The fifth album from the French Alt-Rock/Electro quartet. The album is the long awaited follow-up to their hit 2009 album Wolfgang Amadeus Phoenix. Bankrupt is a slight departure from their more recent Pop-oriented releases and focuses on their more experimental side while still remaining melodic and refreshing. The deluxe CD which features a bonus disc that has in total 71 demos & sketches.
Left to his own devices, Supersucker Eddie Spaghetti indulges in a redneck renegade shtick and on The Value Of Nothing, his fourth solo venture, he’s decided to push that persona as far as he can go. He’s abandoned other people’s songs, choosing to dedicate this 2013 LP to all originals, but he’s conscious to not have this slide into the scuzz-rock of the Supersuckers (although the breakneck “Fuckin’ With My Head” does flirt with extremes). Everything is anchored on an acoustic guitar, even when he’s spitting out vulgarities, which he does with some regularity and no small dose of humor. His misanthropic anthem “People Are Shit” is a Tex-Mex two step worthy of Doug Sahm and the catchiest, poppiest thing here is called “If Anyone’s Got The Balls.” Beneath the jokes and rage, Eddie Spaghetti is reckoning with mortality, slyly playing with his advancing years on the May-December romance “You Get To Be My Age” and, tellingly, bringing the album to a close with the matter-of-fact “When I Go, I’m Gone.” On both, the rocker realizes he’s no longer a young man but, The Value Of Nothing proudly isn’t young music: this is steeped in tradition, from the outlaw music he loves to the raw rock and punk that fuels the Supersuckers, and Eddie Spaghetti isn’t so much fighting the shifting times as much as he’s digging in and taking a stand for who he is and what he loves.
Six-time Grammy Award winner and 2012 Kennedy Center Honoree Buddy Guy will release his new studio album,this double-disc masterpiece features first time studio collaborations with A-list artists Kid Rock, Keith Urban, Gary Clark, Jr., Beth Hart and Aerosmith members Steven Tyler, Joe Perry and Brad Whitford. Produced by Grammy Award winning producer/songwriter and longtime collaborator Tom Hambridge (Skin Deep, Living Proof), Rhythm & Blues captures the 76 year-young Guy at the peak of his creativity. Replete with heartfelt vocals, straightforward lyrics and mesmerizing guitar licks, Rhythm & Blues not only exemplifies how blues continues to be the foundation of all genres of today’s music, it also illustrates why Guy has been influential in the careers of Eric Clapton, Jimi Hendrix, Jeff Beck, Stevie Ray Vaughan and more.
Even though Steve Gunn calls New York home, he sounds like a ramblin’ man. Whether on his own or in collaboration with a host of well-traveled keepers of the avant-garde, Gunn has used the last 15 years to detail the Mississippi Delta, the Appalachian Mountains, and the vast expanses of heartland in a uniquely (de)constructed American travelogue. Gunn’s catalog is marked by wisps and detours, sprawling guitar lines that draw equally on Basho and benzos, and densely woven instrumentals content to slowly wander rather than motor on straight to their destinations. However, with the gradual addition of his vocals to the mix, Gunn’s recent solo records have proven that he does indeed have a destination in mind. Without compromising the shrugged off and slurred out quality that made his songs endearing in the first place, Gunn has casually moved toward crystalline songcraft. His latest LP, Time Off, is his most tuneful yet.
“Old Strange” relies on weeping strings and the slow patter of aimless percussion to underpin some of Gunn’s most carefully directed vocals to date. Though he’s not quite moved into folk-pop territory, Gunn’s pipes land him somewhere in the realm of Kurt Vile (who Gunn presently shares the stage with as a member of The Violators) or Califone’s nocturnal Americana. The railroad raga of nine-minute album closer “Trailways Ramble” provides ample reminder of Gunn’s experimental roots, but Time Off presents the most penetrable iteration of Gunn’s music to date.
At his best, Gunn has always been a spinner of yarns, the world-weary journeyman whose songs reflect the whole product of his travels. But, for the first time Gunn’s tunes don’t sound like they’re drifting from the back of a pickup truck that’s peeling down an empty highway. Instead, on Time Off, Gunn leans back on his porch and tries to clearly tell the stories of where he’s been.
Kurt Wagner is an American musician, and the singer and songwriter of the Nashville-based alternative-country band Lambchop.This is solo performance, recorded and mixed on a very hot day in Nashville by Mark Nevers August 6, 2007.
Sold on tour only.
1 Slipped, Dissolved And Loosed
3 A Hold Of You
4 Sharing A Gibson With Martin Luther King Jr.
5 Chelsea Hotel #2
6 It’s Impossible
8 Of Raymond
9 Playboy, The Shit
10 Marking The Same Spot
mp3 VBR~197 kbps | 61 MB | UL
Born of her Eastern Kentucky roots and filtered through the sidewalks of Chicago, the solo debut by Jane Baxter Miller haunts and uplifts as it laments the heart broken and celebrates the heart released. Harm Among The Willows is an album of journeys and longings, both musical and emotional.
The songs are all originals written by Jane (except “Hang My Head, written by Kent Kessler…..), and they could be understandably mistaken for nuggets culled from the rich tapestry of America’s roots canon. From the swampy Bobbie Gentry sass of “Swimming Up” to the smooth Bakersfield swing–all sawdust dance floors and sweaty longnecks–of “Good Mornin’ Moon,” to the Uptown jazz club at closing time vibe of “He’s So Happy” Jane and her crack band of confederates show an adeptness at slinking in and out and around genres, of finding the truest path for the songs. While “He’s On A Train” and “River Of Ghosts” have the pain of the ages in them, “Leaving You All Over” is the kind of classic upbeat honky-tonk shuffle that could have been plucked right out of the glove box of Webb Pierce’s car parked outside Tootsie’s Orchid Lounge on Nashville’s Lower Broad. And the sparse title track would not be out of place next to a baptismal river in Appalachia or in the shadow of a cairn on the Salisbury plain.
m4a 256 kbps | 76 MB | UL
Jackson Taylor’s hard-living, straightforward lyrics will kick your ass, pick you up, then kick your ass again. Jackson Taylor sings original songs about partying hard and life struggles with his own intense style. Mike Ness (Social Distortion) and old-school country influences can been heard as Jackson sings the songs he has lived. Jackson Taylor has ten-plus, full-length releases, and he has hit another home run with Crazy Again. Jackson Taylor’s honky-tonk flavor mixes with punk, country, and rock. The first song, Makeup And Faded Blue Jeans, gives a shout out to life in Modesto, California; while the timing may not be quite right for the beauty all dolled-up that walked in, maybe she’s too young and would mess up plans, he’s still finding a hundred reasons to look her way, just one more time. Second song, Rain, is about losing everything, but staying strong. He’s in pain, but knows he’ll love again, paying homage to old Hollywood with Hepburn & Tracy. Jack’s Drunk Again serves as fair warning to how crazy things can get. He’s the same old trouble he’s ever been.
As the guitarist in Commander Cody & His Lost Planet Airmen, Bill Kirchen was one of the pioneers of roots rock and western swing in the early ’70s and, ever since, he’s carried the torch, ripping it up whenever he could’ve just as easily chosen to lay back. On Seeds & Stems, his 2013 album, he revisits many songs he’s played often over the years, once again cutting “Hot Rod Lincoln,” but also the title track, “Too Much Fun,” and Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry.” It’s a familiar set but it’s played by perhaps the best bar band you can imagine, with the group still getting a thrill from playing familiar changes. Throughout it all, Kirchen dazzles but never grandstands on his Telecaster; he knows how to spin out riffs and solos without begging for attention yet still commanding the listeners through his understated gymnastics. Kirchen has always been tasteful but his playing has gotten sharper over the years, which gives Seeds & Stems precision but also depth, as he knows these songs and styles inside-out yet can still find new nooks and crannies hidden deep within them.
New album from acclaimed and award winning Edinburgh folk and bluegrass collective. Atmospheric and experimental sounding roots music abound on this, their fifth, album. January sees the release of the fifth Southern Tenant Folk Union album ‘Hello Cold Goodbye Sun’, a collection of new and original material written by five of the collective’s members. With a more difficult and emotionally charged pre-production process than on previous albums the band have developed a set of songs that build on some of the soundscape folk from the acclaimed 4th album ‘Pencaitland’ as well as showcasing the growing songwriting, instrumental and vocal talent from within the band. Originally proposed with a focusing theme of ‘modern horror’ (as a lyrical and a musical basis for a cohesive album with influence from John Carpenter, Fabio Frizzi and Goblin) the band’s ideas diversified and led away before all coming back together finally in the recording studio (once again the album was recorded live in a circle of microphones by Lau sound engineer Tim Matthew). The discovery of Jed Milroy’s talent on the clarinet feeds the claustrophobic atmosphere of tracks like ‘Crash’, ‘Chest Freezer’ and ‘Conscience Falls’. Plus the important addition of guest percussionist Steve Fivey (on Cajon and Djemebe) drives the backbeat of tracks like ‘Goodbye Sun’, ‘Men In Robes’ and ‘Days By The Seaside With Ice Cream’.