“A small but grand statement, recorded in a week, but achieving country-soul greatness”
- UNCUT * * * * stars
“MC Taylor writes folk music that is at once firmly steeped in tradition and immediately accessible.”
- NPR Music
“Fans of Will Oldham and Bill Callahan will find much to admire in the work of MC Taylor, a revivalist who also lectures in folklore.”
- Guardian UK
htttps://hotfile.com/dl/157910006/0ff0474/Poor_Moon.rar.html
“3 & 3 Quarters is Radio Moscow’s previously unreleased debut album. Recorded entirely by Parker Griggs (he plays all the instruments) when he was only 17-18, this is garage music reminiscent of the Nuggets and Pebbles compilations, with a dash of Killed By Death dropped into the mix.”
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”Excellent compilation of Greek Rembetika/Folk/Mortika music. Dark and beautiful 78’s about love, crime, death, drugs and so on. All songs never reissued on LP before. Extensive liner notes by Ian Nagoski with great photos. A co-release with Canary records. Old school “tip on” cover. A real winner.”
“Bed Of Pain” is stunning collection of wounded sadness and gentle musings spanning several decades. The booklet included is full of photos and background information pertaining to the many artists and to the regional musical differences that are featured throughout this mournful collection. These delicate and heavy-hearted songs are the perfect companion on a rainy day while sipping on Ouzo. Like all things Mississippi related “Bed Of Pain” is seriously RECOMMENDED.
htttps://hotfile.com/dl/156544909/27b4073/VA_-_Bed_of_Pain_LP.rar.html
Jake Klar’s debut EP is a collection of songs born from the past year of exploring music, traveling and living around the U.S.
“Just got introduced to Jake Klar’s music last night by a friend, and WOW. For those of you who love folk music, check this guy out. He is incredible. It’s been a long time since I’ve heard someone who moved me this much.”
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Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.
Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.
This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. (Light In The Attic)
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The Honeycutters are an Asheville, NC based five piece featuring featuring the original compositions of singer and songwriter Amanda Anne Platt. Their first album, “Irene” met approving Americana audiences from coast to coast, and they are excited to release their sophomore effort, “When Bitter Met Sweet,” in May of 2012.
The band is helmed by singer-songwriter Amanda Platt and guitarist Peter James. Expect more of what made the Honeycutters’ debut, Irene, so great: Solid, straightforward musicianship, grounded-yet-touching songwriting, shades of longing and familiarity, mournful pedal steel and delicate mandolin.
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google translate:
The book Misha Blam: Jazz in Serbia 1927-1944, appeared in front of readers for the first time in autumn 2010. year. Pioneering work integrating various data tell us about the development of improvised music in the former Kingdom of SHS / Yugoslavia, it is only the beginning of a trilogy about the future home of jazz history from the pen of the author. Also, her new incarnation is a convenient excuse to once again (it is never too much) to remind all those selfless talent, small and large, professionals and amateurs, multi-instrumentalist and instrument or a devotee, however, a separate branch of musical creation.
But the end of the narrative was not the end of the author’s struggle for a new edition of the book, whose entire initial print run ended the hands of friends, admirers and scholars. In just six months, it has undergone processing and complement, both in art and in terms of content.
Framed new attire and changed the format, the second edition took the popular form of “pocket” editions, which caused a change in the type and kind of press. In return, the pages are enriched with new donations of archival materials and facsimiles of documents some of which are particularly eloquent, as they have so far unpublished agreement between the famous publisher John Frajt and society “Lira” in the dealer, Marcus Blum, the author’s grandfather, who during his life (killed during the occupation) often worked various jobs, trading for a while and even musical instruments and gramophones in his shop in Belgrade.
On the pages of the new edition we can see what he looked like a musical composition “Contains”, which we have just had the opportunity to meet with the documents, there are the original composition of the seals, invitations and program performance in a word, everything that we find very rarely even in private or public archives. A brief section on the development of European jazz enriched with documents and agreements between record companies. It is, therefore, the official correspondence of Django Reinhardt and Stephane Grappelli with funders snimačkih sessions, all easily perceived misery of that time producer position on the musicians, from which it was collected profits from the sale of a perfect plate.
When we talk about the content of the book should be noted that it is not significantly changed compared to the first edition. The structure of chapters, notes, and mainstream stories are retained in full measure. However, notes the author’s effort to approach every data with due care, by amending and supplementing certain areas, especially for the identification of musicians and people in the picture. The delicate task of trying to be, possibly the last time, people make out exactly who created the cultural milieu of Belgrade and Serbia is worthy of every attention - so readers can see what he looked like a typical band in the interwar period, but also to study the characters of his members, who in a later post-war times found themselves at opposite ends of the ideological and value matrix.
Most eloquently recording is certainly the view of the orchestra Vrnjacka Spa where standing together “hand in hand”: Džakić Suleiman, a famous singer of universal character, which was completely ignored by the new government, Mirko Marković, the guitarist who later defected to America and from thence with their music loud supported the movement of Draza Mihajlovic, George Karaklajić, the latter a high party official and a music editor at Radio Belgrade that “vedrio I dressed,” defining human destiny and career.
The last chapter of the book is filled with two of the now legendary anecdotal recollections of Milan Stojanovic “Cat” Dear and Husman, both members of a large jazz orchestra Radio Belgrade. Set out after dark memories of the suffering of innocent people after the liberation of the city’s October, they represent an excellent balance and a decent way to finish a book.
Misha Blam, the role of narrator and guide through the time of which is still very little known, has proven to be safe and useful. He devised his story, how, and I pointed out, firstly the fact that it had adequate evidence in the form of documents, recordings, visual materials. Avoiding the pitfalls of oral retelling of history is often elusive and highly subjective, we opened the doors of other worlds in which the emperor and rotated and wealth and happiness, and end the misery and gloom, brightly colored music, one, different. Music in which one could enjoy, rejoice, and grieve.
But first and foremost the music that provided the freedom and hope for something better - jazz music. And that “something” to us in this book, actually its second edition, the best way - discovered.
Jazzin.rs
Book + CD ,only 1000 copies
Flac
htttps://rapidshare.com/files/4108813746/Jazz_u_S.rar
Label: “Until the fall of the Soviet Union, popular music, and particularly rock music, was banned in Czechoslovakia. Hence, most of the bands were playing instrumental music to avoid any trouble with the government; however some of them were radically engaged against the censorship and communist regime and had to record live materials during forbidden concerts. The music was incredibly raw; a kind of free jazz rock with both psychedelic hints and punk flavors, added to screaming vocals. This set is the best way to enter the fascinating and innovative sound of the Czech counter-culture. This compilation includes DG 307, the Plastic People of the Universe, the Mch Band, Iva Bittova & Pavel Fajt, Pulnoc, Mikolas Chadima & The Extempore Band and Uz Jsme Doma.”
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Plankton Wat is the solo sound world of Dewey Mahood. Beginning as a home recording project in 2001, Mahood has slowly built a collection of highly personal music that has filtered out into the underground via tape labels such as Stunned, Digitalis, and Sloow. 2009 saw the release of Dawn of the Golden Eternity, a full length LP on DNT which brought together many of Mahood’s influences - kosmische drones, spiritual improvisation, burnt out psych, and sun baked folk.
Raised in rural Northern California, and calling Portland, OR home since the early 90s, Mahood has spent his life dedicated to the outsider fringe of experimental music. Early bands like Ungutta, and Kino-Eye explored DIY punk and free improv, while Elephant Factory (with Larry Crane of Tape-Op magazine fame) took on avant guitar rock in the tradition of Mission of Burma. Mahood’s music has gradually moved into the dark realm of psychedelia first traced in early 2000’s bands The Cosmos Group, and Scuffle & Dustcough, both of which borrowed from late 60’s San Francisco acid rock. Upon meeting Nick Bindeman and forming Eternal Tapestry in 2005 there has been no looking back. In recent years Mahood has also worked with Barn Owl in the project Garden Sound, drenched his music in dub with Edibles, blasted hardcore punk with Bloodbiker, and laid down the bass groove with Jackie-O Motherfucker.
Spirits, the Plankton Wat debut for Thrill Jockey, takes these diverse experiences and creates a record of soaring exploration and raw beauty. The album is intended as a meditation on the Pacific Northwest environment - the dramatic landscape of the Cascades, high desert, rugged coastline, and ever changing sky. Recorded throughout 2011 on 4-track cassette in Mahood’s basement, Spirits traces a year of changing seasons, feelings, and emotions. Inspired by the “universal music” of Don Cherry and Alice Coltrane, the album uses a variety of instruments including electric and acoustic guitar, bass, hand drums (played by Dusty Dybvig (Edibles, Horse Feathers) on the title track), synthesizer, harmonium, banjo, cymbals, drum machine, and voice in a layered approach reminiscent of Sandy Bull and Brian Eno. Both a celebration of the magical possibilities of life, and a contemplative look into the darkness, Spirits creates a warm blanket of sound perfect for watching the sunset from a high coastal sand dune. Exotic and esoteric as the ancient city of Angkor Wat which Plankton Wat takes its name, this is future primitive music for mental escapism
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The name Blip probably refers to the Mad Scene’s assessment of the impact that this record is likely to make on the collective record-buyer conscious. While Hamish Kilgour (also of The Clean, Great Unwashed, and Bailterspace) and Lisa Siegel have never been totally off the scene, the couple’s combo hasn’t released an album in 17 years, and this one’s coming out in a vinyl pressing of just 500 copies. But if they hadn’t settled on that name, another one comes to mind — Repurposed Timber. This record is rife with brazen rip-offs of songs that probably first slayed Kilgour in the late ’70s, when he was just another underground music fan in Dunedin, New Zealand. The Velvet Underground is well represented; “Quiet Day” approximates the melody of “Lady Godiva’s Operation,” and “Nasty Girl” appropriates “Foggy Notion’s” tune. “Cupid,” which begins and ends side one, sounds like it has a “Roadrunner” knock-off running under its hood, and “T. Rex” quite lives up to its name. I’ll get back to you when I remember which Fall song used “Fontaine’s” insistent scale first. And “Cat Burglar,” for good measure, sounds like Television Personalities c. 1978 covering The Great Unwashed. Or maybe it’s the other way around.
But I come to praise Mad Scene, not knock them. Why shouldn’t they use these materials? After all, Lou Reed and Jonathan Richman haven’t known what to do with them for about 30 years, and Marc Bolan is indisposed. Kilgour, Siegel, and producer Sonic Boom know what to do with them. They bash ‘em around, drive them on the wrong side of the road whilst going faster than the posted speed limit, and squint at them through mismatched, garishly colored shades. Mr. Boom’s influence is indispensible; he makes a handful of instruments sound modestly scruffy at the same time that he gets them to fill the entire sonic spectrum with frequencies that shimmer like the air on the Bonneville salt flats in July.
Previously Siegel’s been a pretty dominant force in Mad Scene, singing at least half the songs, but Kilgour handles all but one of the vocals on Blip. His voice, in tandem with the woozy production, makes this feel like the psychedelic record I’ve been wishing The Clean would make for at least 20 years. If they never do, I won’t mind anymore; this one totally hits the spot. But the ringleaders aren’t the whole show. Ladybug Transistor’s Gary Olson, WFMU’s Brian Turner, and Yo La Tengo’s Georgia Hubley are all part of the contributing cast. There’s a whole lot of good taste on board, but it sounds more like they’re all trying to make something that tastes good. They succeed.
htttps://rapidshare.com/files/746660090/Mad_Scene_-_Blip.rar