May 2, 2013 - It Rock And Roll
 

Day: May 2, 2013

rYou wait decades for a brand new Rod Stewart song to show up, and eleven come along all at once. Time is the first new collection of original material from the two-time Rock and Roll Hall of Fame inductee and Grammy Living Legend for nearly two decades.This deluxe edition includes three bonus tracks.

Tracks:

01. She Makes Me Happy
02. Can’t Stop Me Now
03. It’s Over
04. Brighton Beach
05. Beautiful Morning
06. Live the Life
07. Finest Woman
08. Time
09. Picture In a Frame
10. Sexual Religion
11. Make Love To Me Tonight
12. Pure Love
13. Corrina Corrina (Bonus Track)
14. Legless (Bonus Track)
15. Love Has No Pride (Bonus Track)

m4a 256 kbps | 127 MB | UL | CL

dHe sounds like he was dipped from the depths of the Mississippi, Daniel Norgren actually comes from Sweden, but there seems to pay homage to the blues as well. If he plays, then solves the node and you have to hold, because what is there from the mid-twenties is out of the blues is so authentic that a bleeding heart.The effects seem to lie deep in the southern regions of the United States, where a song is born out of pain.

mp3 320 kbps | 70 MB | UL

camperCamper Van Beethoven was one of the quintessential eighties bands. Their highly ironic worldview and eclectic musical style prefigured the nineties in some ways, and more to the point, they were just plain good. They wrote some excellent songs, and they had a really impressive repertoire of styles. It’s fitting that this album, their third, was self-titled, because it arguably captures the band at the height of its powers.

mp3 VBR~235 kbps | 102 MB | UL

grKnoxville, Tennessee’s the Dirty Guv’nahs have a classic Southern rock feel that sounds a lot like the Black Crowes, or maybe the Rolling Stones, if the Stones had stopped dead at Exile on Main St. That throwback Southern sound, which the Guv’nahs do really well, is both a blessing and a curse on the band’s third album and first national release, Somewhere Beneath These Southern Skies. The best of the songs here, like the joyous opener, “Can You Feel It,” the, well, charming “Good Luck Charm,” and the solid “Temptation,” sound almost frozen out of time, like prized outtakes from some long lost Stones or Black Crowes album project, and with lead singer James Trimble’s soulful, emotional vocal approach, they’d fit right in to the set list of either of those earlier bands. Not that the Dirty Guv’nahs are a nostalgia act, or a tribute band, but a kind of facsimile frozen in a bottle out of time in the 21st century, representing and re-creating a classic Southern rock sound without expanding it or taking it anywhere new. Again, that’s both good news on Somewhere Beneath These Southern Skies, and it’s bad news. The good songs are timeless facsimiles that float out of another era’s memory, while the rest of the album’s tracks, while well built, recorded, and sung, seem like forgettable, hazy clichés from 30 years ago. the Dirty Guv’nahs are a good band, and they’re dynamite live, but perhaps they need to take what they do so well and take a sharp left turn with it into some truly new and original territory. They have the chops to do it.

mp3 320 kbps | 118 MB | UL | CL

ROThe mesmerizing debut outing of 24-year-old Rosie Thomas tempers folk, country, and alternative rock via sparse arrangements built upon simple acoustic guitar and piano motifs. Like Joni Mitchell, Tori Amos, and Paula Cole, Thomas paints vivid pictures with her storytelling prose, especially on “Wedding Day” and “Lorriane,” which bemoan the loss of love with an optimistic twist. Documenting the disconsolate pain of separation on “Farewell,” Thomas’ cracking falsetto punctuates each phrase and whisper until a snippet of childhood soundbites from the artist draws the dirge to a satisfactory conclusion. Her compelling application of legato harmonies on cello to embellish the descending chord progressions of “Run” and “Bicycle Tricycle” displays Thomas’ intimate, haunting, and melodic songcraft at its strongest. A fine start for a promising career.

mp3 320 kbps | 84 MB | UL

wayTracks:

1. Things Behind The Sun – Luluc
2. Place To Be – Scott Matthews
3. Fruit Tree – Green Gartside
4. Poor Boy – Shane Nicholson
5. Time Has Told Me – Krystle Warren
6. Parasite – Robyn Hitchcock
7. One Of These Things First – Danny Thomson & Zoe Rahman
8. Which Will – Vashti Bunyan
9. Black-eyed Dog – Lisa Hannigan
10. Rider On The Wheel – Shane Nicholson
11. River Man – Teddy Thompson
12. Saturday Sun – Luluc & Lisa Hannigan
13. When The Day Is Done – Scott Matthews
14. Fly – Luluc
15. Pink Moon – Teddy Thompson & Krystle Warren

mp3 320  kbps | 160MB | UL | TB

hugh‘Didn’t It Rain’ sees Hugh Laurie depart the sounds of New Orleans as he follows the trajectory of the blues upstream and into the American heartland. It includes songs dating back to early pioneers W.C. Handy (‘St Louis. Blues’) and Jelly Roll Morton (‘I Hate A Man Like You’) to more recent artists such as Dr. John (‘Wild Honey’) and Alan Price of The Animals (‘Changes’).
Again produced by Joe Henry, ‘Didn’t It Rain’ was recorded at Ocean Way Studio in Los Angeles in January of this year. Complemented with the heart and accomplishment of his supporting musicians the Copper Bottom Band – Jay Bellerose, Kevin Breit, Vincent Henry, Greg Leisz, Robby Marshall, David Piltch and Patrick Warren with Elizabeth Lea and Larry Goldings – the album also features several lead vocal performances from Guatemalan singer-songwriter Gaby Moreno and soul singer Jean McClain who has previously worked with artists as varied as Jimmy Cliff and Sheryl Crow. The album also highlights a very special guest in the shape of the Grammy-winning blues artist Taj Mahal who contributes vocals to a new take on Little Brother Montgomery’s ‘Vicksburg Blues’.

mp3 320 kbps + Covers | 151 MB | UL | TB

paThe album contains popular hit singles by both artists on each side of the album. However the first Jim Reeves track, I Fall to Pieces was overdubbed with Patsy Cline’s version to form a duet. This was possible only because in Nashville’s early 60’s music scene when both hits were recorded, both Chet Atkins at RCA and Owen Bradley at Decca had access to then-brand-new 3-track mastering recorders. In this format, the orchestra was recorded on one, the backup singers on two, and the lead vocal on three, all intended for mixdown to mono in the end.

mp3 192 kbps | 40 MB | UL

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