August 4, 2013 - It Rock And Roll
 

Day: August 4, 2013

liBay Area country-folk artist Lia Rose is a ball of sunshine both on stage and off. But if you listened to her songs, you’d know it’s not because life’s been easy, it’s just that she’s chosen to face its struggles head on, chin up.
Rose played the Great American Music Hall with Blame Sally in early May and performed on NPR’s West Coast Live in April, where she met author Ruth Ozeki, with whom she’s currently collaborating on a song. Her second full-length solo album Bricks and Bones will be released this Sat/20, the night of her record-release party at the Chapel in San Francisco. In short, the bubbly, talented musician is doing quite well.

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fidTracks:

1. A Night In Dublin
2. A Bottle A Day
3. No Lullaby
4. Old Dun Cow
5. We Don’t Care
6. Raise Your Arms
7. The More The Merrier
8. Buccaneer
9. Never Hide
10. Song For The Living
11. No More Pawn
12. Maria
13. Blacksmith Reel
14. Don’t Look Back
15. Old Polina
16. Into The Sunset Again

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shIt’s been a while waiting, but finally the new album from The Shine Brothers is released . Out on Burger Records, the cassette is called ‘Hello Griefbirds!’ and is the first from the Los Angeles-based garage rockers.
Made up of Ryan Rapsys, Oak Munson, Colin Ryan, Nate Ryan (ex Black Angels), the band currently have only made the excellent ‘Climb The Ladder’ available for streaming – although it’s a big enough teaser to be very excited about what it’s going to sound like.
“Achieving an alchemic balance of sunshine pop song structures and howling devilish rhythms,” as the band describe their music, this is an album that promises to be one well worth looking out for.

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VAPOR RECORDS ON THE ROAD TO SPEARFISHNeil Young’s long time bass playing compadre in Crazy Horse isn’t the most prolific frontman; this is only his second solo album and it comes nearly a decade after his debut. It’s also a long way from sounding Crazy Horse-ish. Perhaps Talbot wanted to take a break from his full time job in the amps-to-11 Horse when he wrote these codeine laced songs enhanced by barely there drums heavily reliant on hushed tom toms and a funeral horn section with tempos best described as drugged out.  But far from being a somnambulant ride, this is deeply affecting music which, when given a chance to sink in, displays Talbot’s heartfelt, emotional take on Americana.
He’s in no hurry to make any points as the extended lengths of the majority of tracks (three at nine minutes and the title clocking in at 13) show. While Talbot’s deep, somewhat narcoleptic voice won’t win any awards, it’s perfect for the slow, oozing groove. Lazy harmonica weaves its way through the album, referencing Young’s similar style, albeit in a more supporting role. The moderately more upbeat and shorter “Runnin’ Around” sounds almost like a single and would be a fine album track on any Neil Young release. The closing “Ring the Bell” is the disc’s most driving rocker and even boasts a singalong chorus. It’s as if Talbot’s shaking off the intense, creeping, stoner mood he has created during the previous hour to leave the listener in a more upbeat frame of mind.
The performances sound live in the studio and unedited, creating an organic, rootsy atmosphere that makes them resonate with an emotional core rare in this era of sterilized, overdubbed productions. In that sense, the commercial middle finger Talbot gives is very much in line with Young’s equally idiosyncratic career. Talbot lets the songs go where they need which results in a pure, personal release. The approach sucks you in and is well worth the time it takes to revel in its unhurried presentation.

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This album hinges on an authentic thread of honest and image-driven country.  The playing is superb. The voice comes honed from an awareness of what’s being sung.

Tracks:

1. Skagit Days
2. Mt. Dew And Truckstop Chili
3. Wicked, Ornry, Mean And Nasty On
4. Haybales
5. Lost Highway
6. Que Dice On
7. An American Man
8. Johnson’s Barbershop
9. Lips That Touch Whiskey
10. Bad Bad Girl On
11. Truck Driving Man
12. Little Country Church

mp3 160 kbps | 87 MB | UL | CL

The daughter of legendary Jazz pianist and composer Mose Allison, singer/ songwriter Amy Allison has been a fixture on the New York music scene since the 1980s.  After more than a decade’s worth of critically acclaimed albums (five solo and two with her ’90s Indie Rock band Parlor James) Amy Allison has slowly gained a reputation mirroring that of her legendary father Mose Allison: an artist’s artist. Her 1996 album The Maudlin Years was ranked by none other than Elvis Costello as among the 500 Greatest Albums of All Time, and she excitedly declares that her new album, Turn Like The World Does is “like nothing I have ever done before.” On a sweltering summer evening in Brooklyn, she sat down with The Los Angeles Beat to discuss her music, her father, the Allison legacy and more.

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 mDespite the relative ugliness of the band’s name (which goes double for the album title), the Meat Purveyors’ Sweet in the Pants is a surprisingly faithful slice of contemporary alt-country sounds. Leaning heavily toward progressive bluegrass, the group is distinguished by the superb vocals of Jo Walston and the supple guitar work of Bill Anderson; they also have good taste in songs, covering material from Elvis Presley, Bill Monroe and Merle Haggard.

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41H6H93EK0L._SX300_Hillbilly Rock is the epitome of what the adult Marty Stuart is all about. With a new groove that runs just left of center, while still retaining a classic country & western-bluegrass flair, Hillbilly Rock is a wild ride to what surely must be honky tonk heaven. On par with Dwight Yoakam’s debut, Hillbilly Rock sets the tone for a whole new faction of neo-traditionalists. Opening with the title cut, an infectious romp that demands your attention, and ending on a high note with a love song, “Since I Don’t Have You,” crafted by Stuart and another tragically overlooked supernova, Mark Collie, this is one heck of an album. “Western Girls,” a favorite of the numerous cowgirls who follow his career, and the Merle Kilgore-Tillman Franks tune “The Wild One” all demonstrate how effective Marty Stuart is. “Cry, Cry, Cry,” a Johnny Cash hit, is made new again. While this release displays more of Stuart’s own songwriting skills, it also displays how deeply involved he is with the music he plays.

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Less_and_Less_albumCharlie Louvin scored more hits as a solo artist than as one-half of the Louvin Brothers, but his solo recordings are not nearly as well remembered. Although his solo sides for Capitol are less essential and were less successful on the charts overall, they are very good and deserve to be reissued. The title of Less and Less & I Don’t Love You Anymore is an example of that weird ’60s convention of naming an album after two of its songs, both of which in this case became hits. “I Don’t Love You Anymore” was Louvin’s only Top Five solo hit and “Less Is Less” was a minor hit. Another track on the album, the wonderful “See the Big Man Cry,” became his only other Top Ten entry. The album tracks include covers of hits like Connie Smith’s “Once a Day” and “Just Between the Two of Us,” a hit for Merle Haggard and Bonnie Owens. The few originals include two songs Charlie wrote with his brother and one written solely by Ira Louvin. This strong album is notable for containing Louvin’s two biggest hits, but a greatest-hits collection is needed.

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