Bad Religion is a Southern California punk rock band founded in 1979 by Jay Bentley (bass), Greg Graffin (vocals), Brett Gurewitz (guitars), and Jay Ziskrout (drums). They are often credited for being involved in the revival of punk rock and inspiring several subsequent punk bands during the late 1980s, as well as influencing a large number of other punk and rock musicians throughout their career. In the 31 years since its inception, Bad Religion has had numerous lineup changes, and Graffin has been the only constant member, although the band currently features two of the other original members.
Savannah Georgia’s The Train Wrecks’ recently released sophomore disc entitled Saddle Up is an alt-country effort that hits all the right spots. Opening with the Cash-inspired “Tennessee Mare” and featuring one of the tightest rhythm sections this side of the Mason-Dixon line in Markus Kuhlmann and Eric Dunn, along with singer Jason Bible’s rusty vocals and Stuart Harmening’s blistering dobro, fans of Uncle Tupelo, Old 97′s, and Steve Earle will not be disappointed.The album has a bit for everyone in the slow country balladry of “Show Me Your Silence” and some nice Southern Rock cowbell and guitar riffage on “Struggle.” Thematically the album focuses on the wild west mixed with a band of troubadours trying to make a living playing music.
mp3 128 kbps | 50 MB | UL
Hailing from Springfield, MO, The Bootheel has been playing it’s aggressively-Midwestern brand of rock ‘n’ roll since 2008.
Having recorded two EPs at Electrical Audio in Chicago, IL and also playing shows with such notable acts as Murder By Death, Lucero, and William Elliot Whitmore, The Bootheel hopes to prove to its potential audiences that turning up and letting loose is never out of vogue.
1. Twenty dollar man
2. Katie dear
3. Love is a stranger
4. Don’t you ever get tired (of hurting me)
5. I know what it means to be lonesome
6. The song unheard
7. Back home again
8. Jesse James
9. Why me Lord?
10. Blue and lonesome too
11. Shackles and chains
12. Amazing grace
13. Stormy night
14. Tennessee blues
15. Burning love
mp3 192 kbps | 63 MB | UL
Catch the Presidents was recorded at 5 different locations in the Muscle Shoals area of Northwest Alabama over the last 18 months by sound engineer, Ben Tanner. As on the band’s 2010 release, Victims, Enemies, and Old Friends, Doc Dailey and Ben Tanner co-produce and several guests appear including Browan Lollar (formerly of Jason Isbell & The 400 Unit), Jamie Barrier (The Pine Hill Haints), Helen Gassenheimer (Some Darker Holler), Nathan Pitts and Amber Murray (The Bear), and Jessica Rothstein (The Pyles). Acoustic guitars, haunting fiddle and sparse piano frame his vocals as Dailey implies the power old photographs have on us. They are documented memories of good times and bad triggering thought and reflection on our lives, where we have been and what lies ahead. The same treatment is given to songs about love “Thorns Of Gold”, relationships “Alibis” and life “Catch The Presidents”, three topics we can all relate to. One more song to bring attention to is the opening track “She Has Her Moments”. A tale about finally giving up on a girl because she is more trouble than she is worth, this tune has more Southern rock elements then the rest of the album.
Nathan Bowles, as a member of Black Twig Pickers and having played with the likes of Jack Rose, is firmly steeped in Appalachian folk and other folk traditions. He’s also played with more out-there acts like Pelt and Pigeons. But, A Bottle, A Buckeye, his first solo record, isn’t quite like anything he’s done before. It seems, as a collection of solo banjo pieces, to align with his folk work, but there’s a sense of atmosphere that feels strange and alien and wholly arresting here.He fires out of the gate will the rolling slap of “Charlie’s Pontoon” and “Cindy”, snapping notes off his 5-string, hollow-back banjo with speed and precision, but it’s when things get more spacious, on the moodier “Beans” or the wandering, pastoral haze of “Uttararama” that the album really takes hold. With just one instrument and no overdubs, Nathan Bowles manages to do an awful lot, showing both the sweet melodies of these folk compositions and still mixing them with a hint of space and sound experimentation. This record feels fresh enough to be a debut, but Bowles is seasoned enough to make it sound mature and, at its best, even timeless.
Jesca Hoop’s 2007 album Kismet stands tall as one of the more eccentric and adventurous debut albums of the decade, an extraordinarily inventive and artful musical statement that, sadly, was never quite understood or subsequently supported by her major label executives at the time. The L.A.-based songwriter’s compositions are, as we’ve noted, “miniature vocal sonicscapes of startling originality, building songs that flit and dart, build and then break down again all against a backdrop of stark guitar runs, boldly progressive time measures and a tiny grab bag of head-turning production surprises.” Following the release of Kismet, Hoop rendered five of the LP’s songs into an acoustic EP and now she’s expanded that project with six more stripped renditions (and two bonus tracks) for a fan-funded January release as The Complete Kismet Acoustic.