Saturday, January 12, 2008

The Church - Of Sins And Heart

My first year at Uni, my first engagement, my first paisley shirt,stovepipe pants and winkle pecker boots….. one of those records that can change a life. Many of my friends were into Alice Cooper, Boston, The Eagles…. how they hated this record….. this album has so many memories for me.

From the early 1970s, Steve Kilbey and Peter Koppes had played in several glam rock bands in Canberra, Australia. In April 1980 they formed a three-piece with Nick Ward on drums and began performing. After Marty Willson-Piper (hailing from Liverpool) joined them, they took the name 'The Church'. Allegedly, the name was chosen largely because it was unclaimed, but later allusions to the band's spiritual interests by Kilbey hint that it was less coincidental. At the time, only Koppes was a fully-proficient musician. Kilbey was an erratic bass player and Willson-Piper was still searching for his style on guitar.

A four-song demo was soon recorded. Thanks to contacts from Kilbey's former band Baby Grande, they were able to send the tape to Australian record label, ATV Northern. The song "Chrome Injury" particularly attracted the attention of publisher Chris Gilbey (who heard a song being played in the next room to Don Bruner, his Professional Manager). Chris had recently formed a record production company in association with EMI Records in Australia and had resurrected the Parlophone label as his label. Chris went to a rehearsal of the band and subsequently helped shape the band's sound by buying Marty Willson-Piper a 12 string Rickenbacker guitar, and by equipping Peter Koppes with an Echolette tape delay. These helped bring out the musical direction of the two guitarists in the band complementing the vocal and bass style of Steve Kilbey. The band's first record contract quickly followed, but, of the four songs on the original demo, only "Chrome Injury" was later included on an official release.

Their debut album, Of Skins and Heart, was recorded late in 1980, produced by Chris Gilbey and mixed by Bob Clearmountain. Almost all tracks were written by Steve Kilbey. The first single (and studio debut for the band) was "She Never Said," which was released in Australia in November 1980. It went largely unnoticed, however, due to its release during the Christmas season. A second single, "The Unguarded Moment," was released alongside the album in March 1981, but initially only in Australia. This single garnered greater success, appearing on the charts, where it reached number 22. Thanks to this publicity, the band went on their first national tour.

By the time of the album's release, drummer Nick Ward had already been replaced by Adelaide native Richard Ploog. The arrangement was made by the band's manager, after hearing of Ploog's reputation in his local music scene. Ploog's arrival established the Church's first stable lineup.

The success of "Of Skins and Heart" enabled Chris Gilbey to present the band to Freddie Cannon, the Managing Director of (Carrere) and Rupert Perry, the Head of A&R for United States label (Capitol), which both went on to release it. In both regions, the album was renamed and repackaged with slightly altered track listings. Symptomatically, Richard Ploog was credited as the sole drummer on the U.S. release, despite playing on only one song. Capitol also released an edited version of "The Unguarded Moment" which was a minute shorter than the original - a decision that didn't much please the band.

http://www.mediafire.com/?cznazl5y1y9

The Churcu - Starfish


Starfish (1988) recording sessions found the band in the thoroughly new surroundings of Los Angeles. Paired up with producers Waddy Wachtel and Greg Ladanyi, the environment was somewhat of a new challenge for the band. Used to following a more relaxed routine in the studio, the Church suddenly found themselves having to adjust to a thoroughly different approach. Kilbey: "It was Australian hippies versus West Coast guys who know the way they like to do things. We were a bit more undisciplined than they would have liked." Personality clashes became inevitable as the two sides bickered over guitar sounds, song structures and work ethic alike. Despite these conflicts, the results seemed promising. Under pressure from the producers, Kilbey began to take vocal lessons, an experience that he came to regard as valuable in hindsight. Wachtel and Ladanyi found promise in the songs, particularly "Under the Milky Way," which they focused on as a potential single from early on.

Life in Los Angeles came as a shock as well, and its influence filtered into the session. With the band feeling out of place, the stresses of a major American city energized the songs. Kilbey: "The Church came to L.A. and really reacted against the place because none of us liked it. I hated where I was living. I hated driving this horrible little red car around on the wrong side of the road. I hate that there's no one walking on the streets and I missed my home. All the billboards, conversations I'd overhear, TV shows, everything that was happening to us was going into the music." "North, South, East and West," "Lost," "Reptile" and "Destination" all bore the imprint of the faces, scenery and daily life of the group's new, temporary home.

Largely recorded live after four weeks of grueling rehearsal, Starfish focused on capturing the band's core sound. Bright, spacious and uncluttered, the recording was a great departure from the layered orchestrations of Heyday. The intention was to make it as "live" and dynamic an album as possible, which was achieved to a measured extent (Willson-Piper later went on to say that trying to record a live atmosphere lacked a real gig's sense of "being there"). Although the band found the results bare and simplistic, the reception they would come to receive would be unlike any they'd had before.

Released in February of 1988, Starfish soon found its way into the mainstream, propelled by the single "Under the Milky Way." Although never perceived as an intentional "hit" by Kilbey (who wrote it with then girlfriend Karin Jansson), it "just seemed to be the right song at the right time" as he would later claim. The warmth of the melancholic melody shone through on the 12-string-based progression, accented by light keyboards and minimalistic electric guitar. Kilbey's baritone vocal line "Wish I knew what you were looking for, might have known what you would find" made up the distinctive chorus, providing an abstract, but striking emotional centerpiece. A near-five minute music video received respectable airtime on major music video television channels, which in turn made available to a wider audience The Church's unique - as far as the mainstream was concerned - style. In line with the song, "Under the Milky Way's" video mixed mysterious, if not somewhat abstract, storylines with ethereal production filming techniques.

Whatever the formula for success, it worked, and the Church suddenly found themselves thrust into the spotlight as the single climbed the charts. As their name began to appear across the music industry, the band embarked on a nine-month world tour. The effects (and stresses) of their newfound success would not be solely positive, as time would later show.

http://www.mediafire.com/?fdzyjanvo09

The Infidels - 3 In The Morning

3 IN THE MORNING (1994)

Something from cob, I had never heard this until today…. excellent album. I try to clear steer of comparisons in music…. but maybe a cross between The Triffids, The Go-Betweens and The Church, very spacious in texture and melodic….VERY AUSTRALIAN. Guests include Marty Willson-Piper from The Church and Amanda Brown from The Go-Betweens.

Tracks

1. Caution Horses (3:57)

2. Cane Fields (4:25)

3. Precocious (3:09)

4. Sticks and Stones (4:02)

5. 3 in the Morning (4:31)

6. Weird Streets of Prayer (3:15)

7. Boys Don't Cry (3:56)

8. Days Of Splendour (4:24)

9. Vivien Leigh (3:29) (also appears on the Urban Folk Collective album Black Rabbit)

10. The Sensual Hour (4:48)

11. Precious Stuff (3:33)

12. And the World (3:53)

Credits

All songs by Raoul Graf except: "Sticks and Stones" and "The Sensual Hour" by R. Graf/Marty Willson-Piper; "Precocious" and "Precious Stuff" by R. Graf/B. Whatmore; "Vivien Leigh" by R.Graf/A.Elshaikh; "Weird Streets of Prayer" by J. Griffin; and "Boys Don't Cry" by Smith/Dempsey/Tolhurst.

The Infidels are: Raoul Graf; Ben Whatmore; Paul Dunn; Lesley Branagan; and Ian Cooper.

Raoul Graf: vocals and 12-string acoustic guitar
Abe Elshaikh: lead and rhythm guitars, backing vocals
Ian Cooper: violin on "Precious Stuff", "Precocious" and "Days of Splendour"
Ben Whatmore: keyboards and e-bow on "And the World" and backing vocals on "Cane Fields"
Paris Razos: drums and percussion on "Precious Stuff", "Precocious" and "Days of Splendour"
Warwick Factor: acoustic and electric bass
Carla Graf: backing vocals on "Boys Don't Cry", "Precious Stuff" and "Precocious"
Rory Mackenzie: drums and percussion
Margaret Lindsey: cello on "Precious stuff"
Amanda Brown: violin on "Caution Horses", "Cane Fields" and "Vivien Leigh"
Valerie King: backing vocals on "Precious Stuff"
Daniel Denholm: piano on "And the World"

All tracks produced, engineered and mixed by Daniel Denholm, except for: tracks 4, 5, and 10 which were produced by Raoul Graf, engineered by Michelle Barry, and mixed by Daniel Denholm; and track 8 which was produced by Raoul Graf and Ben Moore, engineered by Ben Moore, and mixed by Ben Moore.

http://rapidshare.com/files/83377621/Infidels__The_-_3_In_The_Morning.rar

Velvet Underground - Double Live Album 1969


Nearly 40 years down the track and The Velvet Underground remain as fresh and relevant as the day it was recorded. For a band that only released 4 albums( 2 with John Cale and 2 as virtual Lou Reed albums) they have remained an important influence and yard stick to

countless bands that have followed.

Disc 1

http://rapidshare.com/files/83140013/Velvet_Underground_Live_1969_-_Volume_1.rar

Disc 2

http://rapidshare.com/files/83111568/1969_Velvet_Underground_Live_Vol._2.rar

You Am I - Hourly Daily


You Am I followed the brilliant Hi Fi Way with the equally impressive Hourly, Daily. The album was recorded at Q Studios, Sydney during December 1995 by Wayne Connolly and Paul McKercher and mixed by David Bianco (Teenage Fanclub). It was the first time the band had recorded an album in Australia.

Tim talks about how the album came about: "Russell and I were in New York, sharing a room together, and we went out and got stinkin' at the Jones Bar and ran around New York with our shirts off because we were drunk, declaring that we would herald the return of beat music - music that had a hop to it, a skip to it, that made you want to shimmy. The next morning while vomiting, we declared that we would make a beat record."

Recording in Australia gave the band time to relax. It also let them go home at the end of a day's work. Despite the easier schedule, the band deliberately kept rehearsals to a minimum, keeping their ideas fresh and their performances spontaneous.

Sydney jazz maestro Jackie Orszaczky gathered a string quartet and a small horn section, scoring the melody the band hummed at him. Producer Paul McKercher added the cello. It's part of what Tim calls "a fruit injection".

"We're not going to labour over songs till we kill them," says Rogers. "Two of the songs (Good Mornin' and "If We Can't Get It Together) were actually written four days before we started,"
"The material really started forming in those long months towards the end of a tour. That's probably why the album is so referencial to Australia, not for any patriotic reasons but because after so long on the road touring and playing, the whole process becomes perpetual motion and daily home life becomes surreal.

"Most of it is about things that most people perceive as mundane but to someone just out of the van appears very psychedelic and affectionate. That's what the title Hourly, Daily tries to capture. That's the way the album was going. Songs from different points of the day, diary entries from different people. It moves through every hour of every day... that's about as vague as I can get."

Hourly, Daily debuted at number one on the national ARIA charts - the second consecutive You Am I album to do so and went on to win 6 awards in 1996 ARIA's including: Best Australian Group, Album, Independent Release, Video (for Soldiers), Producer and Engineer of the year.

http://www.mediafire.com/?72tzyegnmms


You Am I - Hi Fi Way

You Am I recorded their 'difficult' second album, Hi Fi Way, at Greene Street Studios, New York from September 15-22, 1994 - straight after their much publicised support slot on Soundgarden's national tour of America. They teamed up again with Lee Ranaldo to produce Hi Fi Way. Ranaldo shared the mixing duties with Jon Auer, (The Posies) who also played some Hammond organ on the album.

You Am I went into the studio unsure what musical direction to take Tim's songs in, many of which were still without lyrics. They were also completely worn out after the Soundgarden tour and working to a tight recording schedule. Tim eventually overcome a bout of writers block and found inspiration in his childhood. "Suddenly all these things started to come," he says. "I had perspective on those events. I could admit things. It was really fun."

"Most of the tunes had their own central idea, but our usually rushed time frame and a complete inability to edit left some ideas more enunciated than others, for example Jewels & Bullets was written in 10 minutes just before recording it at 4am on the last night of recording."

"Applecross Wing Commander is about being 9 and pretending you're an airplane (specifically the corsairs in Baa-ba Black Sheep with Robert Conrad...) at lunchtime. The Wing Commander's sister's name was Jane methinks... Once again there's fiction with the non. She Digs Her, Minor Byrd and Punkarella are about folks, but exacerbated versions of 'em; whenever the truth got in the way of Rusty's fills... the lyric would be forever changed! I mean, do you sleep on your dick? No, well don't step on the drummer!"

After rushing through recording the album, Tim was unsure about what the band had done. "When we finished making this album in seven days - it was pretty hazy at the end and totally amphetamine logic 'cause we had no time - I was freaking out, being a total arsehole," recalls Tim. "I went back to this loft we were staying at in New York, at six in the morning, and I was just crying all day. I couldn't believe it. I thought, 'I've totally fucked up this record, this is shit.' I spent the next three days at a bar called Boo Radley's on a bender."

Released in February 1995, Hi Fi Way was greeted with five-star reviews throughout the local music press and scored the band its second consecutive ARIA award for 'Best Alternative Album'. It is regarded as one of the greatest Australian albums of the '90s and a benchmark in Australian music.


http://www.mediafire.com/?3zuodbq1cp1

You Am I - #4 Record

You Am I returned to the rock for their fourth album, aptly titled You Am I's #4 Record. The album was recorded during July 1997, again in America at Hollywood's Sunset Studios, where the Rolling Stones' Exile on Main Street was mixed with sloppy perfection ("that's why we chose it" - Tim) in 1972. The band also brought in big-name producer George Drakoulias (Black Crowes, Primal Scream) who worked with the band previously on Trike and Opportunities for the international release of Hourly, Daily.

"We've never had anyone crack the whip before and we've so little patience for really nutting things through," says Tim, about working with Drakoulias. "Fifteen times through we go, 'yeah, let's record this' but the way they do things for that production quality, they wanted this clarity... really dissected arrangements. "When bands say, 'we're not going to be fucked around (by a producer)', I can appreciate that if they really know what they want. But I don't think we know what we want, we're not afraid to listen to someone else... and then slag them off in interviews for years."

The band were also afforded the luxury of recording with the Memphis Horns (who appeared on tracks such as Junk and Come Home Wit' Me) and members of US punk outfit The Muffs who belted out the chant "R.A.D.I.O." on Rumble.

The return to rock wasn't intentional, but more of a reaction to the bands life on the road during a gruelling year of festivals, ordinary support slots and desperate headlining affairs across Europe and the US.

"We finished Hourly, Daily so long ago and since played all these shows so we really felt like digging in and doing more rockin' material," Rogers explains, "That's what we're good at, doing entertaining shows rather than the sensitive singer-songwriter bit, which is more my thing. When the three of us get together it's like, let's make a racket. It's very special and very exciting. Gut level stuff."

"I honestly wanted to make an album that was just about real things," Rogers said "It's not vignettes to suburban heroes any more. It's about love and hate and spite and the whole gamut of emotions in between."

You Am I took it's place in the annals of Australian music history when #4 Record debuted at No. 1 on the national ARIA charts - their third consecutive album to do so.

http://www.mediafire.com/?7qexd9ikevi

Friday, January 11, 2008

The Acoustic Lounge - You Am I & Radiohead & Ben Lee




Three more different styles from my vault I could not find.













http://rapidshare.com/files/82989598/Acoustic_Lounge_-_You_Am_I__Radiohead__Ben_Lee.rar

Okkervil River - Don't Fall in Love with Everyone You See

Okkervil River is an indie rock band from Austin, Texas. Formed in 1998, the band's name comes from a short story by Russian author, Tatyana Tolstaya.

Thanks to peter

The band met recording engineer and producer Brian Beattie at their SXSW showcase on March 18, 2000 and soon agreed to make a record together. They spent much of the rest of that year working on Don't Fall in Love with Everyone You See. Warren moved to Berkeley, California in December and was replaced on drums by Mark Pedini.

By the time of that year's SXSW festival, Okkervil River had received interest in their new record from the Bloomington, Indiana-based record label Jagjaguwar. The record was released on Jagjaguwar on January 22, 2002.

Don't Fall in Love with Everyone You See is the name of the first full-length album from alternative folk-rock group, Okkervil River. Released on January 22, 2002 on the label Jagjaguwar, it contains the single, "Kansas City". Artist William Schaff, not to be confused with lead singer Will Sheff, designed the cover art. The album features an array of instruments including violin, pedal steel, mellotron, banjo, string and horn sections.

The mandolin ballad "Westfall" details the true story of two grotesque murders in Austin, Texas by college students. The song was written around the lines "They're looking for evil / Thinking they can trace it / But evil don't look like anything."

"Dead Dog Song" is an biographical account of the death and burial of lead singer Sheff's 14-year-old dog.

The lead track "Red" is about a female dancer who longs for her separated daughter.

http://rapidshare.com/files/82983156/Okkervil_River_-__Don_t_Fall_In_Love_With_Everyone_You_See.rar

Ups and Downs - Sleepless

This one for tricky, probably better than 'Watchful Eye' check out their cover of 'Solitary Man' one of my all time favourites

Also added the single ’Forming Colours’ …. Played support act to these guys more times than I can remember, great songs, great band, pity about the personalities and egos.

The band issued it's debut single Living Inside My Head on the Basketcase label in December 1984. Ups and Downs then issued a second single called Perfect Crime on Basketcase before venturing down to Sydney. The Waterfront label re-issued Perfect Crime in September 1985, by which time Ups and Downs had built-up a strong cult following on the Sydney inner-city music scene.

The bands second single on Waterfront, In The Shadows in April 1986, was a gorgeous slice of harmony-drenched guitar pop and one of the best independent singles for the year.

Ups and Downs signed a new deal with the True Tone label (through PolyGram) which resulted in the release of the mini-album SleeplessThe Living Kind. To coincide with the singles release, Ups and Downs supported US visitors The Flamin' Groovies on their Australian tour. in August 1986 and the single

http://rapidshare.com/files/82948502/Ups___Downs_-_Sleepless.rar

Hole - Ask For It

I admit it……. I like Hole, had a thing for Courtney….back when I was young and stupid, always liked bad girls…. the story of my life. This has an great version of ‘Doll Parts’ enjoy

Hole: Courtney Love (vocals, guitar); Eric Erlandson (guitar); Jill Emery (bass); Caroline Rue (drums). Principally recorded live at the Whiskey, Hollywood, California and for BBC Radio between November 1991 and March 1992.

With ASK FOR IT, Hole widens the gap between the dirge-like tangle of self-indulgence so evident on PRETTY ON THE INSIDE and the slicker, more confident band that churned out LIVE THROUGH THIS. The EP captures Hole with its initial rhythm section, drummer Carolyn Rue and bassist Jill Emery, and shows the enormous growth even that incarnation of the group had undergone.

More than either of the full-length albums, ASK FOR IT gives insight into Courtney Love's musical and geological past. Calling the Velvet Underground's "Pale Blue Eyes" the "original new waver" and putting enough force into The Wipers' "Over T
he Edge" to levitate a tank, the 1992-era Hole are brutal, sloppy and deadly. Their rendition of Beat Happening's "Hot Chocolate Boy" brings out Love's sarcasm to the forefront. On ASK FOR IT, her take on Olympia, Washington's punk scene and the yo-yo throwing innocence of Beat Happening is respectful--unlike the scathing "Olympia" which closes LIVE THROUGH THIS. And in the comparatively innocent demo versions of "Doll Parts" and "Violet" we see not only the strength of Hole Mach II, but a raw glimpse into Love's grim self-image--the uncensored cover art shows healing slit wrists, a Love design.

ASK FOR IT is an unflinching portrait of Courtney Love emerging as the Diva of Destruction; more importantly, it shows how Hole is a band. Not yet the drawn fist of LIVE THROUGH THIS, ASK FOR IT is a necessary snapshot of a band about to explode.

http://rapidshare.com/files/82958392/Hole_-_Ask_for_it.rar

Blackeyed Susans - Spin The Bottle

The first pressing of Blackeyed Susans' Spin the Bottle album, released in 1997.


Spin The Wheel (Kakulas)
I Am A Singer (Kakulas)
Everything I Touch (Kakulas/Box)
Smokin’ Johnny Cash (Kakulas/Snarski/Dawson)
Bottle Of Red (Kakulas)
Blue Skies, Blue Sea (Kakulas/Snarski)
Untitled (Kakulas)
You’re My Thrill (Gorney/Clare)
Sweeter Deal (Box/Snarski/Kakulas)
Look Away (Kakulas/Luscome/Snarski)
You’re A Good Doctor (Kakulas/Snarski/Halstead)

http://rapidshare.com/files/82971202/Blackeyed_Susans_-_Spin_The_Bottle.rar

Triffids - Live


This is a stunning live performance by the Triffids, with quite some rare tracks.

Tracks are :
1. This boy
2. Everybody has to eat
3. Embedded
4. Personal things
5. Mercy
6. Pleasure slide
7. Monkey on my back

8. Field of glass
9. Native bride
10. Dear miss lonely hearts
11. Jesus calling
12. Satisfied mind
13. Jack Frost
14. Ain't no sunshine
15. Property is condemned


http://rapidshare.com/files/83021536/Triffids_-_Live.rar

Pixies - Rough Diamonds

A European bootleg, widely regarded as the best on offer.

1. Levitate Me 2. Wild Honey Pie 3. Caribou 4. In Heaven 5. Dead 6. Tame 7. There Goes My Gun 8. Manta Ray 9. Down To The Well
10.
Into The White 11. Wave Of Mutilation 12. Monkey Gone To Heaven
13.
Allison 14. Wave Of Mutilation 15. Ana 16. Palace Of The Brine
17.
Letter To Memphis 18. Motorway To Roswell 19. Subbacultcha
20.
Build High 21. I Can't Forget 22. Born In Chicago

23. Velouria 24. Hang On To Your Ego 25. Is She Weird?
26.
Gigantic 27. River Euphrates 28. Tame 29. Down To The Well
30.
Rock A My Soul

Where and when: all songs are STUDIO versions
1-5: Maida Vale, Studio 4, 3/5/88 (4 tracks on Timeless Stars & B-side File)
6-9: Hippodrome Studio, London, 9/10/88
10-12: Maida Vale Studio 3, London, 16/4/89
13-16: Maida Vale Studio 5, London, 18/8/90

17-20: Maida Vale Studio 3, London, 23/6/91
21-22: Master Control Studio, Burbank, 9/91 (L. Cohen tribute version for 22)
23: Recording Co. Studio, Chicago, 7/90 (Rubaiyat compilation version)
24-26: Portastudio demo, Los Angeles, 6/90
27-28: Blackwing Studio, London, 2/5/88 (Gigantic ep versions)
29-31: Fort Apache Studio, Boston, 3/87
Length: 73:33 (31 songs)
Sound: from A to A+

finitely the best existing Pixies boot!
31 tracks, all studio versions, among which:
- 5 only can be found on officially released CDs (one very rare)

- 9 only can more or less easily be found on other boots, but usually with a worse sounding quality!
- 17 are exclusive to this CD!
Certainly all BBC sessions are there (the first 20 tracks!).
The overall sound quality is excellent, and many of the alternate versions are quite exceptional, e.g. Into The White, a version of Wave Of Mutilation between the original and the UK Surf ones, two early versions of Down To The Well, a crazy version of There Goes My Gun, a rough version of Is She Weird?, and many others.
RD is also the only record to feature a Pixies version of Hang On To Your Ego.


http://rapidshare.com/files/82912076/Pixies_-_Rough_Diamonds.rar

Not Drowning Waving - Tabaran

from cob

another follow-up with Not Drowning, Waving........ even found the album sleeve, enjoy.

http://www.mediafire.com/?82xxhwi42nm

The Early Hours - Evolution

Another Perth band in the 90's, with bowl haircuts, winkle pickers and jangling guitars ......... all good .... comparisons with the Power Pop in The Stems and DM3.

http://rapidshare.com/files/82896962/Early_Hours_-_Evolution.rar

Thursday, January 10, 2008

Blackeyed Susans - Black Sun & Hard Liquor Soft Music

What we have here are some very early cassette releases with David McComb singing. Good quality sound and great songs. Sorry no art work..... if you know where I can retrieve please let me know.... iTunes has a blank space.

The original line-up consisted of David McComb on vocals and guitar, Alsy MacDonald on drums (both of whom had been members of The Triffids), Phil Kakulas on bass guitar (an ex-member of Martha's Vineyard), Rob Snarski (ex-Chad's Tree) on vocals and guitar, and Ross Bolleter on organ and accordion.

They played eight gigs and recorded four songs before their 'day jobs' forced them to put the project on hold. The songs became their first EP, Some Births are Worse than Murders, released in 1990 on Waterfront Records. The record spent several weeks at number one on the independent charts in Australia.

By the time the EP was released the band had already undergone several incarnations. Not everyone took their holidays at the same time, so a floating lineup became an integral part of the band's character and appeal. Phil Kakulas left for Sydney with Martha's Vineyard . He was replaced by Martyn Casey (The Triffids). Ross Bolleter went to work in Japan, making his fortune playing piano in cocktail bars and restaurants. He was replaced by Adrian Wood. David McComb was present in the second lineup in 1989 before departing for England. He was replaced by Kim Salmon (The Scientists, Beasts of Bourbon, Kim Salmon and the Surrealists) on guitar and vocals in the summer of 1990. Martyn Casey departed shortly after to join Nick Cave and the Bad Seeds.

Black Sun

http://rapidshare.com/files/82732259/Blackeyed_Susans_-_Black_Sun.rar

This is Hard Liquor, Soft Music, a cassette album

Bird On A Wire (Cohen) – 04:10
Summer Leaves (Kelly) – 03:30
Life Has Its Little Ups And Downs (Rich) – 03:32
Lost Highway (Payne) – 03:10
Trouble (Kakulas/Rollinson) – 03:29
20/20 Vision (Allison/Estes) – 03:21
Happiness (Appel) – 03:40
Lonesome Town (Knight) – 03:23
Delta Dawn (Collins/Harvey) – 02:45
Ocean Of You (McComb) – 03:23
One Day At A Time – 02:41
In The Pines (McComb) – 03:06

http://rapidshare.com/files/82888698/Blackeyed_Susans_-__Hard_Liquor__Soft_Music.rar




Triffids - Raining Pleasure

thanks to bottlelow


The Triffids began in Perth, Western Australia in the late 1970s, partly in response to the punk rock movement. In 1976, David McComb and Allan 'Alsy' MacDonald wrote and performed songs with Phil Kakulas (currently in Blackeyed Susans), Andrew McGowan, Julian Douglas-Smith, and later Byron Sinclair, Will Akers and Margaret Gillard. Originally called Dalsy, they soon became known as Blök Music, Logic (for a day) and then The Triffids, (taking their name from the post-apocalyptic novel The Day of the Triffids). Writing in his diary as a teenager, David McComb traced the band's emergence in Perth:

"On the night of November 27, 1976, a tape was made by Alsy MacDonald, playing a single toy drum, and Dave McComb playing acoustic guitar. The multimedia group 'Dalsy' had come into being. Dalsy went on to make several remarkable tapes (mainly of original material): The Loft Tapes, Rock 'n' Roll Accountancy, Live at Ding Dongs, Bored Kids, Domestic Cosmos, People Are Strange Dalsy Are Stranger, Steve's and the seminal punk work, Pale Horse Have a Fit.… Dalsy did paintings, sculptures and poetry, and wrote a book named "Lunch". They were tinny and quirky, obsessive and manic, versatile and productive. They were also immensely unpopular.... The members of Dalsy grew to hate their audience. They still do, and this hate is an integral part of their music. Dalsy split up towards the end of 1977…. They launched into 1978 as Blok Musik, with their famous Blok Musik tape.… In April they played at the Leederville Town Hall Punk Fest, alongside Perth's punk rock contingent but, as usual, no one danced. After that they went home and metamorphosised into Logic. Within a day they changed their minds, and metamorphosised into the Triffids."

Their debut album Treeless Plain was released in November, 1983, an album completely out of tune with everything else going on in the Australian alternative music scene at the time. All of the songs for Treeless Plain were recorded over twelve midnight-to-dawn sessions at Emerald City Studios, Sydney in August and September 1983.

Their line-up stabilised to David McComb (vocals, guitar), his brother Robert McComb (guitar,violin), Jill Birt (keyboards), Alsy MacDonald (drums), Martyn P. Casey (bass) and 'Evil' Graham Lee (pedal steel, guitar).

Their next single, "Beautiful Waste" / "Property is Condemned" and the Raining Pleasure 12” EP were released in 1984. By this time the Triffids had spent so much time traveling the 3000 miles between the west and east coasts of Australia (David McComb estimated that they made this trip between 12 and 16 times) that they decided to travel that little bit further and headed to Europe.

In late August, 1984 the band flew to London with a small amount of savings and five return plane tickets scheduled to expire by Christmas. They gave themselves three months to make inroads in the UK. Appearing as a support act at their London debut at the LSE, they blew headliners The Monochrome Set off the stage. They succeeded to the point where they graced the first cover of 1985 of the influential UK magazine NME, which it predicted would be 'The Year Of the Triffids'.

http://rapidshare.com/files/82765003/Triffids_-_Raining_Pleasure.rar



Triffids - In The Pines

Thanks to bottlelow

In The Pines was recorded in April 1986 not long after Born Sandy Devotional was finally released in Australia. They went to a shearing shed in WA and spent five days recording on an 8 track machine. They stayed in the shearers' quarters, consumed shearers' rations of beer and sheep and made an album that surprised us all by becoming a favourite of many fans. While it represents Their equivalent of Dylan and The Band's Basement Tapes, it also served as a sketch book for their first major label release, Calenture.

http://rapidshare.com/files/82882369/The_Triffids_-_In_The_Pines.rar

Chills - SUBMARINE BELLS

The Chills: Martin Phillipps (vocals, guitar); Andrew Todd (keyboards, background vocals); Justin Harwood (bass, background vocals); James Stephenson (drums, percussion).

Additional personnel: Donna Savage (background vocals).

Recorded at Jacobs Studios Ltd., Surrey, England between August and October 1989.

New Zealand release. 1990

On SUBMARINE BELLS, Martin Phillipps and a yet another retooled Chills lineup make a bid for commercial acceptance. Gary Smith's detailed, atmospheric production is far more radio-friendly than that of previous records, and the gorgeous, appropriately titled lead track, "Heavenly Pop Hit," seems to indicate a desire for airplay. But when the chorus rolls around, and Phillipps sings "it's a heavenly pop hit/if anyone wants it," it is clear that he is wary about mainstream appeal. An uncompromising songwriter, Phillipps writes with honesty and vulnerability, hardly the formula for mass adulation.


Phillipps is nothing if not ambitious-lyrically, compositionally, and thematically. A water leitmotif defines the record, culminating in the tragic title track, a poetic declaration of love from a drowning man, that closes the record. But this is a record of many moods, from the dark melancholy of "Don't Be Memory" and the revved-up fury of "Familiarity Breeds Contempt" to the lapidary beauty of "I Soar" and the exquisite "Effloresce And Deliquesce."

http://rapidshare.com/files/82850634/Chills__The_-_Submarine_Bells.rar

David McComb - Love of Will


Love of Will is the debut solo album by David McComb, released in March, 1994. The album was recorded and mixed between June and August, 1993, at Platnium Studios with additional mixing at Metropolis and Sing Sing Studios. McComb selected 13 songs out of a pile of 35 and recorded them at Platinum Studios, Melbourne with producer Nick Mainsbridge, together with freelance musical directors Graham Lee and David McComb, and assistant engineers Kalju Tonuma and Phil Jones.

http://rapidshare.com/files/82725928/McComb__David_-_Love_of_Will.rar

Triffids - Goodbye

This was the first single from the Black Swan, here presented with the three extra tracks on the cd-single.

Note that this version is different from the black swan version : it was remixed by Stephen Street and the lyrics were censored (Jill is so damn tired instead of so fu*in' tired).

1. Goodbye little boy
2. Go home Eddie
3. Shell of the man
4. You minus me

http://rapidshare.com/files/82702364/Triffids_-_Goodbye.rar

Not Drowning,Waving - Cold and the Crackle

another follow-up from cob

Cold and the Crackle (1987; re-released in 1991 and 2006)

http://www.mediafire.com/?5yty2zx3mnm

The Hitmen - It Is What It Is

a follow-up from cob

The Hitmen were an Australian indie rock band. The group went through a large number of lineup changes in its short late 1970s and early 1980s run, then regrouped under a new name, The Hitmen DTK, between 1989 and 1992. 'It Is What It Is' is a 1982 studio recording.

http://www.mediafire.com/?12nvi9hjyev

Ed Kuepper - Today Wonder

He co-founded the seminal punk band The Saints, the experimental post-punk group The Laughing Clowns and later the grunge-like The Aints. He has also recorded over a dozen albums in his own name with a variety of backing bands, notably Ed Kuepper and the Yard Goes On Forever, Ed Kuepper and his Oxley Creek Playboys, Ed Kuepper and The Institute Of Nude Wrestling, The Exploding Universe of Ed Kuepper, Ed Kuepper and the New Imperialists and presently Ed Kuepper and the Kowalski Collective.

Today Wonder is a West German import. Song list: 01. Horse Under Water; 02. Always The Woman Pays; 03. Everything I've Got Belongs To You; 04. What You Don't Know; 05. I'd Rather Be The Devil; 06. There's Nothing Natural; 07. Medley (Today Wonder, Hey Gyp, White Houses); 08. Pretty Mary; 09. Eternally Yours; 10. If I Were A Carpenter.

Disc 1

http://rapidshare.com/files/82632600/Kuepper__Ed_-_Today_Wonder_d1_.rar

Disc 2

http://rapidshare.com/files/82662775/Kuepper__Ed_-_Today_Wonder_d2_.rar

Disc 3

http://rapidshare.com/files/82694805/Kuepper__Ed_-_Today_Wonder_d3_.rar

Prefab Sprout

Prefab Sprout were an English pop band from Witton Gilbert, County Durham, who rose to moderate fame during the 1980s. Critically acclaimed and considered by many to have released some of the best pop albums of the decade, the band never became part of the mainstream, but saw moderate commercial success.

Swoon is the first album by English pop band Prefab Sprout, released in March 1984. It has a markedly different, and less accessible, musical feel than their later works, featuring intricate guitar-based compositions that drew comparisons with Steely Dan and Aztec Camera.

Swoon(1984)

http://www.mediafire.com/?9mibzcg9nxe

Protest Songs is the fourth album by English pop band Prefab Sprout (though the third recorded). It was recorded in 1985, but was not released until 1989. Its delayed release was due to the surprise success of the song "The King of Rock 'n' Roll", prompting the band's record label to release From Langley Park to Memphis first to avoid confusing the public. The back cover of Protest Songs emphasizes the fact that the album is a stage in their musical evolution, offering a middle ground between the sound of 1985's Steve McQueen and that of From Langley Park to Memphis.

Protest Songs(1985)

http://www.mediafire.com/?2itmonxydbi

Jordan: The Comeback is the fifth album by English pop band Prefab Sprout, released in August 1990. Jordan: The Comeback showed Prefab Sprout continuing their musical evolution from the prickly jangle guitars of Swoon, their debut. The use of synths is more prominent, lending the album a poppier feel, and Paddy McAloon explores other genres on some songs, from samba to doo wop. The album was critically acclaimed: it was nominated for Best Album at the Brit Awards, and reached #7 on the charts in the UK. It was--by Prefab Sprout's admittedly modest standards--a commercial success.

Jordon: The Comeback(1990)

http://www.mediafire.com/?9mlndmlitcx

David McComb - Setting You Free

Loved his music, I have nothing but respect for what he accomplished.....

David Richard McComb, (February 17, 1962February 2, 1999) was an Australian rock musician. He was the singer-songwriter of a prominent Australian post-punk band, The Triffids. He recorded with the Blackeyed Susans, completed a solo album, Love of Will, for Mushroom Records, and undertook a solo tour of Europe with his backing band, The Red Ponies.

McComb suffered from back pain which worsened over the years. He also struggled with alcoholism, and amphetamine and heroin abuse, which greatly affected his health. He developed cardiomyopathy, a heart condition that, when found in young men, is most commonly induced by alcoholism. In 1996, he underwent a successful heart transplant, but continued his drinking and drug use. In January 1999 he was driving a car which was involved in a collision. He was hospitalized overnight and released with bruising. A few days later he died at home, on February 2, 1999 just before his 37th birthday. In February 2000, after the State Coroner of Victoria finally published his findings, The West Australian newspaper wrote: "Mr Johnstone [the Coroner] said McComb's mental and physical condition had deteriorated after his accident but his death was due to heroin toxicity and mild acute rejection of his 1996 heart transplant."

Love of Will is the debut solo album by David McComb, released in March, 1994. The album was recorded and mixed between June and August, 1993, at Platnium Studios with additional mixing at Metropolis and Sing Sing Studios. McComb selected 13 songs out of a pile of 35 and recorded them at Platinum Studios, Melbourne with producer Nick Mainsbridge, together with freelance musical directors Graham Lee and David McComb, and assistant engineers Kalju Tonuma and Phil Jones.

Here we have the single ‘Setting You Free’, with four non-album B-sides. "I've heard things turn out this way" also appears on the The Message CD single.

Tracks are :
1. Setting you free
2. Home for fallen angels
3. You've got a funny way of showing you love me
4. My friend sleep

5. I've heard things turn out this way

http://rapidshare.com/files/82653038/McComb__David_-_Setting_You_Free.rar


Screaming Tribesmen - Formaldehyde


There's nothing tribal about the sound of these Aussies, and they don't scream either. Their music is full of pop-song harmonies, including "oohh" and "ahh" background singing, jangle chords and repeated refrains. From beginnings as a post-Ramones punky ensemble (on the first four-track EP), they've gone through an assortment of members and sonic textures but all of their releases have been exercises in good old pop-rock.

I found this a couple of days ago, can't find any reference to this disc....... searched the web sites ..... nothing.
No matter, always liked The Tribesmen.... and I like this record. It may be an overseas release or rare addition here!!!!!

http://rapidshare.com/files/82606340/Screaming_Tribesmen-Formaldehyde.rar

Grant Lee Buffalo - Fuzzy & Mighty Joe Moon

cheers to time bandit

Grant Lee Buffalo was a Los Angeles-based rock band, consisting of Grant-Lee Phillips (vocals and guitar), Paul Kimble (bass) and Joey Peters (drums). All three were previously members of another LA band, Shiva Burlesque. As GLB, they released four albums: Fuzzy (1993), Mighty Joe Moon (1994), Copperopolis (1996) and Jubilee (1998). In the United States, the band may perhaps best be remembered for their 1998 single, “Truly, Truly,” which received extensive airplay.

Fuzzy (1993)

http://rapidshare.com/files/82480951/Grant_Lee_Buffalo_-_1993_F_uzzy.rar

Grant Lee Buffalo had an Americana-tinged sound, clearly influenced by the likes of Neil Young and elements of old-fashioned country music, and often tackled political and social issues in their lyrics (for example, "Lone Star Song" from Mighty Joe Moon references the infamous Waco siege). They toured with major bands of the early-to-mid 1990s such as R.E.M., Pearl Jam and the Smashing Pumpkins.

Mighty Joe Moon (1994)

http://rapidshare.com/files/82498870/Grant_Lee_Buffalo_-_Mighty_Joe_Moon.rar

Various Artists - Citadel Singles(Take Everything, Leave Nothing)

The best Australian bands on the best Australian record label in the 80's. What more can you ask for? Just check out the track list and make up your own mind. As far as compilation records go, I can think of none better. I can remember buying this and then playing it over and over and over. The record sleeve looks like the cover of an Isaac Asimov book. One classic record.

1. Voodoo Slaves - Minuteman 2. Crying Sun - New Race 3. 100 Fools - Deniz Tek 4. Euro Girls - The Visitors 5. Make You Mine - The Stems 6. Igloo - Screaming Tribesmen 7. Love Will Grow - The Stems 8. Venus in Leather - The Trilobites 9. Another Day In The Sun - The Moffs 10. Frozen World - Angie Pepper 11. Like A Curse - The New Christs 12. Out Of The Unknown - Died Pretty 13. Stoneage Cinderella - Died Pretty 14. What's the News Today - Fixed Up 15. It's My Time - The Someloves 16. Boobalooba Beach - The Stonefish 17. Legacy Of Morons - The Trilobites 18. Born Out Of Time - The New Christs 19. Born Killer - The Bamboos 20. Clean Your Eyes - Meera Atkinson 21. The Hands Have Control - Porcelain Bus 22. Sailor's Dream - The Wet Taxis 23. Final Twist - Died Pretty

Disc 1

http://rapidshare.com/files/82529250/Take_Everything_-_Leave_Nothing_VA-1.rar

Disc 2

http://rapidshare.com/files/82544735/Take_Everything_-_Leave_Nothing_VA-2.rar

Wednesday, January 9, 2008

Paramore - All We Know Is Falling & Riot

Paramore American pop rock band that formed in Franklin, Tennessee in 2004. After several lineup changes, Paramore now primarily consists of Hayley Williams (lead vocals/keyboard), Josh Farro (lead guitar/backing vocals), Jeremy Davis (bass), and Zac Farro (drums).

Influenced by the likes of Jimmy Eat World and Sunny Day Real Estate, frontwoman Hayley Williams and lead guitarist Josh Farro are the group's primary songwriters. In 2005, the group released their debut album All We Know Is Falling, gaining a fanbase through touring and internet promotion of the singles "Pressure" and "Emergency". By 2007, the band gained mainstream notoriety with their second album Riot!. The first single, "Misery Business", has received wide radio airplay and allowed for MTV to feature the band in Artist of the Week segments during August 2007. With their early success, much attention is paid to the young age of the band members; their ages range from 17 to 22.

All We Know Is Falling (2005) is the debut album of Fueled by Ramen band Paramore. It was recorded in just three weeks. In September 2005, a special Japanese release containing the previously unreleased "O Star" was made available. In April 2006, the CD was put on shelves in the UK. The album has so far reached a peak of #8 in the UK Rock Chart. The album has also reached #30 on the Billboard's Heatseekers Chart, although failing to chart on the Billboard 200. To date, the album has managed to sell 232,235 copies in the United States

http://www.mediafire.com/?cjftmlhjeod

Riot! is the second studio album from the band Paramore, and was released in the United States on June 12, 2007 and in the United Kingdom on June 25, 2007. The album was recorded in New Jersey with producer David Bendeth. The band decided to call the album Riot! because they liked its definition: "A sudden outburst of uncontrolled emotion”.

Riot! sold 42,000 albums in the U.S. in its first week, debuting at number #20 on the Billboard 200. Nearly 3 months later, it rose to #15 for the Billboard week dated September 1, 2007. That same week, the lead single, "Misery Business" rose to #34 as a re-entry on the Hot 100.

Riot! also achieved some success in the UK reaching #24 on the albums chart. The album has sold 446,883 copies in the United States.

http://www.mediafire.com/?6nldjzmlnyo

New Pornographers - Challengers

The New Pornographers: Neko Case (vocals); Danny Bejar (guitars); John Collins (baritone guitar); Todd Fancey (banjo); Kathryn Calder (piano); Blaine Thurier (Fender Rhodes piano); A.C. Newman (bass guitar); Kurt Dahle (drums).

Additional personnel: Phil Palazzolo (guitar); Eileen Gannon (harp); Tara Szczygielski, Olivier Manchon (violin); Marla Hansen (viola); Benjamin D. Kalb (cello); Leslie Kubicka (flute); Brendan Ryan (accordion); Alan Hampton (double bass).

One of the many things that make the New Pornographers an excellent band is their ability to turn power pop, a genre characterized by its bubblegum orthodoxy and instant appeal into complex, durable art. The Vancouver collective comprising several singer-songwriters with solo careers of their own successfully mined this territory over their first three albums; their fourth finds them delving deeper. 2007's CHALLENGERS brims with the band's usual sterling melodies and meticulous songcraft, while expanding their range sonically and conceptually.

With "My Right Versus Yours" and "All the Old Showstoppers," among others, primary songwriter A.C. Newman pens some of the album's best tunes, striking a fine balance between pop directness and heady unpredictability. Dan Bejar's tracks contrast Newman's with their dark, glam-tinged eccentricity (best track for me "Myriad Harbor" can’t stop humming the chorus). As usual, the angelic voice of alt-country singer Neko Case plays a starring role; her treatment of the title cut is one of CHALLENGERS' highlights. All this variety mixes with an intriguing instrumental palette (Farfisa organ, strings, harp), and the usual blast of guitars, harmonies, and infectious hooks, to create an album that invites and rewards repeated listening.

http://rapidshare.com/files/82455928/New_Poorographies__The_-_Challen_07.rar

Not Drowning, Waving - Claim

thanks to cob

Not Drowning, Waving were a musical group formed in Melbourne, Australia in 1983 (though they first performed as a group in 1984) by David Bridie and John Phillips. Their music combined elements of rock, ambient music and world music; their lyrics dealt with characteristically Australian topic: word-pictures of landscapes and people, the seasons, and some political issues (such as Indonesia's invasion of East Timor). Their name is derived from Stevie Smith's poem "Not Waving but Drowning". This is their 1998 release ‘Claim’.

In cavernous beer barns across Australia, sweat and smoke condensed on ceilings and rained down on t-shirted blokes, crushed like fish in cans, desperately shielding foamy glasses from stray elbows. In front of them, bands flailed away at four-square guitar anthems. Lights blinded. Amps sucked electricity until the grid buckled. Singers shouted to be heard. It was loud. It had to be. In the early 1980s, they were always, always trying to drown out the noise from the bar.

Not Drowning, Waving arrived with other ideas. Why not play in places that didn't fit the description? Why not write songs with texture and space as well as melody and rhythm? Songs with colours from the non-rock palette: piano, violin, cello, harmonium and a whole library of things that go clack and thud when you hit them? And why not turn for inspiration to places generally overlooked, from the acoustic and electronic lines of old Europe to the indigenous atmospherics of this country and the islands that surround us?

The band's high water marks Claim seemed to draw together the strands that had come before, boosted by steel-eyed confidence and an evolving songwriting poise. Rolling Stone named it Album Of The Year. Comparisons were drawn to the likes of Peter Gabriel and David Byrne, both of whom were already fans. Acclaim poured in from offshore. A contract was signed with Warner Bros in New York, inspiring the local office soon after.

Not Drowning, Waving broke up in 1994; some of the members (including Bridie and cellist Helen Mountford) went on to form My Friend The Chocolate Cake.

In 2005, Not Drowning, Waving resurfaced with a performance at the 2005 WOMADelaide festival.

http://www.mediafire.com/?6g0hyng1d4d

Sebadoh - The Freed Man & Sedadoh III

Sebadoh is an indie rock band formed in Westfield, Massachusetts by Eric Gaffney and former Dinosaur Jr bass player Lou Barlow. Along with such bands as Pavement and Guided by Voices, Sebadoh helped pioneer lo-fi music, a style of indie rock characterized by low-fidelity recording techniques, often on four-track machines. The band's early output, such as 1990's Weed Forestin' and 1991's Sebadoh III, was typical of this style, and wavered between Barlow's wry, introspective folk and Gaffney's psychedelic noise-rock experiments.

Lou Barlow was the bass player for alternative rock band Dinosaur Jr in the late 1980s. While both Barlow and leader J Mascis wrote songs, Mascis' material dominated the group's output because Barlow was intimidated by the guitarist's songwriting efforts. Barlow spent progressively more time recording his own songs at home. Barlow and Gaffney released the Weed Forestin' cassette in 1987 on Homestead Records under the name Sebadoh, which was a nonsense word Barlow often muttered in his recordings. Both Barlow and Gaffney contributed songs to 1988's The Freed Man cassette. Homestead Records head Gerard Cosloy heard the cassette release of The Freed Man and released it as a full-length album on Homestead in 1989. Soon after the cassette's release Barlow was kicked out of Dinosaur Jr. Over time Sebadoh's releases became a way for Barlow to address the issues of control that manifested as the tension in and his ejection from Dinosaur Jr; Barlow said "I got a lot of hatred out just by writing those songs."

The Freed Man was the debut album by Sebadoh. The title refers to the Friedman Complex apartments at Smith College where Lou Barlow was living with his then-girlfriend Kathleen Billus. As Barlow says in the liner notes, "... we named our first co-headlining tape after the Friedman dormitory where we both were living against regulations, with our girlfriends on the Smith (all women's) College campus .."

The Freed Man

http://rapidshare.com/files/82380941/Sebadoh_-_FreedMan_1.rar

III (or Sebadoh III) is the third album by Sebadoh, released in 1991. Most of the recording was done using a 4-track, which gives the album a characteristic lo-fi sound.

Sedadoh III

http://rapidshare.com/files/82389988/Sebadoh_-_III.rar

The Triffids - Treeless Plain


A major influence on the group's sound was their geographical location. Isolated on the west coast of Australia, Perth backs on to a huge, empty desert that infused The Triffids' early work with a feeling of emptiness and loneliness.

Their debut album Treeless Plain was released in November, 1983, an album completely out of tune with everything else going on in the Australian alternative music scene at the time. All of the songs for Treeless Plain were recorded over twelve midnight-to-dawn sessions at Emerald City Studios, Sydney in August and September 1983.

Their line-up stabilised to David McComb (vocals, guitar), his brother Robert McComb (guitar,violin), Jill Birt (keyboards), Alsy MacDonald (drums), Martyn P. Casey (bass) and 'Evil' Graham Lee (pedal steel, guitar).

http://rapidshare.com/files/82354760/Triffids__The_-_Treeless_Plain.rar

Tuesday, January 8, 2008

The Smashing Pumpkins - American Gothic


a tricky offering


The best thing Billy and his cohorts have presented in a long, long time. It's no secret that in the past Gorgan has played 90% of all the guitar and bass parts in their studio releases, here we have distinctive Corgan riffs via an acoustic guitar. The rest of the sound is 'amplified' so not really an 'acoustic' recording. A really good EP here.....it's been a while, but worth the wait.


American Gothicis an EP by The Smashing Pumpkins. The EP was announced on the band's website on December 19, 2007 with songwriter Billy Corgan describing it as a continuation of the their 2007 album Zeitgeist.
After playing "Rose March" in Los Angeles in late 2006 at an event organized by Pete Townshend's girlfriend, Corgan was asked by Townshend himself if the song was going to be on Zeitgeist. While the song did not make the album, Corgan always planned to release it in some form, resulting in its appearance on American Gothic.

The EP includes four unreleased tracks recorded in the late 2007 break between tours at the Pass Studio in Los Angeles. In the United States, the EP was released as an exclusive digital release for the iTunes Music Store as part of a re-release of Zeitgeist, but it will receive a physical release internationally.

Corgan said of the EP,

I had written a bunch of material during the residencies in Asheville and San Francisco [earlier this year], and fans kept asking us if we were gonna put any of that stuff out. iTunes came to us wanting to do something together, so it just felt right.

Corgan also made high-resolution artwork for the EP available for download through the band's website.

http://www.mediafire.com/?cojx2wn329l

Cruel Sea - Rock n' Roll Duds

thanks to bottelow

released in 2004, B sides, live tracks, a Queen cover, by now the end was in sight for The Cruel Sea..still a good album...... the boys being 'dudes'

http://rapidshare.com/files/82250225/The_Cruel_Sea_-_Rock__n_Roll_Duds.rar

Died Pretty - Usin My Gills As A Road Map

thanks to bottelow

Have I mentioned how much I dig this band? Dark, brooding, intense, powerful... yet beautiful and melodic in voice and music. 'Using My Gills As Road Map' was true to the spirit of the bands original aspirations - a left field excursion. Produced by Wayne Connolly and the band, it explores aural textures and landscapes that are a first for the group. Samples, minimal guitars, and new technology were in obvious evidence. It also fielded the single, 'Radio', one of many fine releases over the years.

On a different track I've listened to the new Birdman album and heard the live recodings of their recent tour of Australia and personally I would love to hear Ronnie singing with Radio Birdman.

http://rapidshare.com/files/82288921/Died_Pretty_-_1998_-_Using_My_Gills_as_a_Roadmap.rar\

Louis Tillet - Ego Tripping at The Gates of Hell

Throughout the 1980s and 1990s LOUIS TILLETT provided a commanding and distinctive presence on the Australian alternative music scene. He was a softly spoken individual, yet it was his rich baritone singing voice (once described as “burning like a deep wound… like it’s oozing from the cracks of a tomb”), characteristic keyboard technique and exceptional song writing skills that earned him a reputation as an artist of considerable imagination, authority and conviction, and as a sideman of redoubtable stature. In addition to leading groups like the Wet Taxis, Paris Green and the Aspersion Caste, his work as a backing musician with Catfish, Ed Kuepper, the New Christs and Tex Perkins kept him firmly in the public eye. Louis’s first band, the Wet Taxis, commenced life as an experimental outfit in the manner of fellow Sydneysiders Severed Heads and Scattered Order before taking on a tougher 1960s-influenced direction. Their classic debut single on the Hot label, ‘C’mon’ (1984), boasted an authentic garage/R&B sound heavily influenced by such American garage/punk bands as the Moving Sidewalks, We the People and the Chocolate Watchband plus legendary Australian group the Atlantics (who originally issued the song as ‘Come On’ in 1967). Alongside the likes of Died Pretty, the Celibate Rifles, the Lime Spiders, the New Christs, the Hoodoo Gurus and the Eastern Dark, the Wet Taxis came to epitomise the Australian garage rock sound and aesthetic of the 1980s. The band’s only album was the appropriately named From the Archives (Hot, 1984). The 1960s garage rock sound served the Wet Taxis well, yet Louis was constantly in search of new musical terrain to explore. This led him to the acoustic-based No Dance side project with Died Pretty’s Brett Myers and Celibate Rifles’ Damien Lovelock (one EP, ‘Carnival of Souls’ in 1984) and the improvisational jazz/blues-influenced Paris Green ensemble which covered material ranging from Mose Allison and John Coltrane to Ray Charles. Following the release of the Wet Taxis single ‘Sailor’s Dream’ on the Citadel label (1987), Louis folded the band and immediately recorded his debut solo album Ego Tripping at the Gates of Hell with support from a stellar array of local musicians including guitarist Charlie Owen and drummer Louis Burdett. The album relied upon a brooding intensity for its emotional effect, yet there was always a lighter more positive side as displayed on tracks like ‘Trip to Kalu-Ki-Bar’.His next band the Aspersion Caste included Owen, Burdett, ex-Wet Taxis guitarist Penny Ikinger and a powerful horn section and was heard on A Cast of Aspersions (1990) and its astonishing single ‘Condemned to Live’. A Cast of Aspersions was an eclectic and potent exploration of mood and emotions driven by Louis’s booming baritone voice and smouldering organ, jagged guitar lines and the swinging brass arrangements. Louis kept the Aspersion Caste on the road (including performances in Europe and New York) until 1992 when he recorded his next solo album Letters to a Dream. In 1995, he collaborated with Owen on the album Midnight Rain before they joined Ken Gormly and Jim Elliot (from the Cruel Sea) as backing musicians for Tex Perkins, on tour to promote his 1996 solo album Far be it From Me. Louis released his last album, Cry against the Faith, in 1999. As well as travelling overseas and succumbing to bouts of ill-health due to his well-publicised battle with alcoholism, he continued to put in occasional live performances around Sydney (often with help from Gormly and Elliot). An ABC-TV documentary produced a few years ago on the man, A Night at Sea, provided rare insight into his role as a performer and his struggles with personal demons. He has now emerged in 2005 with renewed vigour. All of which brings us to his new album, The Hanged Man, an exemplary return to form and a solo release in the truest sense. Louis recorded The Hanged Man in Bangkok, Thailand in July 2004 with a local engineer called O, and it focuses squarely on his skills as a song writer, producer, singer and multi-instrumentalist par excellence – a remarkable achievement from a remarkable musician. The deep connection to the blues/jazz/swamp rock feel essential to his sound has remained, yet there is so much more. One only has to listen to the nine brilliant tracks to hear the emotional outpouring on offer here. Louis has opened his heart and soul, faced down his demons and overcome his fears in the most cathartic way – song writing and recording as personal therapy. With lyric lines throughout the album as compelling and insightful as the following: “… shows me the journey I must make” (‘Ocean Bound’)“… I now have some hope, this will keep me afloat” (‘Four Walls’)“… the main thing I want is these voices to stop” (‘Through the Dream’)“… I pray for redemption and hope for a sign” (‘Prayer Before Dawn’)“… it all seems to go away with the start of a brand new day” (‘Around You’)“… I’m looking high I’m looking low, now it’s clear what I must do” (‘It’s Alright Now’)and “… a dream fulfilled, a love rebuilt… I’ve returned to a perfect friend, the journey’s end” (‘Teary Eyes’)…this is Louis embracing the very joyousness of a bright future. The Hanged Man features music as vital, beautiful, emotional and uncompromising as any in the history of Australian rock. Take the time to accept this incredible musician and his art.

http://rapidshare.com/files/82374562/Louis_Tillett_-___1987__ego_tripping_at_the_gates_of_hell.rar

Sacred Cowboys - Nothing Grows In Texas

Sacred Cowboys are an Australian post-punk rock band based in Melbourne and active in 1982-85, 1987-97 and since 2006.


The Sacred Cowboys' lead singer and lyricist is Garry Gray. The current line-up includes: Spencer Jones (guitar); Penny Ikinger (guitar); Nick Rischbieth (bass) and; Stephan Fiddock (drums). A special guest for August 2006 shows was Ash Wednesday (keyboards). Past members include: Johnny Crash (drums) andMark Ferrie (bass) who were both previously members of Melbourne pop band The Models; Terry Doolan (guitar); Andrew Picouleau (bass); and Ian Forrest (keyboards). Rischbieth joined the group in 1983 and
Fiddock in 1987.

Gray was previously a member of The Reals (1975-76) and The Negatives (1977-79) and is the only constant in the band's history.

The Sacred Cowboys began playing inner city Melbourne in early 1982. Gray and Mark Ferrie thought of the name after viewing an episode of Get Smart, from the episode where the Groovy Guru and his band the Sacred Cows set out to subvert America's youth with psychedelic music. (The same episode was the impsiration for the Hoodoo Gurus song "In The Echo Chamber" and Painters and Dockers covered Groovy Guru's "Kill Kill Kill".)

Within six months, the Cowboys signed with Mushroom Records/White Label and recorded the "Nothing Grows In Texas" single, mark I also released a second single, a cover of Alex Chilton's "Bangkok".

After their performance of the song on television pop show Countdown, Molly Meldrum said: "this is the worst group I've seen in five years", a title the band would wear with perverse pride.

http://rapidshare.com/files/82036224/SACRED_COWBOYS.rar

Dream Syndicate


thanks to hank

Out Of The Grey (1986), was the 3rd album by influential Los Angeles band The Dream Syndicate. The album included "Boston," one of the band's best known songs. Reminiscent of Neil Young's neurotic country-rock; but Wynn was still the only songwriter capable of making his lyrics bleed.

Out Of The Grey

Disc 1

http://rapidshare.com/files/81946768/Dream_Syndicate_-_Out_Of_The_GreyPart1.rar

Disc 2

http://rapidshare.com/files/81954315/Dseam_Syndicate_-_Out_Of_The_GreyPart2.rar

Ghost Stories (1988) closed the semicircle by almost embracing R.E.M.'s folk-rock. The combination of abrasive guitars, dramatic tension and crude realism coined a language that would inspire countless bands.

Disc 1

http://rapidshare.com/files/81974920/Dream_Syndicate__-_Ghost_StoriesPart1.rar

Disc 2

http://rapidshare.com/files/81984553/Dream_Syndicate__-_Ghost_StoriesPart2.rar

The Day Before Wine and Roses (1995)

Release in 1995, a collection of unreleased studio sessions, and The Day Befor

e Wine and Roses, a live radio performance recorded just prior to the release of the band's first album.

http://rapidshare.com/files/82013663/Dream_Syndicate_-_Day_Before_Wine___Roses.rar






Three & a Half - The Lost Tapes

http://rapidshare.com/files/82227126/Dream_Syndicate-three_and_a_half_-_the_lost_tapes__1985-1988_.rar




Opal - Early Recordings One & Two

Thanks to ken

Early Recordings Volume 1

http://www.mediafire.com/?dgrzg0923ix


Early Recordings Volume 2

http://www.mediafire.com/?7ym5aj9zyzm

The Long Ryders - The End Of The Trail



from hank and ken

http://www.mediafire.com/?7njj5denjmo

Monday, January 7, 2008

The Moffs - Collection


from tricky.... for Paolo in Spain

Gives me great pleasure to introduce The Moffs, a 'one of a kind' band. Saw these guys play many times never disappointing always memorizing. Truly unique in Australia in the 80's. Probably best remembered for 'Another Day In The Sun', check out the single cover. They produced some of the best recor
d sleeve art of the decade.We have three studio records and a live show for you. Sit back, zone out and enjoy The Moffs.

Influenced by bands like Pink Floyd (Piper at the Gates of Dawn in particular), King Crimson, early Yardbirds, the Byrds, the Beatles and various blues & psychedelic bands and artists from the '60's, the Moffs, a Sydney band, were around from 1983 to 1989 and they released a whole lot of vinyl on the Citadel label. Their shows were wonderfully laid back - you could easily sit on the floor with your eyes closed and just groove along to their music, or you could take a whole lot of illicit substances and REALLY get into it. They were surreal, atmospheric and groovy; think of jangly guitars, bass guitar octave runs, Farfisa organs and the occasional bells and chimes.

They played mainly at inner-city Sydney venues like the Trade Union Club, the Strawberry Hills, the Paddington Green, the Hopetoun and the Lansdowne, which were the cornerstone of all good live indie music in Sydney in the 1980's.

The first line-up included Tom Kazas, Smiley Byrnes, Nick (Chesh) Potts on keyboards/harmonica and Brandon Saul.They played their first gig at a party called "Freakout" at the notorius 181 Campbell St, Redfern. However at some stage, Alan joined the Moffs to play drums. Apparently, this line-up met through Nick, who knew Alan through Suicidal Flowers, a long-standing band that played intermittently though the 1980's. He met Tom and Smiley through the Sydney mod scene. At the time, Tom was studying philosophy at the University of New South Wales.

Their first demo tape called "11 to 5", which is impossible to get, contained gems like 'Tombstone!', 'Confusion', 'Horto' and a version of the Beatles 'Tomorrow Never Knows'.

'11 to 5'

http://rapidshare.com/files/82132460/Moffs_-_The_First_Tape.rar

The band were doing gigs around Sydney and Lismore, and being managed by Greg "Quick" Squirl. Greg Kasch mixed at some of these early gigs.One of the most intriguing thing about the band at this time was undoubtably their haircuts! In photos of this time, Nick, Smiley and Alan all have their eyes totally obscured by thick fringes (think - outgrown Brian Jones haircuts)!

When they started to move away from the bluesier style of music, Nick moved onto No Man's Land (another 80's Sydney band that features a scary-looking singer with masses of hair-sprayed black hair called Dave Slade and current Celibate Rifles bass player, Jim Leone as well as stints with Suicidal Flowers. He was replaced by Mick Duncan who had previously been in No Man's Land.

In 1985, this line-up released a classic 5 track EP simply called The Moffs

The Moffs

http://rapidshare.com/files/82101865/moffs_-_same__a_lian_great_heavy_neo-psych_1985_.rar

Damon left and began to do stints with Suicidal Flowers and the final line-up was formed, which was the most stable and included Tom, Smiley, Andrew and keyboardist Scott Barnes. They released a 7" single (black and white sleeve)

The Traveller / Quaker's Drum and an LP Labyrinth (December 1987)

Labyrinth is a classic psychedelic and atmospheric album that should have been a hit but never quite got there. Songs like "Stealing Cake (to eat the moon)" and "Tapestry" should have been on movie soundtracks with a back-drop of an old, dark country mansion at sunset. The songs on "Labyrinth" consist of layers of sound that have been carefully crafted to achieve what still stands up well in 1998.

Entomology - Collection of hits and b sides

http://rapidshare.com/files/82129776/Moffs_-_Entomology.rar

The Moffs played shows for a few more years and eventually stopped playing as a band. In 1994, a compilation CD called "Psychedelicatessen" was released, which included 13 tracks from previously released vinyl and an unreleased track recorded in 1987.

live at the trade union hall Sydney 04.04.87

http://rapidshare.com/files/82164350/Moffs_-_Live_1987.rar

Cruel Sea

thanks to cob

By bringing together two very different influences, almost like adding oil to water, the Cruel Sea created a style of rock which extended Australian rock & roll culture and, at the same time, made them one of the most successful Australian groups of the '90s.

It started as an idea guitarist Danny Rumour had carried with him since his days in punk rock bands. As a regular at a Sydney pub, whenever a band cancelled or there was no gig on, Rumour would jump on stage with a few local musicians and play an instrumental set using equipment the hotel kept in a back room. People always loved it whenever it happened and when Rumour's group Sekret Sekret split up after seven years, he decided to explore the idea with a permanent group. The new group the Cruel Sea took its name from a Ventures instrumental from the '60s.

The instrumentals-only Cruel Sea played its first gigs in 1988, setting up behind the pool table at another hotel in Sydney. There was so little room, the guitarists would have to move so pool players could play their shots. But within weeks of starting this residency, the Cruel Sea was drawing regular crowds of up to 300 people. Operating the lighting at some of those performances was moonlighting Beasts of Bourbon singer Tex Perkins.

It wasn't until a party a few months later that the Cruel Sea and Perkins were formally introduced. The Cruel Sea was playing and Tex Perkins came up and said he'd like to have a go at putting lyrics to some of their instrumentals. That was something else Rumour had had in the back of his mind: to attract the right singer one day. Already an Australian music legend for his rock & roll swagger, the Cruel Sea couldn't have wished for anyone more qualified or interesting than Perkins.

This is Not the Way Home 1991

http://www.mediafire.com/?7tvmj9yvojg

At first the union was only a casual one. Perkins would only contribute to some songs and because of his commitments to the Beasts of Bourbon, he could only play some gigs. An initial 12" Down Below EP was expanded into the full-length debut Cruel Sea album, also called Down Below. More comfortable with the bringing together of their two halves, clean instrumentals, and rough-edged rock vocals, with the second album This Is Not the Way Home, the band expanded their musical influences. A tour with Nick Cave and the Bad Seeds through Europe helped the band work its style into place.

Honeymoon is Over 1993

http://www.mediafire.com/?ckxj2jahncx

With another temporary suspension of activities by the Beasts in early 1993, Perkins was able to devote himself to being a permanent member of the Cruel Sea. The result of that concerted effort was the album, The Honeymoon Is Over. It reached number four nationally and was awarded with four ARIA Awards, Australia's Grammys. More international sojourns followed.

With each subsequent tour and album, the Cruel Sea has continued to explore their multi-faceted personality. On stage and record, there are less instrumental. Tex Perkins contributes to the sounds during the instrumental parts. Occasionally the band still performs without Perkins and Perkins has kept up an occasional involvement with the Beasts of Bourbon and has also recorded two albums of his own, Far Be It for Me and Dark Horses.

In 2006 Tex Perkins announced that the band was no longer together.

Fuzztones - Flashbacks


thanks to Peter

The Fuzztones ruled the black leather garage netherworld throughout the 80's, alternating their aural mayhem between New York City and Los Angeles. Their FLASHBACKS CD is fiery proof the "paisley revival" has true staying power. FLASHBACKS isn't really a "best of":The Fuzztones released far too much material (more than 40 records) to make a 70-minute distillation possible. The 22 tracks here instead are some choice LP cuts, alternate versions, demos, and previously unreleased material. Rudi Protrudi is the focus behind The Fuzztones' dark sound. His approach recalls an alley cat in the throes of vicious copulation, his guitar alive with buzz, his voice a groaning invitation. The Music Machine's Sean Bonniwell, Steppenwolf's John Kay, and the Mysterians' Question Mark have nothing on Protrudi; perhaps he's the result of them all. Lock up the girls. Protrudi & Co. have reformed and are lurking once again in L.A.

http://www.mediafire.com/?f0tmmmmni2x

Ned Collette -

provided by tricky

request from Mel

Ned Collette is a Melbourne singer/songwriter who has recently signed with the Australian record label Dot Dash.

Ned Collette’s musical history to date draws on a broad sound pallet: an honours degree in modern composition, works for string quartets, various electro-concrete pieces and playing in a variety of loose fit outfits whilst focusing his talents in City City City. Parallel to all this Ned has been working on his own album, Jokes & Trials. Forgoing the democracies of a group Ned plays close to all the instruments, writes all the songs and sings in his warm and weary voice. Here the song is king, Ned admitting that the influence of Leonard Cohen, Robert Wyatt and Cat Power has led him to focus more and more on the importance of the lyrics.

jokes & trials lp
debut album released australia/nz
22nd july 2006

tracks:

song for louis
the happy kidnapper
a plea for you through me
boulder
hill
the laughter across the street
heaven's the key
janet
don't talk
blame

http://rapidshare.com/files/81922955/Ned_Collette_-_Jokes_and_Trials.rar

Live, Ned has developed a unique technique of using guitar loops and delays on stage, building percussive and melodic layers, over which he presents his songs. He has toured alongside artists such as Mogwai and Holly Throsby as well as playing his own headlining gigs.

future suture lp
released australia/nz
29th september 2007

tracks:

first love
sell your life
forty children
show your hand

the country with a smile
winter holiday

ned's dream
lost and found
race

http://rapidshare.com/files/81908424/ned_collette_-_future_suture.rar


Tripple J - Hot 100 (1996 & 1997)

hank burning the midnight oil

CD Track Listing Volume 3 1995

DISC 1

1. Oasis - Wonderwall

2. Coolio - Gangsta's Paradise

3. Everclear - Heroin Girl

4. Custard - Apartment

5. Nick Cave And The Bad Seeds + Kylie Minogue - Where The Wild Roses Grow

6. Tism - (He'll Never Be An) Ol' Man River

7. Mindless Drug Hoover - The Reefer Song

8. Jeff Buckley - Last Goodbye

9. Garbage - Vow

10. Dave Graney 'N' The Coral Snakes - Rock 'N' Roll Is Where I Hide

11. Regurgitator - Blubber Boy

12. Jill Sobule - I Kissed A Girl

13. Tripping Daisy - I Got A Girl

14. You Am I - Purple Sneakers

15. Insurge - Political Prisoners

16. Ammonia - Drugs

http://www.mediafire.com/?4dw2ajcuudj

DISC 2

1. Faith No More - Evidence

2. Swoop - Apple Eyes

3. Foo Fighters - This Is A Call

4. Pulp - Common People

5. Skunk Anansie - I Can Dream

6. Spiderbait - Monty

7. Portishead - Glory Box

8. Christine Anu - Island Home

9. Technohead - I Wanna Be A Hippy

10. White Zombie - More Human Than Human

11. Buffalo Tom - Summer

12. Def Fx - Psychoactive Summer

13. Skunkhour ?- Up To Our Necks In It

14. Pollyanna - Lemonsuck

15. The Screaming Jets - Sad Song

16. Rebecca's Empire - Empty

http://www.mediafire.com/?efsgeomuphm

CD Track Listing Volume 4 1996

DISC 1

1. Spiderbait - Buy Me A Pony

2. Pulp - Disco 2000

3. Ben Folds Five - Underground

4. Butthole Surfers - Pepper

5. Bush - Gylcerine

6. The Prodigy - Breathe

7. Allen Ginsberg - Ballad Of The Skeletons (Edit)

8. Weezer - El Scorcho

9. Babybird - You're Gorgeous

10. Underworld - Born Slippy

11. Fun Lovin' Criminals - Scooby Snacks

12. Babylon Zoo - Spaceman

13. Powderfinger - Daf

14. I Sucked A Lot Of Cock To Get Where I Am - Regurgitator

15. Everclear - Santa Monic

16. The Fauves - Self Abuser

http://www.mediafire.com/?4dw2ajcuudj

DISC 2

1. Skin - Mah Na Mah Na (The Muppet Song)

2. Frenal Rhomb - A Punch In The Face

3. Jamiroquai - Virtual Insanity

4. The Eels - Novocaine For The Soul

5. Garbage - Milk (Single Edit - Shirley)

6. Geggy Tah - Whoever You Are

7. Fini Scad - Coppertone

8. Bjork - Hyperballad

9. Lemonheads - If I Could Talk I'd Tell You

10. Rebecca's Empire - So Rude

http://www.mediafire.com/?efsgeomuphm

CD Track Listing Volume 5 1997

DISC 1

1. The Whitlams - No Aphrodisiac

2. Blur - Song 2

3. The Verve - Bitter Sweet Symphony

4. Blink-182 - Dammit

5. Radiohead - Paranoid Android

6. Jebediah - Leaving Home

7. Smash Mouth - Walkin' On The Sun

8. The Superjesus - Down Again

9. Silverchair - Freak

10. Quindon Tarver - Everybody's Free (To Wear Sunscreen)

11. The Living End - Prisoner Of Society

12. Dana Lyons - Cows With Guns

13. Cordrazine - Crazy

14. Regurgitator - Everyday Formula

15. Foo Fighters - Monkey Wrench

16. Diana Ah Naid - I Go Off

http://www.mediafire.com/?0jl02rnrqzz

DISC 2

1. Nick Cave & The Bad Seeds - Into My Arms

2. Spiderbait - Calypso

3. Grinspoon - Dcx3

4. Third Eye Blind - Semi-Charmed Life

5. The Mavis's - Naughty Boy

6. Cornershop - Brimful Of Asha

7. Jamiroquai - Cosmic Girl

8. The Prodigy - Funky Shit

9. Bloodhound Gang - Fire Water Burn

10. Reef - Place Your Hands

11. Imani Coppola - Legend Of A Cowgirl

12. Front End Loader - Pulse

13. Kylie Minogue - Did It Again

14. Sneaker Pimps - 6 Underground

15. Blue Boy - Remember Me

16. Hottest Multimedia screensaver and more

http://www.mediafire.com/?dswddg28wrt



Crazy Horse - Left for Dead

another from hank

Left for Dead released in 1989. for the album, Sonny Mone and Matt Piucci(was in the Rain Parade as a guitarist and singer from the beginning until the end) teamed up with Billy Talbot and Ralph Molina from Crazy Horse, hoping to create a hybrid sound that bridged the '70s to the late '80s.

http://rapidshare.com/files/81888304/Crazy_Horse_-_Left_For_Dead.rar

John Butler Trio - Living 2001 -2002

Living 2001-2002 is a live album from Australian jam band John Butler Trio. Released in February 2003, the double album had a top ten debut in the ARIA album charts and went on to achieve platinum sales.

Disc 1

http://rapidshare.com/files/81745908/John_Butler_Trio_-_Living_2001-2002__Disk_1_.rar


Disc 2

http://rapidshare.com/files/81764093/John_Butler_Trio_-_Living_2001-2002__Disk_2_.rar

Sunday, January 6, 2008

Dream Syndicate - The Days of Wine & Roses , The Medicine Show

SURPRISE!!!! more Paisley Underground

thanks to hank for helping out

Dream Syndicate was an alternative rock band from Los Angeles, California active from 1981 to 1989. The band was associated with the Paisley Underground music movement.

While attending the University of California, Davis, Wynn and Smith played together (with future True West members Russ Tolman and Gavin Blair) in The Suspects. Moving back home to Los Angeles, Wynn recorded a single under the name 15 Minutes (as in 15 minutes of fame) as his intended farewell to music. He did not follow that course. Rehearsing in a band called Goat Deity, Wynn met Precoda, who had answered an ad for a bass player, and the two joined to form a new group, with Precoda switching to guitar. Smith came to play bass, and brought in drummer Dennis Duck, who had played in the locally successful Pasadena-based Human Hands.

Duck suggested the name "The Dream Syndicate" in reference to Tony Conrad's early 1960s New York experimental ensemble (better known as the Theater of Eternal Music), whose members included John Cale.

On February 23, 1982, The Dream Syndicate performed its first show at Club Lingerie in Hollywood. A four-song EP was recorded in the basement of Wynn's house and released on his own Down There label, and the band quickly achieved local notoriety for its often aggressively long, feedback-soaked improvisations. Obvious sources were The Velvet Underground (the Dream Syndicate could be called early VU revivalists) and Television, but echoes of the Quicksilver Messenger Service and Creedence Clearwater Revival could also be discerned. "It was an overnight thing," Wynn recalled of their success. "There was no dues paying. It was very weird, and it screwed us up in some ways." The band was signed to Slash Records, whose subsidiary Ruby Records released its debut and by far best-known album, The Days of Wine and Roses, in 1982. The next year saw the UK (Rough Trade Records) release of the album's anthemic lead track, "Tell Me When It's Over", as the A-side of an EP which also included a live cover of Neil Young's "Mr. Soul". Kendra Smith left the band and joined David Roback, formerly of the band Rain Parade, to form Opal. She was replaced in the Dream Syndicate by David Provost.

Days of Wine and Roses

http://www.mediafire.com/?5smws20mqdb

The Medicine Show, recorded in 1984 in San Francisco with producer Sandy Pearlman (Blue Öyster Cult, The Clash), was the right step forward for the band and a genuine rock classic in its own right. But the commercial failure of the album was the beginning of the end for the band, and contributed to a temporary breakup of the band. They opened tours for R.E.M. and U2 and released This Is Not The New Dream Syndicate Album - Live (1984), the last record to feature Karl Precoda on guitar (who soon after left to pursue a career in screenwriting) and the first appearance of bassist Mark Walton. The band left A&M after the label rejected its demo for "Slide Away" (later released on the semi-official It's Too Late To Stop Now).

The Medicine Show

Disc 1

http://www.mediafire.com/?2y0sjkmgmyk
Disc 2
http://www.mediafire.com/?enftyyzmtmp

In 1985, Wynn and Dan Stuart of Green on Red wrote 10 songs together which were recorded with Dennis Duck, among others, and released by A&M as Danny and Dusty : The Lost Weekend.


The Acoustic Lounge - Pure Acoustic

A 3 CD set released in 2006 wide cross section of rock and pop artists. Everything from Jack Johnson to Soundgarden, Cold Play to Nickelback. Check it out.

CD 1
01. Jack Johnson - Breakdown
02. James Blunt - High
03. Coldplay - Fix You
04. Keane - Somewhere Only Me Know
05. Snow Patrol - Run
06. Blur - For Tomorrow
07. R.E.M - The One I Love
08. Athlete - Wires
09. Ben Harper - Diamonds On The Inside
10. Matt Costa - Cold December
11. G. Love - Botty Call
12. Alo - Girl I Wanna Lay You Down
13. Ryan Adams - Wonderwall
14. Rufus Wainwright - California
15. Doves - Willow'S Song
16. Suzanne Vega - Marlene On The Wall
17. Paul Weller - You Do Something To Me
18. Radiohead - Fake Plastic Trees
19. Oasis - Stop Crying Your Heart Out

http://rapidshare.com/files/81649167/Various_Artists_-_Pure_Acoustic_1.rar

CD 2
01. Ryan Adams
02 Rufus Wainwright
03. Doves
04. Suzanna Vega
05. Paul Weller
06. Radiohead
07. Oasis
08. John Lennon
09. kt Tunstall
10. Katie Melua
11. Norah Jones
12. Joss Stone
13. Donavon Frankenreiter
14. Corinne Baily

http://rapidshare.com/files/81684097/Various_Artists_-_Pure_Acoustic_2.rar

CD 3
01. Richard Ashcroft
02. Stephen Fretwell
03. Nerina Pallot
04. Feist
05. Air
06. Royksopp
07. Dirty Vegas
08. Turin Brakes
09. Soundgarden
10. Nickelback
11. Bernard Fanning 12. Jose Gonzalez – Heartbeats

http://www.mediafire.com/?0tuddojymdl

John Butler Trio - Sunrise Over Sea

In late 2003, John Butler entered Woodstock Studios in Melbourne owned by Jo Camilleri, the leader of Jo Jo Zep & The Falcons and the Black Sorrows. He had a new band consisting of percussionist Nicky Bomba and upright-bass player Shannon Birchall. While Birchall will probably be a permanent member of the Trio, Bomba will continue playing in his own reggae band.

John Butler told the Australian edition of Rolling Stone published in April 2004 that he wanted greater freedom to pursue his vision. "Essentially what I learnt out of this process was, more so than ever, I'm the keeper of the music. I have the intuition and the foresight to pick the right players to my music. I've learned it's not always about having the same players for five, six or 10 years, it’s having the right chemistry for these songs at this time. Some of my favourite Jimi Hendrix music is off-the-cuff stuff with Band of Gypsys."

The title Sunrise Over Sea is probably a reference to his home in Byron Bay which is one of the most easterly points in Australia and therefore one of the first points to see the sunrise. It is also part of the lyrics to the song "Peaches & Cream."

All the songs on the album were written, arranged and produced by John Butler, except for "What You Want" where the string section was arranged by Shannon Birchall and John Butler and was scored and conducted by Shannon Birchall.

Additional musicians performing on the album include: Michael Barker - "Treat Yo Mama", "Company Sin", "Born To Ramble", Seeing Angels", "There'll Come a Time", "Zebra"; Daniel Caruna - "Treat Yo Mama", "Peaches & Cream", "What You Want", "Sometime"; Michael Caruna - "Zebra"; Dave Pensabene - "Zebra"; Tim Neil - "Sometimes"

Recent editions of the album have included the bonus track "Something's Gotta Give", which was released on an EP in 2004. It's a politically charged song that was very successful off the back of the recent LP.

In August 2004, a new disc, What You Want EP was released, with the song "What You Want" (Shared by Sunrise over Sea) and including a new version of the song "Treat Yo' Mama" and a cover of The Beatles' song "Across the Universe".

The album debuted at number one in the national album charts in March 15, 2004 and achieved gold record status in its first week of release. "Zebra" was released in December 2003 and made the ARIA singles charts in early 2004. It was number 5 in the Triple J Hottest 100 for 2003 and also had significant airplay on commercial FM radio across Australia.

http://rapidshare.com/files/81639411/John_Butler_Trio_-_Sunrise_Over_Sea.rar