320 kbps | 149 MB | LINKS
The Private Press is the latest, and eighth volume of the Tompkins Square label’s Imaginational Anthem series ‘focusing on acoustic guitar, particularly in the American Primitive vein‘.
However, this fascinating collection brings together guitarists from a much wider sphere than just that of John Fahey and his acolytes. Many of the fourteen tracks making up this compilation were self-released, pressed in small numbers and sold at gigs, given away or, as Rick Deitrick did, were left in the middle of the wilderness next to trails, “so people would find them.” Here, we are dealing with musicians who pursue their own paths, as Deitrick’s idiosyncratic approach to distribution suggests.
The fourteen tracks which make up The Private Press cover the period 1968-1995, with the bulk of the material shared between the ’70s and the’ 80s, and their content is diverse. Whilst essentially an album of acoustic guitar there is some electric playing, a couple of slide pieces and a jazz track. It is one of the slide tunes, One Kind Favor (sic), from Perry Lederman, who is perhaps the best known of the players, which opens the album. This is a fairly straightforward tune strongly reminiscent of the traditional tune ‘Ain’t Nobody’s Fault but Mine’ first recorded by Blind Willie Johnson. The following track Snow Queen is similarly fairly straightforward, this time it’s Fahey influenced fingerstyle but more unusually provided by a guitar pairing, namely The Keithe Lowrie Duet.
320 kbps | 516 MB | LINKS
Four-CD, 64-song collection drawn principally from Doc’s Vanguard releases of the 1960s and early 1970s (tapped his solo LPs and performances at the 1963 and 1964 Newport Folk Festival). This was Doc’s best period recording-wise, and certainly you couldn’t hope for a better document of his virtuosity, as the guitarist covers all manner of American folk and blues styles over the course of the set. It’s too much, however, for listeners who aren’t big fans; Vanguard’s Essential Doc Watson is a more economical survey. If you are a big fan, though, you’ll be especially interested in the 16 previously unreleased performances. Comprising the whole of disc four, these are mostly taken from live duets with Merle Travis or Doc’s son, Merle Watson.
320 kbps | 107 MB | LINKS
The Secret Sisters return with ‘You Don’t Own Me Anymore’
For four years, Americana duo The Secret Sisters (Laura and Lydia Rogers) were riding high. They had a record deal, made two albums with producer T Bone Burnett, and shared stages with legends like Willie Nelson.
Things went downhill fast.
They got sued by a former manager and subsequently had to file for bankruptcy after legal fees depleted their savings. Finally, they were dropped — via a letter in the mail — by their record label.
This rapid-fire succession of setbacks was devastating, and the women couldn’t even find solace in their music. “Because all of these business relationships were going sour, it felt like music was betraying us, in a way,” said Lydia. “The last thing we felt like doing for months and months was writing a song or being creative in any way.
320 kbps | 105 MB | LINKS
Archive release from the rock/pop icon. Dion had an album ready for release at Columbia in 1965, but it never made it out of the gate until now! Recorded fifty-two years ago, it is as atom-smashing now as it was when Dion rolled tape with producer Tom Wilson at Columbia Studios in ’65. Why was this album pulled from release and shelved? For that story, you’ll have to consult Scott Kempner’s illuminating liner notes here. Dion would be back on the Laurie label again a few years later, but this Columbia recording captures the doo-wop icon in a mid-’60s folk-rock state of mind, doing Bob Dylan’s “It’s All Over Now, Baby Blue,” “Farewell” and “Baby I’m in the Mood for You” plus Tom Paxton’s “I Can’t Help but Wonder Where I’m Bound” and the original songs “Kickin’ Child” (co-written with Buddy Lucas and released as a single in ’65), “Now” (featuring Al Kooper), “My Love,” “Wake Up Baby,” “Knowing I Won’t Go Back There” and more (several of these songs were released on prior outtakes collections and retrospectives, some with different orchestrations). This is the first time that all these tracks are being issued together as the originally intended Dion album. A lost chapter in the epic story of this legendary rock ‘n’ roller from the Bronx finally surfaces, some 52 years later.
320 kbps | 105 MB | LINKS
That’s My Story was recorded and released in 1960 and features a more strip backed acoustic sound than his other recordings of the time. Features backing by acoustic bassist Sam Jones and drummer Louis Hayes, both Cannonball Adderley sidemen on most of the tracks, but a few feature John unaccompanied.
Cakewalk
Ishihara
(Hubro, 2017)
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