320 kbps | 105 MB | LINKS
TajMo marks a timely convergence of the talents of two unique American artists who’ve already built iconoclastic individual legacies that have extended and expanded blues traditions into adventurous new territory. The collaboration brings out the best in both artists, with the pair merging their distinctive voices, personalities and guitar styles to create vibrant, immediate music that’s firmly rooted in tradition yet ruled by a playful sense of adventure. The album features guest appearances by Sheila E., Joe Walsh, Lizz Wright and Bonnie Raitt, who lends her voice to a distinctive cover of John Mayer’s anthemic ‘Waiting on the World to Change.’
Covers of Mr Dylan (Vol. 1)
Yes, it is hard to believe but there are those who do not like Bob Dylan. Hate his voice. Hate his attitude. Hate his unpredictability. Don’t know. Just don’t get him.
But, ‘he did have a couple good songs!’ these people say.
Well here is a collection of Dylan songs by other artists which might help make the medicine go down a bit easier.
Track Listing:
01 Country Pie [Charlie Daniels]
02 Hurricane [Chicago. 26-11-2005] [Phil Lesh]
03 Don’t Think Twice, It’s All Right [Johnny Cash]
04 Saving Grace [Aaron Neville]
05 With God On Our Side [Buddy Miller]
06 When the Ship Comes In [BBC TV 26-9-2005] [Billy Bragg]
08 Girl from the North Country [Roseanne Cash]
09 Sweetheart Like You [Craig Finn]
10 Mama, You’ve Been On My Mind [Johnny Cash]
11 Pledging My Time [Greg Brown]
12 Gotta Serve Somebody [Shirley Caesar]
320 kbps | 105 MB | LINKS
Tracklist:
1. Cannonball (4:32)
2. Ashes To Ashes (3:18)
3. Done Me Wrong (2:43)
4. Make A Little Love (3:03)
5. St. James Infirmary (4:45)
6. Half Way Home (3:09)
7. Vertigo Blues (2:47)
8. Love And Alcohol (3:25)
9. Sweetnin’ A Lie (4:26)
10. Thinking Bout A Woman (2:55)
11. The Waiting (3:16)
12. Big Love (3:45)
320 kbps | 76 MB | LINKS
As great as Chris Stapleton’s debut album, Traveller, was (and still is), that 2015 record felt like the product of an artist dipping their toes into the commercial mainstream. After a decade of writing material for other people, songs that tamped down his rugged Seger-meets-Strait sound for the sake of finding a radio hit, the now 39-year-old wisely played it a little safe on his first solo effort. And it paid off with multi-platinum sales and a mantelpiece stacked with awards.
With all that wind in his sails, Stapleton is going for broke in 2017. He has two albums planned for release this year and a calendar full of tour dates to think about. But more importantly, he’s finally whipping back the curtain to reveal his true musical self, if the first volume of From a Room is any indication. These nine songs have the potent rumble of a muscle car revving its engine as a show of strength balanced with that poignant ache that country music does so well.
Nothing announces this more boldly than the way Stapleton sings here. The Kentucky native is blessed with a glorious baritone voice and a pair of lungs that help push it way into the red. There were flashes of that on Traveller, but he kept it mostly in crooner mode. On From a Room, he’s aiming for the nosebleeds.
That’s evident right from the jump as Stapleton lays into the first lines of opening track “Broken Halo”, an anthem of the sinner inside all of us and the redemption found in the angels that help us along the way. It’s pure worship material, performed with the kind of conviction meant to rouse the congregation to reverent heights. Can’t do that with a quiet whisper. True to the outlaw country mold, he applies that same full-throated spirit to “Them Stems”, a bluesy shuffle about getting down to the dregs of your weed stash.
The heart of From a Room is a trio of songs that unveils even more shades to Stapleton’s character as a songwriter and performer. These tunes sit right in the middle of the album and explore a few variations on the theme of love gone bad. Most affecting is “Either Way”, an incredible, spare ballad telling the painful tale of a marriage nearing its end (“It’s been so long since I felt/ Anything inside these walls… I used to cry and stay up nights/ And wonder what went wrong”). Stapleton’s decision to sing the chorus with an arms-open roar is a little on-the-nose emotionally, but hearing that twinge of agony that lays just below the surface keeps it grounded and honest. The songs that follow — the mid-tempo plea of “I Was Wrong” and the impatient “Without Your Love”, where he’s matched every step of the way by his wife’s pinpoint harmony vocals — may not go quite as deep, but their combined power is nothing short of remarkable.
On a macro level, From a Room hews to the formula of an outlaw country artist, right down to the closing murder ballad (“Death Row”) and the drowsy sway of hard livin’ tunes like “Up to No Good Livin’”. But considering the modern country marketplace that Stapleton’s stomping into, one where cohorts like Brad Paisley and Eric Church are trying to get rock audiences to warm to their twang, his move to add a layer of grit and spit to his work is a much-needed counterpoint to the Nashville hit machine. If he scores some radio hits and bigger sales numbers than ever before, even better.
320 kbps | 105 MB | LINKS
Delivering a unifying message to his loyal fan base, “Love Hope Faith,” Colt Ford’s sixth studio album, celebrates all things that bring us together — friends, family and our faith for a better future. Produced by Shannon “Fat Shan” Houchins and Noah Gordon, “Love Hope Faith” is scheduled for release on Average Joes Entertainment May 5, 2017.
Featuring such guests as Music City stalwarts Brad Paisley (“Lookin’ for a Hand Out”), Toby Keith (“Time Flies”), Lady Antebellum’s Charles Kelley and brother Josh (“Young Americans”) and veteran rockers Lit (“I’m Mud”); promising newcomers like Waterloo Revival’s Cody Cooper and George Birge (“Dynamite”), Tyler Farr (“My Truck”), Taylor Ray Holbrook (“Reload”), Javier Colon (“No Rest”) and Granger Smith (“Keepin’ It Real”), “Love Hope Faith” is the ultimate populist country record, featuring a little something for everyone.
320 kbps | 82 MB | LINKS
Wavves have announced a new album, You’re Welcome. The follow-up to 2015’s V is out May 19, via the band’s Ghost Ramp label.
320 kbps | 76 MB | LINKS
Storyteller and musical virtuoso Spencer Burton announced the release of his eighth album, Songs Of. The LP’s first single, “Broken Hearts and Broken Chains” premiered this morning on CBC q and is described by Burton as a “down and outer and lifter upper”. Stream and share the track below. With a simple certainty that being accessible means telling real stories, Burton’s strong belief in truth rings through on Songs Of.
“I had a young lady come to me and pour her heart out with a whole lot of ‘I’ve got nothing’”, says Burton. “I’ve heard the story before, I’ve lived the story. I lived the story until I realized that I had everything I need and so does most everyone else. Sometimes it takes losing everything to realize you have everything – ‘Broken Hearts and Broken Chains’ are sometimes one in the same.”
From the album cover of Juana Molina‘s seventh album, Halo, a bone bearing two human eyes stares shrewdly out at the viewer. It’s an image as comical as it is unnerving, though not entirely unexpected from the inventive Argentinian singer/songwriter, who for two decades has danced nimbly around the boundaries of experimental pop, art, and design.
Since abandoning her successful career as a comedic television actress in the mid-’90s, Molina has served up a constantly evolving pastiche of maverick sound that usually includes erratic beats, glowing electronics, fractured guitar loops, and all manner of treated vocals. What has kept her outsider music consistently appealing is the whimsy and melodic warmth that imbue her catalog with an underlying sense of humanity.
Halo, Molina’s first release since 2013’s Wed 21, feels like a logical snapshot of her ongoing journey, presenting 12 new tracks that are as eccentric as they are inviting. From the woozy strings poured gently atop the dark digital grooves of “Paraguaya” to the fractured Latin guitar riff that carries lead single “Cosoco,” the instrumentation is subtly layered and the production pleasantly disorienting in what has become her signature style. On the wonderful “Sin Dones,” a neat bass groove develops slowly under Molina’s effected vocals for three minutes before finally breaking into a seductive drum pattern that utterly transforms the song. Many of the tracks are built this way, taking their time to unfold, sometimes reaching their destination and sometimes just out for a stroll. On “Cálculos y Oráculos,” one of Halo‘s most understated tracks, hazy muted synths warble around a sweet two-chord refrain that seems to be constructed out of the windy tone made from blowing on a bottle top. It’s an enchanting mix that falls at the center of the album’s sequence like an interlude. Training an audience to expect the unexpected is a tough trick, but after two decades, Molina’s reputation as a bold sonic explorer is well established.
320 kbps | 125 MB | LINKS
With Best Troubador, Bonnie ‘Prince’ Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009.
Merle’s body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. Writing for Juan and Only in 2012, Bonnie put it this way:
“Merle Haggard is a channeler who has paid ample tribute to those that came before him. He has demonstrated explicitly and implicitly his standing on the shoulders of Tommy Duncan/Bob Wills, Jimmie Rodgers, Floyd Tillman, Lefty Frizzell and many others. There are songs in his catalogue that seep solidly into the headspace of Kentuckians who grew up when I did, and beyond through his vast influence on the George Straits, Dwight Yoakams, Alan Jacksons, John Andersons, Toby Keiths, and too many others. He is not the original, but he may be the most significant junction.”
With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however – and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney.
The songs sung on Best Troubador are pulled from all over – from Haggard’s third album in 1967 through to his 47th in 2011 – but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Only two of Hag’s thirty-eight (!) country number ones are included, and only two others that charted at all. Seven of the sixteen songs are from his later period, after his long run at the top of the country charts had ended, but before encroaching mortality could finally cease the singular and indefatigable creativity of Merle Haggard.
Best Troubador flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard’s music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet. Dedicated to new life and old, Best Troubador is wistful and bittersweet and no lament at all, but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it.
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