Artist: Charlie Sepulveda and The Turnaround | Album: Songs for Nat | Released: 2018 | Genre: Jazz
Artist: Charlie Sepulveda and The Turnaround | Album: Songs for Nat | Released: 2018 | Genre: Jazz
320 kbps | 117 MB | LINKS
The Ensemble
The Albion Band:
Pete Bullock: keyboards;
Bill Caddick: vocals, triangle;
Ashley Hutchings: bass guitar, vocals;
Doug Morter: electric guitar;
John Tams: vocals, melodeon;
Graeme Taylor: electric guitar, vocals
with
Martin Carthy: vocals;
Shirley Collins: vocals;
Howard Evans: trumpet, flugelhorn;
Michael Gregory: drums;
John Kirkpatrick: vocals, button accordion, concertina, melodeon;
Brian Protheroe: vocals, keyboards;
Steve Saunders: trombone, euphonium, tuba;
Martin Simpson: banjo;
The Cast
Laura: Valerie Whittington
Pumpkin: Brian Protheroe
Boamer: Bill Caddick
Jerry Parish: John Tams
The Vicar: Brian Protheroe
Edmund Timms: Paul Davies-Prowles
Albert, Laura’s Father: Brian Protheroe
Thomas Brown, Postman: Martin Carthy
John, Laura’s Husband: Brian Protheroe
VBR~235 kbps | 63 MB | LINKS
Picture yourself in front of your record collection, deciding which one you’ll listen to next. You finally choose ‘Kilimanjaro’ by Teardrop Explodes; you haven’t listened to it for a long time. In that moment, you notice that your partner placed your ‘Face to Face’ copy in an incorrect slot. It goes with you to the record player too. A few minutes later, you corroborate that both Cope and Davies made prevailing, lucid and brilliant records. And you dream thinking how would they sound together, in an hypotetic alloy that feels almost impossible straight away.
There are only fourteen years away from one record to the other, but they seem made in different centuries, different planets. We find the answer at the Electric Duck studios in San Francisco, Kelley Stoltz’s base of operations.
A Detroit-native, Kelley was an adolescent moved by post-punk and English new-age, and became an adult falling in love with the extensive pop legacy from the 60s. Both references define one of the strongest, most talented discographies of the last years. Filtering and tying those sounds together with freshness and distinction is what makes Kelley an unique composer.
Stoltz gets ostentation and histrionics out of the best 80s pop and supplies it with outstanding melodies and sense of humor. What Brian Wilson doing a cover by Wire’s ‘The 15th’ would feel like.
320 kbps | 74 MB | LINKS
Veteran singer-songwriter Tim Easton takes his music back, way back, to its roots for this unusual project, perhaps the ultimate organic process of recording in its purest form. One voice, one guitar, one harmonica, one microphone … along with the occasional foot stomp, all captured real time and transferred directly to a lacquer acetate disc with a portable cutting lathe. The completed album — his 9th solo one — took as long to cut as it does to listen to with its 10 tracks spanning a taut, compact 30 minutes. The fuzzy black and white cover photo reflects the contents within.
Better still, Easton wrote nine new songs for this set, with Jimmie Rodgers’ yodel-enhanced “Jimmie’s Texas Blues” the sole cover. The set’s somewhat clunky title refers to Easton’s long time acoustic guitar, nicknamed Paco, with “melodic polaroids” the resulting tunes. The stripped-down music follows traditional country folk basics, often repeating the opening line twice, propelled not only by Easton’s flat picking/thumb picked guitar but his distinctive dusky voice. Look no further than the opening lyrics to “Elmore James” to summarize his view; “A lot of racket being made in the world today/ these drum machines all sound the same/ I think I hear a song/ mostly just fun and games.”
There’s a spark and immediacy to these performances, invoked both by the recording technique and a clearly inspired Easton. The songs are often travel related, connecting his world wanderings in the company of his trusty acoustic black Gibson J-45 with reflections on moving forward, both physically and philosophically. That’s expressed most openly in “Traveling Days,” an ode to Easton’s road-heavy profession of traveling musician, and “Never Punch the Clock Again,” a seemingly true tale of his life as an itinerant artist, one who has journeyed from his home state of Ohio to his current residence in Nashville.
There are plenty of antecedents to these raw songs. From Bob Dylan’s pre-1965 releases to more recent work by Peter Case and Neil Young, the sound of a folksinger alone with his trusty guitar is a time honored tradition that no amount of high tech gimmicks will ever replace. It’s one that Tim Easton embraces with gusto, passion and a journeyman’s experience for this terrific return to basics venture that feels as honest, inspired and authentic as the way it was recorded.
320 kbps | 102 MB | LINKS
The original 13 demos sent to the band in the weeks before the HORSE LATITUDES (Signature Sounds, 2011) recording sessions in Los Angeles in 2010, recorded at J. Mascis’s (Dinosaur Jr.) Bisquiteen Studio, and featuring early, alternate, and unfinished versions of the songs that would appear on that album (as well as ‘Real Love’ – later released as a single – and ‘Paradise,’ later re-recorded and released on the album Salt As Wolves) performed alone on acoustic guitar.
Tracks
1. Idaho
2. Pretty Girl in a Small Town
3. Horse Latitudes
4. Last Night I Dreamed of Television
5. Starlight and Static
6. Goners Most
7. Real Love
8. Tea and Tobacco
9. Paradise
10. Heart to the Husk (1)
11. Everybody’s Famous
12. Passerines
13. Heart to the Husk (11)
Jake Muir
Lady’s Mantle
(Sferic, 2018)
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