320 kbps | 158 MB | LINKS
Tracklist:
1. Trouble On The Turnpike (01:57)
2. Burma Shave (01:52)
3. Jason Fleming (02:00)
4. Poor Little John (01:57)
5. Footprints In The Snow (02:35)
6. Hitch-Hiker (02:48)
7. Can’t Stop Loving You (02:03)
8. Every Which-A-Way (02:10)
9. Sweet Ramona (02:08)
10. I Ain’t Never (01:57)
11. Country Girl (02:00)
12. Hey, Little Star (02:24)
13. My Pillow (02:14)
14. You’re Forgetting me (02:13)
15. Mine Is A Lonely Life (02:19)
16. Fair Swiss Maiden (02:06)
17. When Two Worlds Collide (02:15)
18. The Wrong Kind Of Girl (02:16)
19. A Man Like Me (02:28)
20. Jimmie Brown The Newsboy (02:15)
21. The Tip Of My Fingers (02:17)
22. I Wish That I Could Fall In Love Today (02:43)
23. Under Your Spell Again (02:21)
24. Lock, Stock And Teardrops (02:33)
25. I Know Who It Is (And I’m Gonna Tell On Him) (02:11)
26. I Catch Myself Crying (02:41)
27. You Can’t Do Me This Way (02:13)
28. Who Shot Sam (02:25)
29. (In The Summertime) You Don’t Want My Love (02:00)
30. Sorry, Willie (02:27)
320 kbps | 87 MB | LINKS
It has been a good few months for “children’s music” if you choose to count The Starlighter by Shawn Colvin as such a beast. Colvin recently released a 20th-anniversary edition of her scathing and very-adult masterpiece A Few Small Repairs, a consummate break-up album that was hardly for kids. The Starlighter, however, is a collection of songs from Colvin’s childhood, drawn from Lullabies and Night Songs, an album that combined composer Alex Wilder’s arrangements with illustrations by Maurice Sendak. Just a few months ago, Lisa Loeb — another bell-voiced singer too easily passed over as “middle of the road” — recorded a kids’ album made up of great rock era songs such as “Oo-ooh, Child”, Bacharach’s “What the World Needs Now Is Love”, and Brian Wilson’s “In My Room”. Kids have it good these days, I guess.
Colvin’s collection is soothing and sophisticated at once. The arrangements are hip even as they are super-slick. Piano pushes most of the tunes along, but producer Doug Petty mixes in pedal steel, accordion, acoustic guitar, and other folk instruments more than he lays in the strings. It’s mellow, sure, but it’s children’s music — many are literal lullabies — but most are well worthy of your adult attention.
“The Journey” is particularly lovely — a plaintive melody that wanders and curves with enough creativity to make you think of Sondheim. The lyric, about a pair of shoes waiting beside the bed of a child as she sleeps, is such a magical mixture of hope, tenderness, and a bit of sadness too that it feels like a grown-up lament. The arrangement, for solo piano that is gently cushioned by soft brass and winds during an instrumental passage, is transparently gorgeous. Similarly, “Many Million Years Ago” sounds as hip as a Burt Bacharach tune in the way that its melody winds and turns in unusual ways, using a piano arrangement with a quirky bassline complimented by strings but also savvy pedal steel guitar. Sure, it urges you to “Go to sleep / Go to sleep”, but it does so with cool harmonic modulations.
Some of the tunes develop more of a groove. “The Huntsman” uses a mandolin, drums, and a Scottish folk momentum to push the tune forward. “Night” is a jaunty swinger built on a hip pattern of brushes against snare with guitar and acoustic bass setting up a swing pattern that Freddie Green from the Count Basie band would appreciate. It’s a tune about a cat quietly walking at night, and the music beautifully tells the story along with the lyrics: the pedal steel “meows” just a bit, and the clarinet creeps like a shadow. The arrangement of the classic “Go Tell Aunt Rhody” is given a clipping 12/8 drum pattern that underlies a majestic guitar-based pulse.
Mainly, of course, the music here is gentle and tender. The title track, “The Starlighter”, is a gorgeous waltz, a mournful melody that sits above a throbbing bass line that is built out by chords intoned by low brass and then delicate lines played by guitar and xylophone. Colvin’s vocal is plush and heartfelt, rising as it must but also sinking back down into the comfort of the strong melody. “The Cuckoo” is a classic, Celtic-sounding folk song that works as a tune for guitar and cello, with Colvin’s vocal perfectly suited on the top in a perfect blend of three equal voices.
One of the most interesting arrangements here is “Hush Little Baby”, which builds a busy thrum of guitar, piano, marimba, and xylophone the melts away into folk spareness for the familiar words (“If that mockingbird don’t sing / Papa’s gonna buy you a diamond ring”) but a melody for the tune that I’ve never heard before.
And that is the magic of The Starlighter. It offers comforts, to be sure: this is an album of lullabies and children’s songs, a collection that comforts with a kind of familiarity. But it offers that comfort with accompanying sophistication and subtle musical hipness. A generation or two ago, before rock overran the culture with its premium on simplicity or raw authenticity, this was not so uncommon. The pop music of Nat Cole or Frank Sinatra made lots of room for gorgeous “adult” arrangements, ballads, the appeal of the romantic — all done without irony or nostalgia.
What Colvin has done here certainly trades in a certain nostalgia, a nostalgia for the childhood remembered by the very rock generation that banished this kind of music. But it suggests a new kind of sincerity, perhaps. The Starlighter recreates a remembered innocence, but it does so with the tools of whole lifetime: folk directness, sure, but also harmonic complexity, textural interest, strong melody, and the lessons that come from the best music of the last 50 years — touches of jazz, of 1960s pop, of Americana, of country.
320 kbps | 86 MB | LINKS
Is it blues? Is it world music? Is it underground pop? You can choose whichever you want, it’s not important for Orions Belte to be pigeonholed. They’re playing instrumental music inspired by Nigerian 70’s rock, postcards from the French Riviera, Formula One races at the Monza track in Italy, and when Joe Frazier beat Muhammad Ali in the ‘Fight of the Century’ in 1971. Eclectic and unique – are you able to “hear” how it sounds?
Øyvind Blomstrøm and Chris Holm mainly make a living out of being on the road with other bands, and they’re almost always traveling from town to town, country to country. When their roads crossed for the umpteenth time in 2016, their mutual dream of starting an instrumental project was finally underway. Holm’s companion from the Bergen scene, Kim Åge Furuhaug, wanted to join in on the fun, and then Orions Belte was born.
Their debut album «Mint» is founded on old traditions but still feels new, and you’ll have to look for a long time to find anything like it. Texas band Khruangbin may be the best comparison as per today, but Orions Belte really belongs in their own galaxy. A galaxy where they are the soundtrack to movies that haven’t been made yet, where landscapes are colored and where the trio does just what they want to, the way they want to do it.
The result is «Mint», an album filled with songs that fit as easily into street parties in Oslo and London, as in private casinos in Paris and night clubs in Lagos. Orions Belte, a small piece of the world from Norway.
320 kbps | 74 MB | LINKS
Produced by and featuring Ange Hardy, this is the debut album by an affable chap from her home town of Watchet in Somerset who, in addition to running weekly shanty nights down the pub and being an established stone sculptor also serves as the local football referee and Punch and Judy Man. Not to mention, holding the position of Town Crier, hence the album’s title, Songs From The Bell Man. And, of course, that commanding voice.
Joined by Lukas Drinkwater on double bass, Archie Churchill-Moss on accordion fiddle player Tom Moore, and percussionist Olly Winters-Owen, with shanty vocal contributions from The Old Gaffers, it’s a collection of both traditional and self-penned songs documenting Watchet’s long history. Case in point being album opener ‘The Watchet Sailor’, a tale about hearts-stealing Jack Tars that he first learned when he was about eight, sung unaccompanied.
The first of the original material follows, accordion backdropping ‘The Last Shift In’, a catchy waltzer lament for the closing of the Wansborough Paper Mill, where he once worked, in 2015 after over 260 years, the intro of ‘Wasson Boy’ being a greeting at shift change to see if all as going well. A Celtic melody setting of Tennyson’s poem with Hardy on whistle, ‘Crossing The Bar’ tips the hat to a former Watchet crier, one Yankee Jack, it being one of his favourite songs. A familiar shanty, ‘Greenland Fisheries’ returns to traditional waters, the maritime imagery carried over into the self-penned ‘The Last Long Ship’, another Celtic mist melody carrying the poignant story him joining a recently widowed Watchet lady to bid farewell to her husband by consigning his ashes to a Viking funeral, a flock of geese flying past in perfect formation to the flickering flames.
It’s back to traditional shanty shores with the unaccompanied ‘Won’t You Go My Way’, another song learned from Yankee Jack, the Old Gaffers singing the title refrain and the number flowing into the lengthily titled Morris tune ‘Oh dear mother what a fool I’ve been. Six young fellows came a courting me. Five were blind and the other couldn’t see. Oh dear mother what a fool I’ve been.’
Another melancholic gentle waltzer with music hall influences, ‘Emma Louise’ dates back to Milton’s days working at the mill some thirty years back, a love song not to some young lass but a boat, or at least his fanciful imaging of two sail boats he knew about, the lyric another lament for something that’s come to end of its useful life.
The final Milton song, ‘Old Be’n, nods to another former member of the Court Leet, Ben Norman and the wealth of local history knowledge about Watchet harbour he carried with him. If you’re looking for comparisons, this one points to Stan Rogers.
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320 kbps | 339 MB | LINKS
CD1
1. Intro [01:45]
2. Dancin’ Fool [03:38]
3. Peaches En Regalia [02:31]
4. The Torture Never Stops [14:24]
5. Tryin’ to Grow a Chin [03:34]
6. City of Tiny Lights [07:28]
7. Baby Snakes [01:51]
8. Pound for a Brown [05:56]
9. I Have Been in You [09:58]
10. Flakes [07:26]
11. Broken Hearts Are for Assholes [03:48]
12. King Kong [09:11]
13. Wild Love [06:23]
CD2
1. Yo Mama [11:08]
2. Titties ‘N Beer [04:26]
3. The Black Page #2 [03:56]
4. Jones Crusher [02:49]
5. Little House I Used to Live In [15:21]
6. Dong Work for Yuda [02:54]
7. Bobby Brown [03:01]
8. Envelopes [02:16]
9. Drum Solo [04:07]
10. Disco Boy [06:48]
11. Dinah-moe Humm [06:38]
12. Camarillo Brillo [03:19]
13. Fr Muffin Man [03:53]
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