Four years following the release of their last album, Tonight (and its dub companion, Blood), Scottish indie stars Franz Ferdinand have returned with new album Right Thoughts, Right Words, Right Action, out on Domino on August 27. Recorded over the last year at Kapranos’s Scottish studio and McCarthy’s Sausage Studios in London, the LP cements their status as a unique and adventurous British band: emboldened by a decade’s undreamt-of worldwide success, but still daring and defiant. It’s an ecstatic rejection of the drab conventions often accompanying that level of attention and expectation.
Attention-grabbing contemporary blues acts — bands that really encourage listeners to pull classic albums out of rotation — can be hard to find. Fair or not, it usually takes something special to pique my interest; exceptional tunesmithing and musicianship, a unique instrumental lineup, or a sound that draws from diverse traditions. Blues and Trouble, the new album from Kansas City-based Grand Marquis, manages to score on all three counts. By contrast to the six-string foundation of most modern blues acts, the sound of Grand Marquis is rooted in its brass players — Bryan Redmond on saxophone (and lead vocals) and Chad Boyston on trumpet. Bass player Ben Ruth even takes up the sousaphone in a throwback to the pre-electric days of Dixieland swing (perfect counterpoint to the washboard rhythm of drummer Lisa Mackenzie). The group’s sound does justice to the rich blues and jazz history of Kansas City, a musical crossroads often unfairly eclipsed by glitzier northern metropolises.
Boston’s legendary Barrence Whitfield & The Savages’ new album Dig Thy Savage Soul is a wealth of atomic-powered, sock it to me R&B and rock & roll hoodoo. Barrence, possessing otherworldly pipes that range from a low feral growl rumbling the nether regions to a scream that would make Little Richard blush, belts out originals and crate-diver covers with the formidable and aptly-named Savages. They keep his back with a punk rock grit and blues ferocity that lives in the frets between Chuck Berry and Jack White. Together, Barrence & the Savages lay down a groovy racket that’s so thick and greasy, you need moist towelettes near the hi-fi.
What’s The Chance‘ produced by Duke Robillard .The new release features the live band as the core rhythm section- Billy Bileca, (electric and acoustic bass) Nick Longo (drums) and Larry Fallstrom (Hammond B-3, piano), as well as an all star cast of musicians including Duke Robillard (guitar), Mark Naftalin (piano), Bruce Bears (organ and piano),Steve Pastir Jr.(guitar) The Roomful Of Blues horns- Rich Lataille (alto and tenor sax) Mark Earley (tenor and baritone sax) and Mark Woolverton (trumpet). The album was masterfully recorded by Jack Gauthier at Lake West Studios in West Greenwich, Rhode Island.
A wide-ranging collection of traditional American music featuring memorable performances from the Folk Masters concert and radio series, recorded live at the Wolkf Trap in 1992. A vivid representation of the changing scope of American through the music and culture of contemporary European-, African-, Hispanic-, and Native American Indian communities. Includes Dewey Balfa, The Johnson Mountain Boys, Cephas and Wiggins, The Texas Playboys, Boozoo Chavis, and 17 others on 22 tracks.
Ben Mandelson has played with everyone, from Magazine to Billy Bragg’s Blokes to my favourite, quirky English acoustic trio, Les Triaboliques, in which he is joined by Lu Edmonds and Justin Adams. When Adams is off with JuJu or Robert Plant, he is replaced by journalist/musician Ian Anderson in another trio, Blue Blokes 3. And when Edmonds is working with the far noisier PiL, Mandelson and Anderson become a duo, The False Beards. They describe the music as “old-time English psych-folk blues world twangery”, and their debut album mixes global and traditional influences with Anderson’s songs, performed on guitars, baritone bouzouki and mandolin. They switch between West African melodies, ragtime protest from the 1920s and Louisiana blues, and are joined by the fine singer Katie Rose for the traditional Lord Allenwater, and rework the Stones’s Paint It Black, with an unlikely jaunty Greek edge. Classy and enormous fun.
Recorded in Mike West’s (of Truckstop Honeymoon) Ninth Ward Pickin’ Parlor, “Bastards and Broken Things” is the full-length debut from Lawrence, KS – based Cowgirl’s Train Set. The culmination of 3 years’ work, this album displays an American slice-of-life through the lens of four distinct songwriters. Diverse, genre-defying, intense, chaotic, melodic, and progressive, it offers 13 songs that take the listener through high octane bluegrass, whiskey-fueled romance and collapse, multi-movement pieces, pirate shanties, full-on boogie, and a banjo breakdown.
One of the most inimitable songwriters of the past decade – Portland, Oregon’s Laura Veirs – returns with her ninth full-length album in August. Beautiful, lush and at times deeply dark, Warp and Weft captures the intensity of motherhood, love and violence. Primarily electric-guitar driven, it is a fever dream of an album and could well be Veirs’ best work to date,building on the uniform praise and commercial success of 2010’s “July Flame”.
Veirs sings not only of mid-winter suns, white blossoming cherry trees and melting ice, but also suicide, gun violence and war. She weaves threads of old folk songs including “Motherless Children” as well as stories of folk-art hero Howard Finster and jazz harpist Alice Coltrane. “I think of this record as a tapestry where disparate elements come together and are stronger and more lovely as a result,” says Veirs.
And The Traveler is a group of modern day bards, relaying stories through their music, “The Road, The Reason” follows the story of a traveler set to rescue a girl from her evil uncle who holds her captive beneath a massive metropolis.
And The Traveler is:
Max Johl- Lead Vocals and Guitar
Josh Goldberg- Chapman stick and Vocals
Donald Perdomo- Drums and Vocals
Many point to Billy Squier as early-’80s rock personified — an era when he and many of his peers tempered hard rock with pop melodicism — and by adding just the right amount of posing and posturing for the newly constructed MTV set, he scored a string of arena rock anthems and power ballads. But Squier did not enjoy overnight success as it took many years and several failed bands before he hit paydirt as a solo artist. Born on May 12, 1950, in Wellesley Hills, MA, Squier began playing piano and guitar at an early age, but didn’t become serious with music until discovering Eric Clapton (via the renowned British guitarist’s stints with John Mayall & the Bluesbreakers and Cream) in the late ’60s and deciding to pursue music full-time. After playing in several local bands in the Boston area, Squier spent the early ’70s relocating back and forth between Boston and New York City, during which time he contributed to a troupe that combined music with poetry (called Magic Terry & the Universe), attended the Berklee College of Music, and played in a pair of rock groups (N.Y.C.’s Kicks, which included future New York Dolls drummer Jerry Nolan, and Boston’s the Sidewinders).
Strangers in the First Place, his Vanguard Records debut, and his firs studio offering since 2009′s criminally overlooked
Before Nightfall.The disc opens placidly with “Tunnels,”a slow-moving affair that lifts gradually over the course of three minutes. It is a decidedly amiable opener and a nice starting off point. But the best is still yet to come.Lead single “Some Things Never Change,” is another tranquil and gradual affair. Opening with acoustic guitars and the words, “You and I, as time began, in the moves, in the howling wind, bitter line, bitter end, my enemy, my only friend,” it unravels what is most assuredly a breakup ballad. Truth be told, there isn’t much about it that is entirely inventive or original, but hot damn, if it doesn’t knock the cover off the ball. Potent, passionate and deeply panged, it is everything a breakup ballad should be. This sentiment is revisited on the guttural hymn “Star-Crossed Memories,” in which a deeply tortured Francis lays it all on the table, before diving into a searing guitar solo.
mp3 320 kbps | 116 MB | UL