August 2012 - Page 2 of 7 - It Rock And Roll

Month: August 2012

Whitehorse, the husband and wife duo of Luke Doucet and Melissa McClelland, sure picked an attention-getting title for their second album.It is a landmark album for the pair. All the songs are original, finding a balance between the figments of McClelland’s imagination and Doucet’s free-ranging guitar work. Her cool, yearning voice suggests longing, while his warm tenor seems to offer comfort. While there is a sense of urgency to several songs, it wasn’t a pressure cooker of a creative environment, McClelland notes.

mp3 VBR~237 kbps | 80 MB | UJ | UL | TB

About ten years ago David Eugene Edwards’ new band Wovenhand (Woven Hand in the beginning) debuted with their self-titled album. His main band 16 Horsepower was still active at that time, but their three members – David Eugene, as well as Pascal Humbert (bass) and Jean-Yves Tolà (drums) were slowly drifting apart. Yet in the same year they still managed to release “Folklore” – a blistering album and their studio swansong. Long since has this former solo-project stepped out of 16 Horsepower’s long shadow.Wovenhand have just finished their 7th album – “The Laughing Stalk” – which represents the most radical change in the history of the band. After touring their last album “The Threshingfloor” long time collaborator Pascal Humbert left the band to move back to his native France. A turning point for David Eugene who reconsidered the basic music concept of the band and decided to break new ground. He kept drummer Ordy Garrison from the old line-up and recruited new members Chuck French (guitar) and Gregory Garcia JR. (Bass) resulting in the “most heavy incarnation” of the band ever. “Intense” was a word commonly used when describing the sound of the band. Especially on stage the last line-up was an incredible force, but the current band managed to transport this “heavyness” into the studio while losing nothing of its love for detail or delicate arrangements. That was accomplished by producer Alexander Hacke (Einstürzende Neubauten) who has created an intoxicating mix of guitars and other stringed instruments in the final mix.

mp3 160 kbps | 51 MB | UJ | UL


1. The Changeling (Alternate Version)
2. Love Her Madly (Alternate Version)
3. Cars Hiss By My Window (Alternate Version)
4. L.A. Woman (Alternate Version)
5. The WASP (Texas Radio And The Big Beat) (Alternate Version)
6. Been Down So Long (Alternate Version)
7. Riders On The Storm (Alternate Version)
8. She Smells So Nice / Rock Me

mp3 320 kbps | 130 MB | UJ | UL

Legendary recording artist and world-renowned guitar maestro Phil Keaggy has released The Cover of Love through Strobie Records today. The new CD features a collection of love songs by Keaggy’s favorite artists, including The Beach Boys, Paul McCartney, Elvis Presley and the Moody Blues, as well as a number of new songs co-written by Keaggy.

mp3 320 kbps | 115 MB | UJ | UL

This album is a less ambitious and unified set than his solo debut, but that’s to say that G.P. was a great album while Grievous Angel was instead a very, very good one. Much of the same band that played on his solo debut were brought back for this set, and they perform with the same effortless grace and authority (especially guitarist James Burton and fiddler Byron Berline). If Parsons was slowing down a bit as a songwriter, he still had plenty of gems on hand from more productive days, such as “Brass Buttons” and “Hickory Wind (which wasn’t really recorded live in Northern Quebec; that’s just Gram and the band ripping it up live in the studio, with a handful of friends whooping it up to create honky-tonk atmosphere). He also proved to be a shrewd judge of other folks material as always; Tom T. Hall’s “I Can’t Dance” is a strong barroom rocker, and everyone seems to be having a great time on The Louvin Brothers’s “Cash on the Barrelhead.” As a vocal duo, Parsons and Emmylou Harris only improved on this set, turning in a version of “Love Hurts” so quietly impassioned and delicately beautiful that it’s enough to make you forget Roy Orbison ever recorded it. And while he didn’t plan on it, Parsons could hardly have picked a better closing gesture than “In My Hour of Darkness.” Grievous Angel may not have been the finest work of his career, but one would be hard pressed to name an artist who made an album this strong only a few weeks before their death – or at any time of their life, for that matter.

mp3 320 kbps | 125 MB | UJ | UL


1. The World Has Changed
2. La Nouvelle-Orleans
3. Mr Voodoo
4. With My Baby By My Side
5. Finally, Someone I Can Dance With
6. Blue As a Rainbow
7. Death Came Walkin in My Room
8. Mama Mississippi
9. After the Storm
10. My Cup
11. Wednesday By the Sea
12. Riz Au Lait 13. Everybodys On the Mend Now

mp3 320 kbps | 116 MB | UJ | UL

Frank Gambale – guitar
Scott Henderson – guitar
Alex Acuna – percussion
Luis Conte – percussion
Eric Marienrhal – tenor, alto and soprano saxes
Mike Miller – guitar
James Hogan – guitar
Christian Fabian – bass
Mitch Forman – keyboards
Steve Hunt – keyboards
Lance Crane – drums

mp3 320 kbps | 155 MB | UJ | UL

Nanci Griffith’s 1978 debut for Philo is certainly not as consistent as her mid ’80s albums; however, it should not be overlooked by fans of introspective, personal story songs. “Alabama Soft Spoken Blues” may be her single most beautiful melody, with “Michael’s Song” and “West Texas Sun” not far behind. There’s an innocence and delicacy to Griffith’s voice, and she’s well served by producer Mike Williams’s acoustic colorings. These nine songs reveal Griffith’s beginnings, point to where she would venture, and satisfy through their luminous, lyrical grace.

mp3 256 kbps | 72 MB | UJ | UL

From performing alongside the likes of Doyle Lawson, Ricky Skaggs and Vern Gosdin, Lou Reid has shared the stage with some of the best in bluegrass and country music. Today, in addition to being a member of the Seldom Scene, Lou fronts his own band, Lou Reid and Carolina. Their latest album, Callin’ Me Back Home, hit shelves in April and promises to be a great addition to the band’s catalog.The ten-song album features superior musicianship from the four members of the band: Lou on guitar and mandolin, Shannon Slaughter on guitar, Trevor Watson on banjo, and Lou’s wife Christy Reid on acoustic bass. In addition, several special guest musicians add to the album’s sound, including Neil Worf (drums), Mike Auldridge (pedal steel), Ron Stewart (fiddle), Rob Ickes (dobro), and Tony Rice (lead and rhythm guitar). Several of these instruments help to create a more modern, country sound, especially on the album’s closing tune, Big Old Red Guitar, which features drums, pedal steel, and Rice on lead guitar.

mp3 VBR~285 kbps | UJ | UL

Hailing from London, The See See have taken the jangle of  the obvious (The Byrds, Buffalo Springfield, Love), a dash of early ’90’s Creation Records and filtered these excellent influences through their own creativity and excellent musicianship and vocal prowess. The album starts off with the vibe setting ‘Waltz”, which quickly gives way to “Open Up Your Door”, a song that could have easily fit on “The Notorious Byrd Brothers”. Gorgeous harmonies float above song craft that is genuinely on the level of the ’60’s greats; best of all, it’s a standard which continues for the entire record.

mp3 320 kbps | 78 MB | UJ | UL

Freddy Fender and Flaco Jimenez are, in many ways, birds of a feather. While it’s true that Jimenez came from a lineage of great musicians, he and Fender spent their formative years scuffling in the cantinas on the Texas/Mexico border, playing the old songs, singing and laughing, and no doubt sometimes crying for chump change before they got breaks, hit the big time, laid down hits, won Grammy awards, and played with superstars. Dos Amigos is the joyous result of this pair going back to the first steps on the long bumpy road that made them living legends. These 14 songs are the old songs, the popular hits of the day nearly 50 years ago, and they are the ancient songs, the traditional polkas, corridos, and sons that every entertainer cut his teeth on. Recorded live in the studio, Fender and Jimenez are accompanied only by Max Baca on bajo sexto and percussionist Gabriel Zavala. The tape is rolling — there is discussion, much laughter, and above all the free-flowing passion of men in close camaraderie having a fine time. But this isn’t a record that merely evokes nostalgia. Hardly. In fact, it is the sound of love: love for the music, love for the tradition, and the sheer love of playing together. The music is raw, genuine, effortless, and also loose, free-flowing, alive. The tunes themselves don’t matter except to those who know them. It is the sheer joy of the performance that does. And it is here in abundance, full of passion, pathos, happiness, and that bittersweet twinge in the heart that comes from reliving the art of memory. This is an utterly necessary offering, one that transcends time and space and cultural barriers, one that offers hard — yet freewheeling and rollicking — evidence that music is a universal language.

mp3 192 kbps | 53 MB | UJ | UL

Palindrome Hunches, his third solo project — self-described as “a little darker” — Halstead recruited producer Nick Holton and the Wallingford, Oxfordshire musical collective Band of Hope as his backing band, a like-minded outfit of rustic English folk/rockers.Halstead’s sandy textured vocals are the icing on the proverbial cake, a John Martyn-styled gentleness and melancholy that draws you into the shadowy undercurrents below the serene surface.

mp3 VBR~223 kbps | 76 MB | UJ | UL

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