rey Don Alonso el Bueno
10. Escarraman, Op. 177: VI. La guarda cuydadosa
11. Capriccio diabolico, Op. 85 “Homage to Paganini”
320 kbps | 106 MB | LINKS
Karen Nash was born in Texas and raised in Southern California. Known for her impassioned songs of social injustice and troubled love, Ms. Nash has captivated audiences from coast to coast.Karen’s long-awaited latest release, “Love & Justice,” produced by Marty Rifkin (Bruce Springsteen/Tom Petty) comes out in May 2018.
New classic California country rock. Linda Ronstadt meets Emmylou Harris.
320 kbps | 83 MB | LINKS
‘Hayley McKay – another fantastic musician to grace our pages’ – Holly Payne, Acting Editor, Maverick Magazine
‘Hauntingly beautiful vocals and moving lyrics are a testament to Hayley’s immense talent as a musician and performer’ – BIMM Institute Brighton News
‘It’s undoubtedly Hayley’s vocal, delivered with depth and an amazing maturity, that sells the song’ – Vents Magazine
‘The up and coming apple of the British music industry’s eye hails from a town in the UK called Darlington’ – Elmore Magazine
‘Hayley delivered in spades. I had never seen her before or hardly heard of her, but I’ve now become a fan’ – Time Out Magazine
320 kbps | 183 MB | LINKS
Head Hunters was a pivotal point in Herbie Hancock’s career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.
Tracks:
01. Palm Grease
02. Vein Melter
03. Butterfly
04. Watermelon Man
05. Spank-a-Lee
06. Chameleon
320 kbps | 86 MB | LINKS
Indie rock singer-songwriter Ike Reilly is set to release his seventh studio album, Crooked Love. Since his major label debut, the groundbreaking Salesmen and Racists, Reilly has been making punk/folk/blues influenced rock ‘n’ roll records that lean heavily on stories of outsiders with keen details and broad strokes that insinuate a crack in the American dream. Reilly’s band, The Assassination, has been called one of the best live bands in America, and the body of recorded work they’ve turned out has been poetic, rebellious, wholly original, and critically acclaimed.
Still, Reilly and co-producer Phil Karnats (Secret Machines, Tripping Daisy, Polyphonic Spree) felt that Reilly’s best takes had never been recorded. The lucidity and rhythm of Reilly’s performances that Karnats had witnessed in hotel rooms, backstage, and on tour buses had never been captured. “I wanted to create a setting where Ike could sing and play guitar at the same time, with the band in the same room… no headphones and minimal isolation,” says Karnats. “There’s always been a freshness to playing the songs together that’s hard to harness when recording in the more common, modern, sense where you do rhythm tracks first, then overdubs and vocals last. This time, Ike did his thing and we developed the arrangements based on his vocal approach, cadence, phrasing, intensity and all that. I think, in the end, we ended up with some killer songs that have a strangely unique, slightly off-center, vibe.”
Joining Reilly (vocals, guitar, harp) and Karnats (guitar) in the studio were Peter Cimbalo (bass, percussion), Dave Cottini (drums, percussion, vocals), and Adam Krier (guitar, keyboards, vocals). From the apocalyptic playfulness of “Missile Site,” to the weary let’s-get-it-on abandon of “Don’t Turn Your Back on Friday Night,” to the escapist urgency of “Boltcutter Again,” to the gnarly, percolating groove drip of “Clean Blood Blues,” Crooked Love shows how Reilly has landed himself squarely in the raw, emotional zeitgeist of the times. “Chasing that timeless feel in a time like 2018 can be a tall order but we did it,” Reilly admits. “Nobody sounds like this… musically or sonically. It’s f*cking authentic. I never made a record before that sounds like this.”
Indeed, this collection of succinct, tight-but-loose songs reflects the continuing evolution of Reilly’s ever-visceral wordsmithing, as married with a Murderer’s Row of backing tracks forged out of the intuitive interplay of his longstanding Assassination bandmates, not to mention the input of a few special guests, too, including guitarist Tommy O’Donnell, pianist Ed Tinley, and saxophonists Mars Williams and Bill Overton, as well as family legacies Mickey Reilly on vocals and Peter John Cimbalo on drums.
One Crooked Love song that Reilly feels is the lynchpin to the record is “Been Let Down,” which moves from shuffle to backstab in the blip of a heartbeat. The album’s opener, “Livin’ in the Wrong Time,” also evokes a certain kind of “real feel,” with a cool, steely tone and a psychotically festive sonic twist during its ear-grabbing solo section. Crooked Loveshares the timeless quality that records that stand the test of time are able to evoke. “I’ve always been trying to get that timeless sense all along, but I think this record actually does do that,” Reilly concedes. “I know I’ve fallen into the modern trap a couple of times in my recordings and with some of my lyrics maybe being a little too in the moment at times, but I hope I’ve been able to achieve something else with the direction and attitude of this one.”
Walking that fine line between being topical and universal is another goal Reilly wanted to attain with this album. “I’m not sure if all the songs reflect what’s going on right now,” Reilly says. “The songs were written under the shadow of all of that, but most people still just need and want love, affection, sex, and the simple pleasures of human contact. I have optimism for society and for its survival, though I am pretty fatalistic in the sense of, ‘This is what it is. It’s right here, it’s right now, and this is it.’ That can either drive you crazy or motivate you to squeeze every last drop out of it, you know?”
Press praise for Reilly’s music has been extensive over the years. Chicago Magazinepraised Reilly’s “outlandish storytelling, underdog combativeness, and slapstick humor,”Cincinnati City Beat lauded the “scuffed and noir-ish tales of modern life. …fusing dirty R&B grooves into his swaggering Pop/Roots sound… Ike Reilly’s most amazing accomplishment… is that every new album is his best ever and yet the new one in no way ever diminishes the greatness of his existing catalog.” Stereo Subversion called Reilly a “genre-bending journeyman” and a “rough-around-the-edges Americana troubadour.” AndThe Big Takeover appreciated Reilly’s “wordy but focused storytelling in his lyrics, his rock & roll sneer and his rough-edged folk rock sound.”
Minneapolis City Pages said, “Equal parts punk rocker, poet, and blue-collar barfly, Reilly’s stories are as bizarre and filthy and honest and pure as the people who come out to his shows. His songs reach out and grab people, shake them by the collars, make them jump up and down.” Chicago Tribune admired that Ike “merges his affinity for folk-punk narrative and anthemic guitar chords with hip-hop’s vocal cadences and rhythmic drive.”Philadelphia Inquirer enjoyed his “street-poet swagger, audacious humor, and industrial-strength hooks.” PopMatters.com called him “the best songwriter in America… Hilarious, unsettling, raw… but mostly just rocking.” USA Today hailed Reilly as “never less than original… ferociously intelligent… always worth listening to.” And Los Angeles Timesdescribed Reilly’s music as “…barroom rock narrated by a wiseguy who’s as comfortable regaling PhDs and poets as he is pimps and porn stars.”
320 kbps | 90 MB | LINKS
Fans of Peter Gabriel will delight as Jerry Marotta and Tony Levin (bass), the rhythm section of his classic line-up, reunite for the backbone of this album. Also backing up the duo are their long time friends Peter Primamore (piano), Thor Jensen (guitar), Marc Shulman (guitar), and Gary Schreiner (harmonica/accordion).
