Cowboy Junkies - At The End Of Paths Taken

Cowboy Junkies - At The End Of Paths Taken

A heart tied in the middle of a piece of rope is the simple, arresting cover image for the Cowboy Junkies' AT THE END OF PATHS TAKEN, a perfect visual metaphor for this quasi-concept album about the ties that bind. Family relationships are at the heart of Michael Timmins's lyrics on this album, and their delivery by his sister, Margo Timmins, the Cowboy Junkies's always alluring vocalist, in her trademark half-audible murmur, adds an extra spin to the words on songs like "Cutting Board Blues" and "Brand New World." The band's familiar blend of Neil Young-style singer-songwriter rock, country twang and dark, Velvets-like minimalism is unchanged, although unexpected additions like a children's choir on the closing "My Only Guarantee" add intriguing new wrinkles to the album's sound.

http://www.mediafire.com/download.php?f1b1wjlxhyy

Cowboy Junkies - Lay It Down

Lay it Down is a 1996 album by Cowboy Junkies. It was their first album for Geffen Records after the end of their contract with RCA Records.

It was the band's first album that could be described as straight-ahead rock, rather than country rock, country or blues. It was also their first album comprised entirely of original material, with no covers. "A Common Disaster" and "Speaking Confidentially" were notable hits for the band on Canadian radio. Like all their albums after The Trinity Session, however, it was only a modest success internationally.

The album also includes two versions of "Come Calling", which is presented in male and female versions representing two sides of a romantic relationship.

All songs by Michael Timmins, except "Musical Key" by Michael Timmins and Margo Timmins.

1. "Something More Besides You" (4:15)

2. "A Common Disaster" (3:21)

3. "Lay it Down" (4:22)

4. "Hold on to Me" (3:22)

5. "Come Calling (His Song)" (3:33)

6. "Just Want to See" (4:23)

7. "Lonely Sinking Feeling" (4:24)

8. "Angel Mine" (3:59)

9. "Bea's Song (River Song Trilogy, Part II)" (3:33)

10. "Musical Key" (3:55)

11. "Speaking Confidentially" (4:27)

12. "Come Calling (Her Song)" (5:00)

13. "Now I Know" (2:18)

http://www.4shared.com/account/file/36648269/76ca16d2/Cowboy_Junkies_-_Lay_It_Down__1996.html?sId=HAmK6PHwI5Kw6Sjm

Cowboy Junkies - Early 21st Century Blues

Early 21st Century Blues is a 2005 album by Cowboy Junkies.

The album features two original songs and covers of material by Bruce Springsteen, Bob Dylan, John Lennon, George Harrison and Richie Havens. The record has a very strong anti-war message, while also protesting public apathy towards the political process.

Track listing

1. "License to Kill" (Bob Dylan)

2. "Two Soldiers" (traditional)

3. "December Skies" (Michael Timmins)

4. "This World Dreams Of" (Michael Timmins)

5. "Brothers Under the Bridge" (Bruce Springsteen)

6. "You're Missing" (Bruce Springsteen)

7. "Handouts in the Rain" (Richie Havens)

8. "Isn't It a Pity" (George Harrison)

9. "No More" (traditional)

10. "I Don't Want to Be a Soldier" (John Lennon)

11. "One" (U2)

http://www.mediafire.com/?etnj0q8wsuv

dBs - Ride The Wild TomTom

from spike-x

The "lost" dBs album, Ride The Wild TomTom

The dB's were a power pop group of the late 1970s and 1980s. The bandmembers were Peter Holsapple, Chris Stamey, Will Rigby and Gene Holder, all of whom were from Winston-Salem, North Carolina. The group was formed in New York City.

Stamey played bass with Alex Chilton in New York during 1977, and with Television guitarist Richard Lloyd recorded "(I Thought) You Wanted to Know" that year. A single of this song, backed with "If and When" (on which Rigby and Holder played), appeared in 1978, credited to Chris Stamey and the dB's. Holsapple joined the group in October 1978.

They released their first album, Stands for Decibels, in 1981, to critical acclaim but negligible sales. Their sound was a modernized version of earlier power pop, with precise arrangements and highly accomplished instrumental work. Stamey and Holsapple were the band's songwriters, and while Holsapple was skilled in the composing of fairly straightforward tunes such as "Big Brown Eyes" and "Bad Reputation," Stamey's songs, which include "Espionage" and "Tearjerkin'," tended to be somewhat more experimental. They released a second album in 1982, Repercussion, which built upon the strengths of the first album, and also released singles such as "Judy." These two albums, recorded on the British label Albion, have since been reissued on one compact disc.

Stamey left the group after the second album, and pursued a career as a solo artist and producer. The group then recorded a third album, Like This, released in 1984. The band had finally landed an American record deal, Bearsville, but distribution woes caused the album to be greatly delayed. Rick Wagner joined the band on bass, and Holder moved to lead guitar.

The final CD released while the dB's were together was The Sound of Music in 1987 with New Orleans bass player Jeff Beninato, founder of the New Orleans Musicians Relief Fund. Again under Holsapple's direction, this is perhaps the band's most traditional pop album. Jeff Beninato participated in the subsequent tour. Gene Holder left the band to join the Individuals, and Eric Peterson was recruited on lead guitar after replacing temporary guitarist/keyboardist Harold Kelt. Holsapple ended up moving to Beninato's home town of New Orleans after living in Los Angeles toward the end of the band's career.

Two CDs were released after the dB's broke up. Ride the Wild Tom-Tom collected demos, early recordings and singles, and Paris Avenue was a posthumous album by the final lineup, based on demo tapes from the band's waning days. In 1991, Stamey and Holsapple reunited (not under the dB's moniker) as a duo to record an album entitled Mavericks.

Since the group's demise, Holsapple has worked as a session musician, issued one solo album, and was a member of the Continental Drifters. He currently tours with Hootie and the Blowfish. Stamey has released solo records and is a record producer. Rigby is a respected drummer, playing for Steve Earle and others, and Holder has continued to record and produce. Beninato produced Little Queenie's""Q-Ball", is currently producing New Orleans guitar collective Twangorama and administers The New Orleans Musicians Relief Fund.

Although the dB's enjoyed only a limited popularity, their recordings were held in high esteem by critics. Robert Christgau, reviewing their first album, said "This is pop at its tensest--the precise harmonies, broken rhythms, and Byrdsy zoom effects are drawn so tight they make the expertly rendered romantic ups and downs of the songs sound intense and earned." However, their later recordings were felt by some critics to compare poorly to their first three albums. Christgau again, on The Sound of Music: "Yeah, it rocks, but when a pop group leaves it at that they're no better than their latest song, and when their sole remaining songwriter is still dissecting serial monogamy as he says bye to thirty, chances are his latest song doesn't even interest him all that much."

Trouser Press, however, favorably reviewed the recordings with: "The Sound of Music finds the dB's continuing in the style of Like This, with similarly fine results. The country elements reappear on "Bonneville" (complete with fiddles and mandolins), "Never Before and Never Again" (a brilliant Holsapple duet with Syd Straw) and "Looked at the Sun Too Long," which could easily be mistaken for a Gram Parsons tune. There's still plenty of great pop, too, and the group gets heavy on "Any Old Thing." Trouser Press described their final album: "Paris Avenue is a belated first issue of demos for what would have been the band's fifth album.

Ride The Wild TomTom

1.	We Should Be In Bed (A)
2.	Everytime Anytime (B)
3.	Let's Live For Today (B)
4.	Little Hands (E)
5.	You Got It Wrong (B)
6.	Tell Me Two Times (B)
7.	Nothing Is Wrong (B)
8.	Purple Hose (E)
9.	Ash (A)
10.	I Read New York Rocker (C)
11.	Walking The Ceiling (It's Good To Be Alive) (E)
12.	Baby Talk (D)
13.	Dynamite (Original Demo) (B)
14.	Soul Kiss (Part One) (D)
15.	Bad Reputation (B)
16.	Modern Boys & Girls (E)
17.	What About That Cat (B)
18.	What's The Matter With Me? (B)
19.	The Fight (B)
20.	She's Green I'm Blue (B)
21.	If And When (A)
22.	Soul Kiss (Part Two) (D)
23.	The Death Of Rock (E)
24.	Purple Hose (Slight Return) (E)
25.	Hardcore Judy (E)
26.	A Spy In The House of Love (E)

http://www.4shared.com/file/36719226/3919f5f7/dBs_The_-_Ride_The_Wild_TomTom.html

Big Star - Live At Missouri University in 1993

from spike-x

Big Star Live At Missouri University in 1993

Big Star is an American rock and roll band of the early 1970s. Critic Jason Ankeny describes Big Star as "the quintessential American power pop band [and] one of the most mythic and influential cult acts in all of rock & roll."

Initially co-led by Chris Bell and Alex Chilton in 1971, Big Star's music was lyrical, powerful, at times melancholy pop for the post-1960s generation. Their approach not only recalled the British Invasion groups, but also the spare, relaxed style of Stax Records as well as the edgy rockabilly of early Sun Records. In an era of singer-songwriters, jam bands, and heavy-metal groups, they played melodic, concisely written pop songs. Their reputation, negligible in 1974 beyond a small coterie of admirers, has steadily grown, and they are today considered one of pop's classic groups.

In the 1980s, critics began to cite Big Star's albums as among the finer recordings of the previous decade, and an important link between the classic guitar-pop of the '60s and the new-wave and alternative rock sounds of the '80s. Three of Big Star’s albums, Radio City, #1 Record, and Third/Sister Lovers are included in Rolling Stone magazine’s “500 Greatest Albums of All Time”. Many alternative bands and artists of the '80s and '90s, including R.E.M., Teenage Fanclub, The Replacements, Primal Scream, the Posies, Bill Lloyd and the dB's, cited Big Star as a major influence. Big Star's influence on acts such as Game Theory, Matthew Sweet, and Velvet Crush is unmistakable.

The Bangles included a cover of "September Gurls" on their 1985 album Different Light. This Mortal Coil recorded covers of "Holocaust" and "Kangaroo" on their album It'll End in Tears and Chris Bell's songs "I am the Cosmos" and "You and Your Sister" on the album Blood. Fellow 4AD artist His Name is Alive covers "Blue Moon" on their 1993 release, Mouth by Mouth. Singer/songwriter Jeff Buckley also performed a version of "Kangaroo" (seen on the posthumous album Mystery White Boy) at live concerts, though he and his band added a long "jam" at the end of the song.

Big Star was introduced to a new generation of fans when "In the Street" was selected as a representative song of the 1970s decade by the producers of the sitcom That '70s Show, who used it for the show's theme song in 1998. In 1999, Cheap Trick recorded a new version of the song, renamed "That '70s Song," for the show. "That '70s Song" and the original Big Star version of "September Girls" were included in a 1999 album released by the television program's producers, That '70s Show Presents That '70s Album: Rockin'. Numerous other Big Star songs appear in various episodes of That '70s Show including "Thirteen" which is played during Donna's flashback in one of the final scenes of the series finale.

Elliott Smith and Garbage both covered "Thirteen". Placebo covered "Holocaust" recently on their special edition version of Sleeping with Ghosts. Son Volt also recorded a cover of "Holocaust" that appears on their "Son Volt - A Retrospective 1995-2000" CD. The Lemonheads perform a cover of "I'm In Love With A Girl" in their live sets (Auckland gig - 26 March).

Australian rock band You Am I recorded a version of "In The Street" as a b-side on their "Cathy's Clown" single. The band has also covered "September Gurls" during live shows. In addition to this, it is commonly believed that You Am I's "#4 Record" is a direct reference to Big Star's "#1 Record".

In 2003, the band Yo La Tengo released a cover of "Take Care" on their album entitled, "Summer Sun".

At Colin Meloy (of The Decemberists)'s August 21, 2005 solo show at the Beachcomber, he performed a cover of "Nighttime."

In 2006 the song "I'm In Love With A Girl" appeared in a Heineken television commercial.

The long-anticipated Big Star, Small World, a tribute album, was released on May 23, 2006. The release includes covers by popular groups Gin Blossoms, Wilco, Afghan Whigs, Whiskeytown, and others.

Chilton and Stephens reunited in 1993 with Jon Auer and Ken Stringfellow of the American pop band The Posies taking the place of Bell (who had died in a car crash in 1978) and Hummel (who had left music for an engineering career) at the University of Missouri. For an encore, the band performed Gene Chandler's "Duke of Earl," reflecting Chilton's marked, post-Big Star interest in early rock and roll.

http://www.mediafire.com/?cldjdjjtw5n

Cowboy Junkies - The Trinity Sessions

The Trinity Session is a 1988 album by Cowboy Junkies, their second album.

The album was recorded at Toronto, Ontario's Church of the Holy Trinity on November 27, 1987, with the band circled around a single microphone. The album includes a mixture of original material by the band and covers of classic pop, rock and country songs, including the band's most famous single, a cover of The Velvet Underground's "Sweet Jane", based on the early version found on 1969: The Velvet Underground Live, rather than the well-known studio version from Loaded. Also included is "Blue Moon Revisited (Song for Elvis)", which is both a cover and an original, combining a new song by the band with the pop standard "Blue Moon".

The album was released in early 1988 on Latent Records in Canada, and rereleased worldwide later in the year on RCA Records. "Working on a Building" and "Blue Moon Revisited (Song for Elvis)" did not appear on the Latent Records release. "Blue Moon Revisited" was originally released on It Came from Canada, Vol. 4, a compilation of Canadian independent bands.

In 2007, the band recorded a new 20th anniversary edition of the album, Trinity Revisited, with guest musicians Natalie Merchant, Vic Chesnutt and Ryan Adams.

According to the band's website , the direction of The Trinity Sessions was influenced by the sounds they heard while touring the southern United States in support of Whites Off Earth Now!!. The lyrics and instrumentation of the album were lifted from the classic country groups the band was exposed to, and the song "200 More Miles" was written in reference to their life on the road.

As they had on Whites, the band wanted to record live with one stereo microphone direct to tape. Peter Moore was enlisted and suggested the Church of the Holy Trinity in Toronto for its natural reverb. To better persuade the officials of the historic church, the band claimed to be The Timmins Family Singers and said they were recording a Christmas special for radio. The session began on the morning of November 27, 1987. The group first recorded the the songs with the fewest instruments and then the songs with gradually more complex arrangements. In this way Moore and the band were able to solve acoustic problems one by one. To better balance Margo Timmins's vocals against the electric guitars and drums, she was recorded through a PA system that had been left behind by a previous group. By making subtle changes in volume and placement relative to the microphone over six hours, Moore and the band had finally reached the distinctive sound of the album by the time the last of the guest musicians arrived at the church.

The band was unable to rehearse with most of the guest musicians before the day of the session. Considering the method of recording, this could have been disastrous for the numbers which required seven or more musicians, but after paying a security guard twenty five dollars for an extra two hours, the band was able to finish, and even recorded "Misguided Angel" in a single take.

Contrary to popular myth, the album was not entirely recorded in one day. In the hustle of the first recording session, the band had forgotten to record "Mining for Gold". Margo and Moore recorded the song a few days later during the Toronto Symphony Orchestra's lunch break.

All songs written by Margo Timmins and Michael Timmins unless otherwise indicated.

1. "Mining for Gold" (traditional) – 1:34

2. "Misguided Angel" – 4:58

3. "Blue Moon Revisited (Song for Elvis)" (Margo and Michael Timmins; "Blue Moon" by Richard Rodgers and Lorenz Hart) – 4:31

4. "I Don't Get It" – 4:34

5. "I'm So Lonesome I Could Cry" (Hank Williams) – 5:24

6. "To Love is to Bury" – 4:47

7. "200 More Miles" (Michael Timmins) – 5:29

8. "Dreaming My Dreams with You" (Allen Reynolds) – 4:28

9. "Working on a Building" (traditional) – 3:48

10. "Sweet Jane" (Lou Reed) – 3:41

11. "Postcard Blues" (Michael Timmins) – 3:28

12. "Walkin' After Midnight" (Don Hecht, Alan Block) – 5:54

http://www.4shared.com/account/file/36650073/74541bbc/Cowboy_Junkies_-_The_Trinity_Sessions.html?sId=HAmK6PHwI5Kw6Sjm

Dom Mariani - Homespun Blues and Greens

2004 solo release! Dom Mariani, DM3/The Someloves/The Stems, has just released a new solo album and, simply, it`s his strongest, most consistent effort yet. What does it sound like? Well, a classic DM3 sound, matured, evolved. (it`s not another surf-y album like his last solo release, btw...) It`s a is a soulful mix of pop and rock, touching on more personal themes while always staying true to the music and sounds Dom has created over the years. Recorded in Perth and the US his debut long player was mixed by longtime collaborator and producer Mitch Easter (REM, Let`s Active) at his Fidelitorium Studio in Kenersville, North Carolina.

Self produced and with the help of close musical friends Homespun Blues And Greens is the debut Dom Mariani long player fans have been waiting for. From the brass driven opener Homespun Blues, latin tinged pop of "Make the Leap", the rootsy slide of "Out of Reach", the catchy, power pop elegance of tracks like "Yuri", "Busride" and Cold Cup, Beatllesque stylings on "Prove" and more, and through to the albums haunting closer "When it Ends". It all sees an artist who through a 20 year career come full circle to create a debut of lasting impact. With a voice which has become more self assured and characteristic over the years, Dom Mariani`s progression from band leader to solo artist comes as only to further consolidate his position as one of Australia`s most enduring proponents of guitar pop.

http://www.4shared.com/file/36694909/9e8325bc/Dom_Mariani_-_Homespun_Blues_and_Greens.html

Celibate Rifles - A Mid-Stream Of Consciousness

Celibate Rifles - A Mid-Stream Of Consciousness.

Released : November 2000

Produced by : Kent Steedman

Engineered by : Mark Thomas

Recorded at : Festival Studios, Sydney

General Comments : Initial pressing includes 3 cover versions - "Child Of The Moon" (The Rolling Stones), "I Will Dare" (The Replacements) and "Journey By Sledge" (The Visitors).

Kent Steedman, Dave Morris, Michael Couvret and Phillip Jacquet conceived the band in 1979 when they were still at high school. Singer Damien Lovelock joined in 1980. He was almost ten years their senior, but he gave the Rifles a much needed lyrical focus for the band's unremitting energy. Celibate Rifles issued the four-track EP, But Jacques the Fish independently in March 1982.

Hot Records signed the band and reissued the EP in March, 1983. James Darrock (bass; ex-Trans Love Energy, Fifth Estate, Slaughterhouse 5) replaced Couvret (who joined Mushroom Planet) and the band issued its debut album, Sideroxylon (May 1983). As the album came out, Steedman joined The New Christs when that band supported Iggy Pop on his June 1983 Australian tour. Steedman stayed with The New Christs until October, when his commitment to the Rifles beckoned. He appeared on The New Christs' "Born Out of Time" single. With the Rifles on hold, Lovelock formed an acoustic studio band with Louis Tillett (Wet Taxis) and Brett Myers (Died Pretty). No Dance issued the Carnival of Souls EP on Hot in March 1984.

The Rifles' singles "Pretty Pictures" / "Out in the West Again" (October 1983) and "Merry Xmas Blues" / "Summer Holiday Blues" (December) were departures for the band as they featured acoustic guitars instead of the all-out electric attack. Darrock left in January 1984 to form The Eastern Dark. He died in a car accident in March 1986. Couvret returned for the album The Celibate Rifles (May, 1984) and the singles "Wild Desire" / "I'm Waiting for the Man" (April, 1984) and "Sometimes" / "E=MC2" (November, 1984). The album was still rough-hewn but with more variation, style and power than the debut. Around that time, visiting American critic David Fricke from Rolling Stone was prompted to describe the Rifles as 'urban teen frenzy with lyricist Lovelock's adult fears erupting in a glowing atomic fireball of bazooka guitars and terminal volume'.

The band's only release for 1985 was "Six Days on the Road" / "Groupie Girl" (July, 1985). The Turgid Miasma of Existence came out in June, 1986. A limited edition EP featuring "Eddie", "Ice Blue" and "Thank You America" was given away with the first 500 copies of the album. The Rifles undertook an extensive tour of the USA, where their records had garnered much praise from the underground press. The band arranged and financed the tour independently. Issued in November 1986, Kiss Kiss Bang Bang (recorded live at New York's legendary CBGB's bar, July 1986) captured the band's sound in all its blistering glory.

Couvret and Jacquet left the band in September, 1986 to be replaced by Rudy Morabito (bass; ex-Amused) and Paul Larsen (drums; ex-Funhouse, Gun Control). The band toured Europe and recorded Roman Beach Party in Holland during June, 1987. The album appeared in November. Morabito left in 1988 to be replaced by Jim Leone (ex-No Man's Land). By that stage, Couvret was playing with The Lime Spiders, and Jacquet had joined Voodoo Lust. The Rifles' last release on Hot Records to that time was a 12-inch EP featuring a cover of Patti Smith's "Dancing Barefoot" (May, 1988). The Rifles signed to True Tone and issued Blind Ear (April, 1989), which contained several of the band's best singles, the riff-happy "Johnny" / "El Salvador" (February, 1989), the rollicking "O Salvation!" / "Fish and Trees" (June, 1989) and the double 7-inch "Wonderful Life" / "5 Lamps"; "Where the Action Is", "She's So Fine" / "Hot Stuff" (March, 1990).

The band also contributed a cover of John Paul Young's "Where the Action Is" to the Various Artists album Used and Recovered By (1990).

Hot closed its Rifles account with the double retrospective set Platters du Jour (October, 1990), a selection of rare early singles and EP sides with a limited edition 7-inch EP containing three unreleased tracks. The band members undertook various extra-curricular activities between 1988 and 1990. Lovelock had already written and produced a one-off single in 1984, "Summertime (All Round the World)" / "Sunnyboyfriend", for Australian world female surfing champion Pam Burridge (issued under the name of Pam and the Pashions during October, 1984). In June, 1988 he issued his debut solo album It's a Wig Wig Wig Wig World followed by the single "Disco Inferno"/"Sisters" (April, 1990).

Lovelock's studio band included Peter Koppes (guitar; from The Church), Rick Grossman (bass; from Hoodoo Gurus), Joe Latty (guitar; ex-Itchy Rat) and Richard Ploog (drums; from The Church). Guitarist Reeves Gabrels, from David Bowie's band Tin Machine, also appeared on "Disco Inferno". Lovelock formed a touring line-up of Damien Lovelock's Wigworld which comprised Joe Latty, Clyde Bramley (bass; ex-Hoodoo Gurus), Patrick Polnov (guitar) and Hamish Stuart (drums). During 1991, Lovelock issued the single "The Dalai Lama" (October, 1991) and album Fishgrass (December, 1991) on Festival Records.

Steedman formed Crent with Chris Townsend (from Kiss My Poodles Donkey). Crent issued the singles "A.I.D.S." and "9K.?" plus the mini-album Crent on Waterfront. Crent's music was more in the bayou/boogie tradition of John Lee Hooker fleshed out by Steedman's bursts of Frank Zappaesque wah wah guitar. Crent issued a second album, Pink Album, on the Shagpile label (through Shock) at the end of 1993. Steedman also guested on bass with Ed Kuepper's band The Aints, playing on the live album S.L.S.Q. Jim Leone and Paul Larsen joined Roddy Rayda and The Surfin' Caesars for the album Orgazmatazz.

In October 1990, Larsen left The Rifles to join The Screaming Tribesmen. Nik Rieth took Larsen's place. At the end of 1991, the Rifles signed to Festival. They issued the double album Heaven on a Stick (March, 1992), the single "Groovin' in the Land of Love" (December, 1991) plus the double 7-inch single "Where the Wild Things Are..." (March, 1992). The Rifles shared "Where the Wild Things Are..." with The Hard-Ons to coincide with a joint Australian tour the two bands undertook mid-year. The Rifles' tracks were "5 Lamps" and "Electric Flowers". Straight after that, The Rifles embarked on the Live Stick '92 world tour which took in dates across the UK, Europe and the USA. Festival issued a second, double 7-inch single from Heaven on a Stick, "Cold Wind", in May 1992.

1992 ended for the Rifles with Hot issuing re-mastered CD versions of the band's first five albums. The Rifles returned to Hot For Yizgarnnoff (a second live album) and SOFA (a 20-track `Best of' compilation) which came out in May and December 1993 respectively. In late 1993, Steedman and Rieth joined Deniz Tek to record his Outside album. Steedman and Rieth toured extensively with The Deniz Tek Group over the next few years and recorded a new album in 1996, Le Bonne Route. Spaceman in a Satin Suit (May, 1994) was arguably The Celibate Rifles' best studio album since Blind Ear. The band also contributed a cover of The Sports' "Boys! (What Did the Detective Say?)" to the various artists project Earth Music. "Boys! (What Did the Detective Say?)" appeared on the Earth Music CD EP (August, 1994) along with Died Pretty covering Laughing Clowns' "Eternally Yours" and Painters and Dockers doing Mental as Anything's "The Nips Are Getting Bigger".

http://www.mediafire.com/?9z2jo2s2jqj

Various Artists - Poptopia - Power Pop Classics Of The 80's (1997)

Various Artists - Poptopia - Power Pop Classics Of The 80's (1997)

Song Title

1.What I Like About You - The Romantics 2.Baby It's You - Phil Seymour 3.Hold On To Something - Great Buildings 4.Tell That Girl To Shut Up - Holly & The Italians 5.Million Miles Away, A - The Plimsouls 6.She Goes Out With Everybody - The SpongeTones 7.Whenever You're On My Mind - Marshall Crenshaw 8.I Want You Back - Hoodoo Gurus 9.Every Word Means No - Let's Active 10.Crybaby - Utopia 11.Going Down To Liverpool - The Bangles 12.Love Is For Lovers - The dB's 13.Whatever Happened To Fun... - Candy 14.Places That Are Gone - Tommy Keene 15.Behind The Wall Of Sleep - The Smithereens 16.Lisa Anne - BIll Lloyd 17.She's So Young - The Pursuit Of Happiness 18.There She Goes - The La's

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

The Church - Slaving Platinum to Gold.... GAF Demos

from ken

A free disc given away on the bands web site. 19 tracks in all assembled during the recording of 'Gold Afternoon Fix. Most of which reappeared on the 'Bonus Disc' with the 2005 reissue of the album.

2CD EMI (Australia) - July, 2005. Remastered

Bonus Disc Tracks

1. Much Too Much (3:51)

2. Take It Back (4:03)

3. Desert (2:50)

4. Forgotten Reign (4:20) (sung by Peter Koppes)

5. Hunter (4:24)

6. Dream (2:56) (sung by Peter Koppes)

7. Ride Into The Sunset (4:32)

8. You Got Off Light (3:29)

9. The Feast (4:49)

10. Metropolis (Acoustic) (4:18)

11. Grind (Acoustic) (5:37)

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

DM3 - Lure EP

Along with David McComb (the Triffids) and Dave Faulkner (Hoodoo Gurus) Dom Mariani is one of Perth’s most respected musicians, Dom first made his mark in the mid to late 80’s fronting legendary Perth garage rock outfit the Stems and produced a string of critically lauded albums throughout the 90’s with the power pop driven Someloves and DM3 and played part roles in The Summer Suns and Stoneage Hearts. These records established him as an artist of note in Australia, Europe, Japan and the US. The last half of the 90’s saw Dom take his music to the live stages across Europe to consolidate his reputation as a songwriter with class and dedication. More recently, Mariani was requested by Bruce Springsteen sideman, Steve Van Zandt (Little Steven) to bring the reformed Stems across to America to perform in New York at Little Stevens Underground Garage Festival. The Stems shared the stage alongside Bo Diddley, Nancy Sinatra, Iggy and the Stooges, the New York Dolls, The Pretty Things and the Strokes to name a few. As well as producing new bands and creating the new Majestic Kelp album, a 2005 release of a 20 year retrospective anthology titled Popsided Guitar taking in highlights and obscurities from his extensive back catalogue. To celebrate this release, Mariani recently completed a tour with his new band The Rippled Souls, taking in shows in Japan, Italy, Scandinavia and Spain. Busy boy.

DM3 - Lure EP

http://www.mediafire.com/download.php?60kqxwwhdvm

Screaming Tribesmen - All Hail

this one for spike x

http://rapidshare.com/files/88489200/Screaming_Tribesmen__The__-_All_Hail.rar

Pursian Rugs - Turkish Delight

I promised this one for hank a while back…. sorry about the delay I couldn’t find the file, found it in a ‘Soundgarden’ folder. I have no idea how it got there. All good now …. enjoy.

'Turkish Delight' is what it sounds like when Hoodoo Gurus members, Dave Faulkner, Brad Shepperd, Mark Kingsmill and fellow bass player Kendall James who's also served time in some bands like the Crusaders and the Thurston Howlers are having fun again. It's trashy, noisy garage rock with foot-stomping, hair-shaking organ-and-guitar songs that recall the earliest version of the Gurus.

http://www.4shared.com/account/file/36639481/e88374a9/Persian_Rugs_-_2003_-_Turkish_Delight.html?sId=ePiib4WGFOU1Ixts

Summer Suns - Summer Suns

THE SUMMER SUNS (1985-1996) were part of the vanguard of the Perth pop scene in a truly halcyon era. They played a melodious blend of '70s influenced power pop and '60s folk rock and featured a revolving door line-up of most of Perth, Western Australia's premier pop musicians. Releases appeared on many of the world's finest pop labels including Easter, Waterfront, Bus Stop, Parasol, Get Hip, and House Of Wax.

Band Members KIM WILLIAMS...Guitar, vocals, composition

With

On guitar...Dom Mariani, Jeff Baker, Steve Hird, Joe Algeri

On bass...Velo Zupanovich, Steve Kyme, Ross Campbell, Liam Coffey, Graham Hope

On drums...Gary Chambers, Martin Moon, Nick Kaitse, Pascal Bartolone

http://www.4shared.com/account/file/36619885/9c341ab4/Summer_Suns_The_-_1986_-_The_Summer_Suns_Reissue_1997.html?sId=ePiib4WGFOU1Ixts

Stoneage Hearts - Guilty As Sin.

Stoneage Hearts - Guilty As Sin.

THE STONEAGE HEARTS began as a powerpop three piece with DANNY MCDONALD (P76/JERICHO), IAN WETTENHALL (PHILISTEINS/SEMINAL RATS/HANDS OF TIME/FREELOADERS) and MICKSTER (FINKERS/CRUSADERS/PYRAMIDIACS). In 2002 they released their debut album "TURN ON" for Mickster's OFF THE HIP label, with 2 x 7"s singles following closely behind for French and Spanish labels respectively. Shortly afterwards Danny left to pursue a solo career at which point Dom Mariani (STEMS/DMS/SOMELOVES/STONEFISH) stepped in. This new lineup recorded 2004's "Guilty as Sin" CD, again for OFF THE HIP but also an American release appeared on the BOMP subsidiary label ALIVE RECORDS on green vinyl LP and cd.

Dom Mariani - guitar/vocals
Ian Wettenhall - bass/vocas
Mickster - drums

http://www.mediafire.com/?8nymqdlma2c

Sheryl Crow - Detours

Detours

Crow will return February 5, 2008 with her next A&M/Interscope album, Detours. Shine Over Babylon, the first track released to the public, is at iTunes now. Crow told Billboard.com this summer that the song "is very environmentally conscious, in the tradition of Bob Dylan."

"I'm really encouraging artists to write about what's going on, because we seem to be very distracted by some lightweight topics," she said. "I think it's time to start writing about the reality of what's around us."

In additional comments on her Web site, Crow describes the single as "an every way a desperate cry for understanding. Perhaps it is even a battle song in the face of fear."

Detours was recorded at Crow's Nashville farm and will feature "14 or 15" of the 24 songs put to tape. The artist's baby son, Wyatt, makes an appearance on the song "Lullaby for Wyatt," which will be featured in the upcoming movie "Grace Is Gone."

"The songs are very inspired by the last three years of events in my life," Crow said of a time that found her battling breast cancer and splitting with partner Lance Armstrong.

It has been announced that Shine Over Babylon will be the first promotional single (download only). The music video for the single was released on the Sheryl Crow website and can be seen on the popular video site Youtube. The music video consists of newspaper articles and headlines of recent and current affairs that are affecting the world today. The first 'official' single to be released is Love Is Free. This song was inspired by the people of New Orleans in the aftermath of Hurricane Katrina.

http://rapidshare.com/files/88385437/Crow__Sheryl__-_Detours-2008.rar

The Grip Weeds - The Sound in You

thanks to original uploader

Headquartered in Highland Park, New Jersey, The Grip Weeds consist of: Rick Reil (songwriter, guitarist, vocalist); Kurt Reil (songwriter, drummer, vocalist); Kristin Pinell (lead guitarist, vocalist); and Mike Nattboy (bassist, vocalist). The band's sound has been described as ranging from sixties inspired pop psychedelia to modern rock, power pop, British R&B, folk rock and Beatlesque Merseybeat.

As noted by reviewers, some of the more obvious influences include the classic American sound of the Byrds, but with a far more visceral delivery reminiscent of the Who. Other disparate elements can be detected in the group's sound: a touch of Led Zeppelin, a hint of the Smithereens and the modern Brit pop of Oasis. However, above all the Grip Weeds achieve what one reviewer has called the quality most desired by musicians: originality.

The Grip Weeds' sound revolves around the melodic songwriting of the brothers Reil as aided by the interpretive talents of Pinell and Nattboy, the harmonic vocal blend of all four members, ripping guitar work, inventive bass playing and explosive drumming. Tight and exciting live, on recordings the Grip Weeds achieve sonic clarity and a richness of texture working in their studio
House Of Vibes Productions. Designed and run by the band, it is a musical laboratory not only for the bands own productions but for many other artists who have become House Of Vibes clients..

The second album, The Sound Is In You, was released in 1998 to superlative reviews including a 3-1/2 star review in Rolling Stone (Germany), who said of this album, "Excellence in sound, stylishness in design: advantages which make a hell of a difference in any given musical context, but nowhere as much as in the world of psychedelic pop. Not that New Jersey's Grip Weeds are drawing from just one tradition. Their sound is informed by American folk rock and British mod-pop, by The Byrds and The Who. Mitch Easter's school of glorious powerpop also clearly left a lasting impression on the foursome. "Inca"; is spaced-out, "We're Not Getting Through" pays a visit to where The Moody Blues used to roam, and their fabulous cover of Neil Young's "Down To The Wire" feeds on riffs and loops.”

http://www.mediafire.com/?dl4m4393vdm

The Church - Live 1990

The Church's musical style has changed remarkably during the years. Early songs were mostly simply structured. "She Never Said," the first single, featured a New-Wave-like staccato rhythm and Kilbey’s laconic Bowie-inspired "half-recitative" vocals. Short, guitar-based songs dominate the debut, Of Skins And Heart. Similar means are to be found in early XTC, Television, The Beatles or Echo & The Bunnymen. Unusual in their time were experiments with long songs in different sections ("Is This Where You Live," 1981). The prominent use of Willson-Piper’s electric 12-string Rickenbacker guitar brought up comparisons with The Byrds, however, there are few stylistic parallels.

The second album, The Blurred Crusade, refined the sound and brought the sixties influences to the foreground. The single "Almost With You" represents this style very concisely: chiming arpeggios of Willson-Piper's guitar, atmospheric soloing and unusual voicings from Peter Koppes, Ploog's quite hard, driving drum sound and Kilbey's dark velvet vocals with its intonation between singing and talking. Also The Blurred Crusade featured a nine-minute psychedelic art rock piece ("You Took").

Seance, the third album, was an attempt to enrich the typical Church sound with synthesizers and more “electronic” production. Made under the aegis of Nick Launay (Midnight Oil, Kate Bush), its mostly the eccentric, cannon-like drum sound catching attention. In "Travel By Thought," Seance features an improvised, psychedelic noise experiment. Keyboard soundscapes and experimental guitar sounds show up also on the follow up, Remote Luxury. The distinct separation of lead (Koppes) and rhythm guitar (Willson-Piper) is dissolved in favor of a more textured sound ideal. Solos and riffs are more and more replaced by a complex fabric of interlocking guitar parts.

Heyday renounces synth sounds almost completely. Peter Walsh's production with its transparent sound subverts the bulk of mid-eighties productions heavily. There are hardly any soli. Instead of this, a warm, 12 string driven, kaleidoscope-like sound dominates, with massive use of effects (echo, e-bow, drones). Kilbey's vocals clearly move away from the Bowie pattern. Instead of synthetic strings, a real orchestra is used on some tracks. Starfish (1988) combines the lot of guitar effects with a more outlined, rockier sound. Open voicings and modal scales coin the sonic scapes. This direction continues also on Gold Afternoon Fix in an even more transparent fashion.

Priest=Aura (1992) reintegrates again elements of prog rock. The guitar interplay is becoming more and more complex. Rooting in the creative process with long jam sessions, songs with a vast number of counterpoints and unusual chords often result. The minor or modal-tinged songs are getting more and more elegiac and elaborate. Noise and white noise are added to the sonic palette, probably inspired by the experiments of My Bloody Valentine.

Sometime Anywhere (1994) mirrors a radical break, triggered by the exit of Peter Koppes. What the guitar arrangements lose in complex interplay is compensated by the massive use of sequencers and electronically generated sounds. Willson-Piper's playing with mostly monodic melodies departs clearly from his earlier “jingle-jangle” style. He continues these experiments on Magician Among The Spirits. The influence of Krautrock bands such as Can or Neu! becomes more obvious. A cover of Steve Harley's "Ritz" pays homage to the seventies.

However, Hologram Of Baal is an attempt to return to the more compact sound of the Starfish era after Peter Koppes had come back, enriched with elements of ambient music, whereas After Everything Now This is defined by a gently flowing, soothing, elegic sound, dominated by orchestral, string-like (but guitar-made) layers of music.

Forget Yourself (2004) summarizes The Church's different phases. It tends to edgier sounds and an almost encyclopedic use of guitars and effect units. The production strikes with a rough, quasi-live, nevertheless multi-layered sound.

Most of The Church's lyrics are written by Steve Kilbey, who was the sole songwriter on all albums up to Remote Luxury. Until then, Kilbey brought basically completed/demoed songs to the sessions while the arrangement was a group effort, mostly done by Peter Koppes. This changed since with Heyday in 1985. Now, the songs are results of expanded jam sessions. The music is first written in the studio, after which Kilbey writes the lyrics. His lyrics and poems are often described as surreal, though Kilbey flatly rejects any fixed meaning of his poetry, categorizing them as art pour l'art. Surveying his body of work, several recurring themes can be noticed: myths, legends, dreams and nightmares, visions, drug fantasies, orientalisms, biblical (not Christian) motifs. These thematic circles are linked, using numerous word plays and references. More recently, Kilbey has stated (about his latest collection, "Eden") his poetry questions "the fabric of love and fear, temptation and creation and our eternal quest for meaning." Often he tries to sketch with few strokes and hints a complete epic course, leaving the details to the listener's imagination.

The Church handle their lyrics to some extent subversively. Strikingly, since the release of 1988's Starfish they have refused to provide lyric sheets to the albums, on the idea that sung lyrics should be listened to, not read. Kilbey likes the idea of a lyric emerging in a person's head, spawning lots of new and unforeseen meanings.

If you believe what you read on the net, ‘The Church’ are more of a studio band, erratic at best when playing live. I have to admit that it’s probably 15 years since I saw them play live, but during the 80’s ‘I would go out way’ to catch a show. Can’t remember ever being disappointed. This offering is The Church I remember.

The Church 06/23/90 Chicago

01 Pharoh
02 North, South, East, And West
03 Terra Nova Cain
04 Hotel Womb
05 Metropolis
06 Transient
07 Destination
08 Don't Look Back
09 Under The Milky Way
10 Dancing Barefoot
11 Grind
12 Russion Autumn Heart
13 An Interlude
14 Essence
15 Reptile

http://www.mediafire.com/?8mxxnhomqi9

Sheryl Crow - The Globe Sessions

Sheryl Suzanne Crow (born February 11, 1962) is an American blues rock singer, guitarist, bassist, and songwriter. Her music blends country, pop, folk, and blues rock into one mainstream sound, and she has won nine Grammy Awards. Crow is also a noted political activist

In 1998 Crow released The Globe Sessions. During this period, she discussed in interviews having gone through a deep depression, and there was speculation about a brief affair with Eric Clapton. The debut single from this album, "My Favorite Mistake", was rumored to be about him, although Crow claims otherwise. The album won Best Rock Album at the 1998 Grammy Awards. It was re-released in 1999, with a bonus track, Crow's cover of the Guns N' Roses song "Sweet Child o' Mine", which was included on the soundtrack of the film Big Daddy. This song won the 1999 Grammy for Best Female Rock Vocal Performance. Other singles included "There Goes the Neighborhood", "Anything But Down" and "The Difficult Kind".

Track listing

1. "My Favorite Mistake" (Crow, Trott) – 4:08

2. "There Goes the Neighborhood" (Crow, Trott) – 5:02

3. "Riverwide" (Crow) – 4:07

4. "It Don't Hurt" (Crow, Trott) – 4:49

5. "Maybe That's Something" (Crow, Trott) – 4:17

6. "Am I Getting Through (Part I & II)" (Crow) – 5:31

7. "Anything But Down" (Crow) – 4:17

8. "The Difficult Kind" (Crow) – 6:19

9. "Mississippi" (Bob Dylan) – 4:41

10. "Members Only" (Crow) – 4:57

11. "Crash and Burn" (Crow) – 6:41

12. "Subway Ride" (Crow) – 3:55 (hidden track)

There is also a hidden track called "Subway Ride" that mentions the impeachment of President Bill Clinton. A cover of Guns N' Roses "Sweet Child o' Mine" appeared on later pressings but was not included on the original release. The European and Australian releases include the bonus track "Resuscitation" (Crow, Trott).

This is the European release.

http://www.4shared.com/account/file/36590986/cf1357dc/Crow_Sheryl__-_The_Globe_Sessions.html?sId=ePiib4WGFOU1Ixts

Models - Live

During the 80s and 90s with playing in bands, working as a roadie or just a simple night out I saw many, many live shows. Both international and local, without trying to be too bias on the whole Australian bands more than held their own against touring acts. Why!! Aussie bands during this time were brought up on the hard grind of playing the pub and club circuit. Night after night honing their art in the most competitive and at times hostile environment. I saw The Church blow The Cure off stage, The Stranglers appeared like amateurs after a Hunters and Collectors set. Australian audiences were spoilt, then the pokies and raves came into vogue and things changed.

I could not say who were the best…. but among the most consistent would have to be the ‘Models’. Yes maybe their sound was very 80’s, and maybe their songs haven’t aged as well as some of their contemporaries …. but they were good, very good live.

The boys were never shy of throwing in a ‘cover’ and this show has two of their best. ‘All Tomorrows Parties’ Velvet Underground and my fav ‘Burning Love’ Elvis. Any Australian of my age were brought up on these guys, for my international friends…..check this out.

They formed from two earlier punk/New Wave bands, Teenage Radio Stars (singer and guitarist Sean Kelly) and JAB (Ash Wednesday, Pierre Voltaire and Johnny Crash, keyboards, bass and drums respectively). This version of the group did not stay together for long, however, and soon Pierre was replaced by Mark Ferrie, then Ash by Andrew Duffield. In 1980 this line-up released their first album, Alphabravocharliedeltaechofoxtrotgolf, which was not commercially successful, but was well received by audiences on the live pub circuit. The band played more often and in more places than virtually any other Australian band of the era - but the group tended to record completely new material for their studio albums, so many of their most popular early songs went unreleased until 2002, when a compilation album of early live material ("Melbourne") was released.

Models' early style was a spiky, distinctive blend of New Wave, glam rock, dub and pop: their most notable features were Kelly's strangled singing voice, Duffield's virtuoso synthesiser performances (he used the EMS Synthi AKS, also notably used on Pere Ubu's Dub Housing), and the band's cryptic, slightly gruesome, lyrics (eg "Hans Stand: A War Record" from Alphabravocharliedeltaechofoxtrotgolf), which were mostly composed by Duffield and Kelly.

By June 1981 Johnny Crash had been replaced by Buster Stiggs (from New Zealand one hit wonder; The Swingers), and the group released the 10" album Cut Lunch (which consisted of demo tracks which had been particularly successful, including one track produced by Split Enz keyboard player Eddie Rayner), and, later that year, their second full-length album Local And/Or General, which was recorded in the UK. Both releases helped to widen their audience nationally, thanks to regular radio exposure on Triple J in Sydney and on community stations in other cities, as well as national TV exposure through their innovative music videos on programs such as the ABC's Countdown.

After signing with the MMA management company (which also handled INXS), the group attempted to create a hybrid of their alternative roots and a more commercial sound. Ferrie and Stiggs left after "Local And/Or General" and, after a brief stint as a five-piece, they were replaced by James Freud (real name Colin McGlinchey) and Barton Price. Freud had attended high school with Kelly, and they had played together in the Teenage Radio Stars: he had had a brief and relatively unsuccessful solo career.

This version of the group released the highly regarded 1982 LP 'The Pleasure of Your Company, produced by Nick Launay; its big drum sound and danceability in particular reflected Launay's influence, and Freud's more radio-friendly voice made the album more accessible. The album was critically acclaimed but again failed to sell strongly, although the single I Hear Motion was a national hit. Duffield later explained that the song's distinctive keyboard part had been inspired by the riff from the Stevie Wonder classic Superstition.

At this point (under pressure from management), the band reassessed their direction and moved towards to a more radio-friendly format. The group relocated to Sydney and Duffield - and his crucial influence on the band's sound - was forced out under acrimonious circumstances and replaced by Roger Mason on keyboards and James Valentine on saxophone. For touring, the group was regularly augmented by backing singers including Kate Ceberano and Zan Abeyratne (who had been the singers in popular early Eighties pop-funk band I'm Talking) and Canadian-born singer Wendy Matthews; Matthews and Kelly became a couple and formed the band Absent Friends.

Andrew Duffield released a solo album Ten Happy Fingers in 1986 on his own label, Retrograde Records. Initial sales were handled individually by Duffield via mail order only, before appearing in specialist record shops the following year.

The band released their most commercially successful work with the singles Out of Mind, Out of Sight and the James Freud tune Barbados, off the album Out of Mind, Out of Sight. Their follow-up album, Models' Media, was less successful. Models also featured on the Australian Made Tour of 1986-1987 with INXS and Jimmy Barnes, but, in 1988 the pressures of ten years of touring, as well as financial troubles, hastened the breakup of the band.

It was their extended live exposure, however, that ensured that Models stayed in the public eye when other contemporaries had been forgotten: the band's later work remained popular on radio throughout the 1990s; this, coupled with the critical acclaim and cult appeal of their earlier work, re-stimulated interest in their work in the latter half of that decade. The band reformed for a few gigs in 2000; in 2001 their rarities album "Melbourne" was released, and in 2002 Harper Collins Australia published Freud's memoir, I Am The Voice Left From Drinking; the title is taken from a line from Barbados and alludes to his problems with drugs and alcohol.

Mason has since composed soundtracks for various projects including ABC-TV series MDA. Valentine later worked in children's TV and is a popular radio host on 702 ABC Sydney and has recently published a successful series of children's books. Matthews is known as one of Australia's divas after a hit with her first album Émigré in 1990. Andrew Duffield teamed up with Phil Kennihan to become one of Australia's most successful advertising music partnerships. Barton Price has returned to New Zealand after stints with various Australian bands and the world's first drum sample CD. Ash Wednesday formed Crashland and plays with legendary German avant garde band EINSTÜRZENDE NEUBAUTEN.

Various versions of Models have and are reforming for short tours as of late 2006.

http://www.4shared.com/account/file/36576377/a8401fee/Models_-_Live_1982.html?sId=ePiib4WGFOU1Ixts

Acoustic Lounge - Cranberries Unplugged and More

The Cranberries - Unplugged & More

http://www.4shared.com/account/file/36568406/48f6f1b9/Cranberries_The__-_Unplugged__More.html?sId=PbEhuBljvl2ymZpl

The Church - Forget Yourself

The Church: Steven Kilbey, Peter Koppes, Tim Powles, Marty Willson-Piper.

Additional personnel: David Trump (baritone guitar, background vocals).

Producers: The Church, Nic Hard, Tim Powles.

Recorded at Spacejunk Studios, Sydney, Australia.

The Church: Marty Wilson-Piper, Peter Koppes, Tim Powles, Steven Kilbey.

Recording information: Spacejunk, Sydney, Australia.

Formed in Australia circa 1980, the Church refines its graceful, moody, melodic pop-rock on FORGET YOURSELF, with those close, oddly comforting harmonies and glistening guitars sounding as supple and distinctive as ever in 2004. Three-fourths of the original band remains--bassist Steve Kilbey's pointed, slightly raspy vocals and the sleek, moody guitars of Marty Willson-Piper and Peter Koppes are joined by new drummer/producer Tim Powles. FORGET YOURSELF is a bit darker and more brooding than the Church's emblematic '80s sound, with previous overtones of '60s folk and rock complemented by some progressive/art-rock influences. The hazy "June" recalls both the Syd Barrett daze and the languorous WISH YOU WERE HERE era of Pink Floyd. "Nothing Seeker," with its compelling, mounting tension, and the dreamy, feedback-accented closer "Summer" prove beyond any doubt the Church retains its knack for introspective yet pulsating gloom-pop.

Disc 1

http://rapidshare.com/files/88263973/Church__The_-_2003_-_Forget_Yourself_d1_.rar

Disc 2

http://rapidshare.com/files/88285863/Church__The_-_2003_-_Forget_Yourself_d2_.rar

Breeders - Live at the Metro Club 1994

Pixies bassist Kim Deal began the Breeders as a side project, including her sister Kelly and the Perfect Disaster's Josephine Wiggs. The band's 1990 debut album POD seemed like a one-off at the time, but after the Pixies' breakup, the Deals revived the Breeders with a vengeance. Their second album, 1993's LAST SPLASH, was one of the most popular alternative-rock records of its era. Armed with catchy songs and a Spike Jonze video, the Breeders became MTV darlings. After splintering into various other groups (the Amps, the Kelly Deal 6000, the Josephine Wiggs experience), the Breeders reunited, finally releasing their third album in 2002.Latest news is that a new album is on the way in 2008. In the mean time enjoy The Breeders 06/07/94 Metro Club, Chicago Remastered @ 320

SOS, New Year, Hellbound, When i was a painter, No aloha, Flipside, Never call home, Iris, Lord of the Thighs, Fortunately, Cannonball, Invisible man, Roi, Hag, Divine Hammer, Safari, Saints, Doe

Disc 1

http://www.mediafire.com/?emg2jrhjxmv

Disc 2

http://www.mediafire.com/?1dxe0ngzemb

The Smithereens - 1988 Live

The Smithereens 1988 Live

Blood And Roses (Live)
Behind The Wall Of Sleep (Live)
Beauty And Sadness (Live)
Alone At Midnight (Live)
Strangers When We Meet (Live)
The Seeker (Live)

http://www.4shared.com/account/file/36516288/31e58127/Smithereens_-_Smithereens_Live.html?sId=ChlOYA8zBdKVNuKI

The Church - Bastard Universe

cheers to hank

Originally given the name Bastard Universe, the album was retiled Hologram of Allah after Willson-Piper found the former too negative. Concerns about fundamentalist Muslim reaction to a potentially blasphemous title made the band opt for the more neutral Hologram of Baal (from the Canaanite god). Released under a new contract with UK independent Cooking Vinyl, the album was distributed in the U.S. under agreement with Thirsty Ear. A limited edition of the album featured a bonus disc with a nearly 80-minute, continuous jam session (given the shelved title Bastard Universe).

Disc 1

http://rapidshare.com/files/88034212/Church_The_-_Bastard_Universe_Pt1.rar

Disc 2

http://rapidshare.com/files/88068557/Church_The_-_Bastard_Universe_Pt2.rar

Mark Lanegan and Band - Live at the Wireless 2004

This is another favourite of mine, Mark Lanegan and band 'Live at the Wireless 2004'

http://www.mediafire.com/?dfl00hyjsmh

Nick Cave and the Bad Seeds - Abattoir Blues & The Lyre of Orpheus

Nick Cave & The Bad Seeds: Nick Cave (vocals, piano); Mick Harvey (guitar); Warren Ellis (bouzouki, mandolin, violin, flute); Conway Savage (piano); James Johnston (organ); Martyn P. Casey (bass instrument); Jim Sclavunos, Thomas Wydler (drums, percussion).

Additional personnel: London Community Gospel Choir.

Recording information: Studios Ferber, Paris, France (04/2004).

Two albums packaged together, the hard-hitting ABATTOIR BLUES and the quieter, more balladic THE LYRE OF ORPHEUS were recorded in a single burst of creativity in spring of the same year. Even though this release marks the first time in Nick Cave's solo career that he'd recorded without guitarist/partner-in-crime Blixa Bargeld, there is no diminution of raw energy. "Nature Boy" may boast a pop-friendly chorus, but ABATTOIR BLUES come charging out of the gate with the furious "Get Ready for Love," and "Fable of the Brown Ape" contains some extremely Blixa-like, discordant guitar squalls. Even the potentially risky gambit of adding a gospel choir for some tracks pays off, successfully upping the drama quotient.

THE LYRE OF ORPHEUS is the more contemplative half of the set, but is no less intense for that. In fact, the title song--essentially a retelling of the Greek legend--bears as stunning an impact as anything on the disc's more raucous partner. Throughout both albums, Cave's lyricism is at a peak; from the violent-but-inspired imagery of the driving, bluesy "Hiding All Away" to the almost shockingly vivid nature symbolism employed on "Babe, You Turn Me On," Cave truly earns his stripes as one of the finest wordsmiths of his generation.

Nick Cave and the Bad Seeds – Abattoir Blues

http://www.4shared.com/file/36416798/e569a128/Cave_Nick_and_The_Bad_Seeds_-_Abattoir_Blues.html

Cave, Nick and the Bad Seeds - The Lyre Of Orpheus

http://www.4shared.com/file/36422284/3bcdf32e/Cave_Nick_and_The_Bad_Seeds_-_The_Lyre_Of_Orpheus.html

Go-Betweens - Live in Canada 1987

Really good live recording...... found by chance...... much apprieciated. No cover art, if you need something for i-tunes this looks good.

The Go Betweens 09/29/87 Club Soda On Park Avenue, Montreal, Canada

In The Core Of The Flame, Head Full Of Steam, Right There, Twin Layers Of Lightning, Cut It Out, Learn To Live Again, I Just Get Caught Out, Part Company, Bye Bye Pride, The Clarke Sisters, Spring Rain, The House That Jack Kerouac Built, Don't Call Me Gone, Apology Accepted

http://www.mediafire.com/?0xyg0zbn31y

Various Artists - Japanese Tribute To The Pixies

Tribute to the Pixies – Japanese

http://www.mediafire.com/?0rd11hwjmbh

Meet The Smithereens! - A Beatles Tribute Album CD

Meet The Smithereens!-A Beatles Tribute Album CD 2007

Have you met the Beatles? They had some hits back in the 1960s. On this 2007 release, mondo Beatle fans the Smithereens--who themselves had some chart action in the '80s--have reverently recreated the mop-tops' breakthrough 1964 album, breathing new life into the 12 classic gems that changed pop music forever.Although the arrangements never stray far from the originals, Pat Danizio and company infuse each track with their characteristic full-bodied sound, making "I Want to Hold Your Hand," "I Saw Her Standing There," and even ballads liked "This Boy" sound a little richer and a little more rocking.

http://rapidshare.com/files/87838071/The_SMITHEREENS_-_Meet_The_Smithereens.rar

The Church - A Box of Birds

BOX OF BIRDS, the Church's twelfth album, is a collection of covers. The Church puts its all into these tracks, originated by the likes of Alex Harvey, the Monkees, Iggy Pop, Hawkwind, and others, and, though remaining fairly faithful to the originals, it manages to infuse each one with its own particular touch.Standouts include: George Harrison's "It's All Too Much" (also including lyrical nods to a couple of other songs), which gets a vital, uptempo run-through, complete with peals of feedback; a wonderful reading of Ultravox's "Hiroshima Mon Amour," that simultaneously recalls the glory days of Euro-pop and New Wave, while retaining the Church's own psychedelic leanings; Television's "Friction," which provides Marty Willson-Piper and Peter Koppes with an excellent opportunity to pit their twin guitar interplay against that of one of their primary influences; and an epic and reverential take on Neil Young's "Cortez the Killer," a song that the band has long performed live. More than just an entertaining peek at the Church's influences, BOX OF BIRDS is more than worthy of the band's vast catalogue.

Tracks
The Faith Healer (7:35) [Alex Harvey]
It's All Too Much (6:10) [The Beatles]
Hiroshima Mon Amour (4:27) [Ultravox]
The Porpoise Song (4:28) [The Monkees]
Decadence (9:14) [Kevin Ayers]
The Endless Sea (4:33) [Iggy Pop]
Friction (5:11) [Television]
All the Young Dudes (4:10) [Mott The Hoople]
Silver Machine (4:57) [Hawkwind]
Cortez the Killer (11:08) [Neil Young]

Credits

The Church are Steven Kilbey, Peter Koppes, Tim Powles, Marty Willson-PiperRecorded and Mixed by Dave Trump and Tim Powles@ the Blue Room Studios, Gävle, Swedenexcept for "All The Young Dudes" and "Silver Machine"recorded @ Karmic Hit Studios, Sydney, AustraliaMastered by Jay @ Node Mastering, London
The preliminary track listing for this album was:
1. Cortez the Killer [Neil Young]
2. Life's A Gas [Marc Bolan & T. Rex]
3. Friction [Television]
4. Silver Machine [Hawkwind]
5. All The Young Dudes [Mott the Hoople]
6. Don't Fear The Reaper [Blue Oyster Cult]
7. Ritz [Cockney Rebel]
8. Venus In Furs [The Velvet Underground]
9. In Every Dreamhome A Heartache [Roxy Music]
10. It's All Too Much [The Beatles]
11. Desdemona [T-Rex]
12. The Porpoise Song [The Monkeys]

Eight different covers and the CD artwork were designed and submitted by fans.

Disc 1

http://rapidshare.com/files/87861286/Church___The_-_1999_-_A_Box_Of_Birds__d1_.rar

Disc 2

http://rapidshare.com/files/87872984/Church___The_-_1999_-_A_Box_Of_Birds__d2_.rar

The Church - Remote Luxury

The first of two EPs released in 1984, Remote Luxury is one of the more subdued works in the Church's catalog. The release carried on the mix of guitars and keyboard effects of the previous year's Seance, but this time in a lighter, more acoustic setting. Without any standout singles, it made little commercial impact, but showcased guitarist Marty Willson-Piper's lead vocals for the first time since 1982's The Blurred Crusade.

Track listing
1. "Maybe These Boys" (Kilbey)
2. "10,000 Miles" (Kilbey/Willson-Piper)
3. "Into My Hands" (Kilbey)
4. "A Month of Sundays" (Kilbey)
5. "Remote Luxury" (Kilbey)

http://rapidshare.com/files/87808267/Church__The_-_1984_-_Remote_Luxury.rar

The Church - Remote Luxury

The first of two EPs released in 1984, Remote Luxury is one of the more subdued works in the Church's catalog. The release carried on the mix of guitars and keyboard effects of the previous year's Seance, but this time in a lighter, more acoustic setting. Without any standout singles, it made little commercial impact, but showcased guitarist Marty Willson-Piper's lead vocals for the first time since 1982's The Blurred Crusade.

Track listing
1. "Maybe These Boys" (Kilbey)
2. "10,000 Miles" (Kilbey/Willson-Piper)
3. "Into My Hands" (Kilbey)
4. "A Month of Sundays" (Kilbey)
5. "Remote Luxury" (Kilbey)

http://rapidshare.com/files/87808267/Church__The_-_1984_-_Remote_Luxury.rar

Nada Surf - High/Low

Nada Surf: Matthew Caws (vocals, guitar); Daniel Lorca (vocals, bass); Catherine Talese (spoken vocals); Ira Elliot (drums).Additional personnel: Catharine Talese (spoken vocals).Recorded at Electric Lady, New York, New York on December 1-20, 1995.Replete with angular chord progressions, feedback galore and ironic lyrics about the least appealing aspects of adolescence (high school, unrequited crushes), HIGH/LOW could be a lesson in the fundamentals of indie rock's nerd mentality. But Nada Surf make their songs memorable by adding an arena-rock lacquer to these dark "losercore" songs. On the anthemic "Popular," the band glorifies teenage disappointment by framing it in the punch of a power chord, making it massive and universal--worthy of a stadium sing-a-long.Part of Nada Surf's indelibility lies in the top-notch production by Ric Ocasek (of the Cars; he's also responsible for producing Weezer). Ocasek has the gift of recording with crystalline definition while avoiding a cold and overproduced sound. HIGH/LOW proves that Nada Surf can carry crunch and clarity like true alternative superstars, without forgetting their dorky and unglamorous past.

http://www.4shared.com/file/36374891/afa55322/Nada_surf_-_High__low.html

Nada Surf - Weight is a Gift + Bonus EP

Though it was poised for major-label alt-rock greatness in the late 1990s, Nada Surf truly hit a creative stride after signing to Barsuk Records in the early 2000s. Co-produced by Death Cab for Cutie's Chris Walla, THE WEIGHT IS A GIFT (2005) shows that indie status suits this Brooklyn trio just fine, as the band runs through an impressive set of highly melodic, guitar-driven songs.
Disc 1:
1.
Concrete Bed
2.
Do It Again
3.
Always Love
4.
What Is Your Secret?
5.
Your Legs Grow
6.
All Is A Game
7.
Blankest Year
8.
Comes A Time
9.
In The Mirror
10.
Armies Walk
11.
Imaginary Friends
DISC 2:
1.
From The Rooftop Down
2.
Fools
3.
Concrete Bed Original
4.
Au Fond Du Reve Dore


Initial pressings of THE WEIGHT IS A GIFT include a bonus CD featuring four non-album recordings.Nada Surf: Matthew Caws (vocals, guitar); Daniel Lorca (bass guitar); Ira Elliot (drums).Additional personnel: Coralie Clement, Lianne Smith (vocals).Recording information: Brooklyn, New York (2005).

http://rapidshare.com/files/87748626/Nada_Surf_-_The_Weight_Is_A_Gift_bonus_CD.rar

PJ Harvey - B Sides

http://www.4shared.com/file/36333564/38d8b648/PJ_Harvey_-_B-Sides.html

The Church - HOLOGRAM OF BAAL

HOLOGRAM OF BAAL, the eleventh Church album (depending on whether or not you count REMOTE LUXURY as a album or 2 EPs, as it was originally released), marks a move away from the eclectic nature of some of the band's past few efforts. Here it focuses on the lush, psychedelically tinged pop of albums such as HEYDAY (that said, however, some editions of this CD include BASTARD UNIVERSE, a 79-minute long bonus disc of 6 linked experimental instrumentals, which is well worth seeking out).

Easily the equal of anything in the band's catalogue since STARFISH, HOLOGRAM would make an ideal starting point for new fans or fans who've drifted away over the years. Standouts include "Louisiana," a gloriously languid track featuring guitar feedback in the distance, rolling like waves on the ocean, and "No Certainty Attached," a dense rocker (or as rock as the Church ever gets), highlighting heavy-duty drumming, swooping guitars, and Steve Kilbey's echoing vocals. The beautiful "Tranquility" actually manages to live up to its title, while "Glow-Worm" is a sweet love song, whose swirling backing is accented by acoustic guitars and violins.

http://rapidshare.com/files/87641821/Church__The_-_1998_-_Hologram_Of_Baal.rar

Grant Lee Buffalo - Jubilee

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, without Kimble who had left the band the previous year). In the United States, the band may perhaps best be remembered for their 1998 single, “Truly, Truly,” which received extensive airplay.

After the release of Jubilee, the band broke up and Phillips continues to pursue a successful solo career. In 2001, Storm Hymnal, a compilation of singles, album tracks and rarities was released.

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.

Jubilee is an album released in 1998 by Grant Lee Buffalo.

Track listing

1. "APB" - 3:37 -

2. "Seconds" - 4:21 -

3. "Change Your Tune" - 3:21 -

4. "Testimony" - 3:59 -

5. "Truly, Truly" - 3:58 -

6. "SuperSloMotion" - 5:42 -

7. "Fine Howd Ya Do" - 3:52 -

8. "Come To Mama, She Say" - 4:31 -

9. "8 Mile Road" - 4:55 -

10. "Everybody Needs A Little Sanctuary" - 4:01 -

11. "My My My" - 4:05 -

12. "Crooked Dice" - 4:43 -

13. "Jubilee" - 3:38 -

14. "The Shallow End" - 4:16 -

http://www.4shared.com/file/36330029/367b62f4/Grant_Lee_Buffalo_-_1998_Jubilee.html

Spacemen 3 - Performance

Spacemen 3 were an English rock band who formed in 1982 and whose career spanned from the post-punk to acid house eras. This highly influential group’s minimal sound, characterised by droning guitars, softly sung/spoken vocals and sparse or monolithic drumming would be adopted by the shoegazing movement that would eventually dominate the underground. Their sound also formed the basis for post-rock. Spacemen 3 consisted of the core of Jason Pierce and Peter Kember (Pierce sometimes credited as J. Spaceman and Kember usually known as Sonic Boom), who formed the group in Rugby, Warwickshire, having met at art college. Other members of what would become a fluid lineup over the years included Pete Bain (Bassman, also of the Darkside), Natty Brooker, Sterling Roswell (Rosco), Will Carruthers and Jonny Mattock (also of Slipstream).

From the outset Spacemen 3 had a very defined set of aesthetic principles. They based almost their entire sound on their own concept of minimalism—droning guitars, feedback, as few chords as possible, pounding drums—with their motto “Taking drugs to make music to take drugs to”. Their minimalism bled into their stage show as well. Sitting down to play their guitars and covered in the spinning colours of a cheap psychedelic light show, their stage “act” was very anti-performance. Another striking aspect of Spacemen 3 was their willingness to share their influences. Song titles, lyrics and interviews were peppered with references to bands and artists they believed shared their “minimal is maximal” aesthetic. The Velvet Underground, the Rolling Stones, the Stooges, the MC5, early Captain Beefheart, out-there jazz legend Sun Ra, the Silver Apples, garage punk of the 1960s such as the 13th Floor Elevators, Red Krayola, and the Electric Prunes; the Beach Boys, Jan and Dean and other surf bands; ’80s rockabilly groups the Cramps, the Gun Club, Tav Falco; blues and gospel acts like Muddy Waters, the Staple Singers and John Lee Hooker; and the production techniques of Joe Meek, Brian Wilson and Delia Derbyshire were just some of the names mentioned by the band.

Performance is the first live album from Spacemen 3, documenting a set from the Perfect Prescription tour. It was recorded on February 6, 1988 at De Melkweg, Amsterdam, the Netherlands. Containing titles: Mary-Anne, Come together, Things'll never be the same, Take me to the other side, Rollercoaster, Starship, Walkin' with jesus.

http://www.4shared.com/account/file/36308076/59a7d91f/Spaceman_3_-_Performance.html?sId=4gGNVYo3pfYUyfqS

Spaceman 3 – Threebie 3

Spaceman 3 – Threebie 3

Recording information: Melkweg, Amsterdam, Netherlands (02/1988).

Song Title 1.Starship (Live) 2.Revolution (Live) 3.Suicide (Live) 4.Repeater (Live) 5.Live Intro Theme (Xtacy)

http://www.4shared.com/file/36319089/cb5c9694/Spaceman_3_-_Threebie_3.html

Spaceman 3 – Recurring (International Version)

Spaceman 3 – Recurring (International Version)

Recurring was the fourth and final canonical Spacemen 3 studio album, finally released (after considerable delay) in 1991, sometime after the band had broken up. By the time the album was recorded, relations between the band had soured to the extent that the record is in 2 parts - the first side by Peter Kember, and the second by Jason Pierce.

The album included "Hypnotized", a Pierce composition that was a minor hit in the UK in 1990.

The original UK and US pressings had only eleven tracks, with edited - and much shorter - versions of several key tracks. Most notably, "Big City" was cut in half, only the reprise of "Feel So Sad" was included, and "Billy Whizz" faded out before its "Blue 1" crescendo. Aside from that, the other missing tracks were alternate versions of "Just to See You Smile" and "Feelin' Just Fine", and a reprise of "Set Me Free".

The version of "Drive/Feel So Sad" included on the international (15-track) version is from the B-side of "Hypnotized". "Just to See You Smile" was the other b-side of that single, in an alternate mix listed as "Just to See You Smile (Honey Pt. 2)", owning up to the track's melodic affinity to the earlier Spacemen 3 tune "Honey". Elsewhere, "Why Can't You See" is another song whose main guitar riff is largely derived from the 45-minute improvisation Dreamweapon (the others were "Honey" and "How Does It Feel"); and "I Love You" features an unaccredited sample of a Jan and Dean radio jingle for Coca-Cola (possibly written or cowritten by Brian Wilson, from 1963.

The only track on which both Pierce and Kember appear is "When Tomorrow Hits", a cover of a Mudhoney song, originally intended for a double A-side split single, with Mudhoney covering "Revolution" from Playing With Fire. This release was scotched when Kember caught wind of the fact that Mudhoney had fitted "Revolution" with somewhat irreverent lyrics about methadone suppositories. The Mudhoney recording eventually surfaced as a b-side. There's a subtle continuity between both tracks, specifically duelling references to The Stooges; the Spacemen 3 track opens with the "look out!" invocation that began "Loose", and "When Tomorrow Hits" is mostly a rewrite of "I Want to Be Your Dog".

http://www.4shared.com/file/36316075/1d11d626/Spaceman_3_-_Recurring.html

City Kids - Orphans

from paolo in Italy a French band ‘City Kids’

As you would expect there’s not a lot of information of a French band on English ‘goggle search’. What I can tell you is that Rob Younger of ‘Radio Birdman’ fame produced this album. Rob was also ‘house producer’ at ‘Citadel Records’. Amongst the many great bands he has produced is ‘Died Pretty’. For me that alone warrants a listen…. so what do they sound like?

So if I’m going to give an opinion I need to compare their sound with Australian music. Well there are definitely not ‘Birdman’ or ‘Died Pretty’ closer to ‘The Party Boys’ or ‘The Angels”. In Australia the average punter would put them under a ‘westie pub band’. Now I’m sure you’re more confused than ever!!!! In Australian terms a ‘down the road rock and roll band’. Have a listen make up your own mind.

ps. the lyrics are in English

ie. ‘punter’ means a ‘customer’ in Australian slang

‘westie’ means ‘Someone from Sydney's or Brisbane’s Western Suburbs’.

Again cheers to Paolo.

Disc 1

http://rapidshare.com/files/87566054/citykidsorphanspart1.rar

Disc 2.

http://rapidshare.com/files/87578589/citykidsorphanspart2.rar

The Smithereens - A Date With The Smithereens

This album coped a lot flack from the press, but it’s my personal favourite.

The Smithereens are known for writing and playing catchy 1960s-influenced power pop.

The Smithereens have always worn their inspirations proudly, but the band also influenced other musicians, most notably Kurt Cobain during the period he was writing Nevermind. Ironically, some feel the Smithereens (like many early 1990s bands) were hurt by the rise of grunge music.

Along with a basic Eastern-coast roots-rock sound that owed much to the inspirations of DiNizio, including Buddy Holly, The Who, The Clash, Elvis Costello, and Nick Lowe, the Smithereens deployed a uniquely retro obsession with Mod, the late British Invasion pop of John's Children and The Move, and other artifacts of fifties and sixties culture that lent its music substance and style.

A Date with the Smithereens is the fifth album by the New Jersey rock band The Smithereens, released in 1994. It is seen as a big change by the band, because the previous albums were a lot more pop music and this one had turned out to be more hard rock than the others. The title is supposed to be ironic in the fact that all the songs are mostly hate-inspired.

It all started when hit record producer Butch Vig gave interest in and then left the band. This may have inspired some of the hate for this album. Butch Vig worked with artists Nirvana and The Smashing Pumpkins. The album was originally planned to be released about a year before it actually was, but Capitol Records was near dropping The Smithereens. The reason for this is that their previous album, Blow up, was not tolerated well by listeners and lost a lot of fans.

The Smithereens planned to start recording on the album in December of 1992, but the recording was postponed to February of 1993, because of The Smashing Pumpkins album Vig was working on. In July, Butch Vig gave up on the Smithereens, and shortly after, Capitol Records got rid of them.

After The Smithereens were dropped by Capitol, they went to RCA records. As revenge at Capitol, they even considered naming the new album after Capitols president, but the idea was never used. In the end, the Smithereens decided to use their old producer, Don Dixon for the album.

http://www.4shared.com/account/file/36289050/c162e1a9/Smithereens_-_A_Date_With_The_Smithereens.html?sId=4gGNVYo3pfYUyfqS

Jesus and Mary Chain - Live in Heaven 1987

No poorly recorded Bootleg here. Straight from the sound desk to you. I'm a big fan and have heard many poor live recordings but this is excellent..... clear and balanced great sound engineering..... 'you trip me up' 'happy when it rains' 'april skies' 'just like honey' only song missing for me 'darklands' sheer bliss.

http://rapidshare.com/files/87502875/Jesus_and_Mary_Chain_-_live_in_heaven_1987.rar

Decline of the Reptiles - Couple of EP's

The Hammer Speaks E.P. (1985)
Too Much Armour Not Enough Brains E.P. (1986)

brought to you by hank

Two EP’s from Decline of the Reptiles. Originated from Sydney, Australia circa 1980’s. Garage rock similar to the Lime Spiders with a cleaner guitar sound. They used an organ/keyboard backwash to great effect with the usual growly vocals.

- http://rapidshare.com/files/87433308/Decline_Of_The_Reptiles.rar

The Acoustic Lounge - R.E.M - MTV Unplugged

R.E.M.’s first appearance on MTV Unplugged took place on April 10, 1991, the year the band came to worldwide attention, at Chelsea Studios in New York City. The band, along with hired hand Peter Holsapple, lined up on stools in front of an invited audience. Michael Stipe defied the studio lights by wearing the black fisherman’s hat he favored that year and a three-quarter-length mustard-colored coat (over a yellow shirt, no less), although for the latter part of the set he did resort to rolling the legs of his jeans up over his knees.

Of the less predictable selections, "It’s the End of the World as We Know It (And I Feel Fine)" was the strangest candidate for an acoustic revamp, and it certainly didn't occur to the band themselves initially, as Stipe announced that it was a last-minute request from MTV. Indeed, they had to have the lyric faxed through from Athens. The vocals, for their part, received more care and attention than it had on the Green tour, and the attempt amused both the band and the audience alike.

Although the edited broadcast program was structured like a non-stop concert, recording actually took two hours. In addition to breaks while the band members exchanged instruments and Berry went to the men's room, there were delays while technical adjustments were made. During these moments, the band entertained themselves and the audience by playing a quartet of cover versions: Classics IV's "Spooky", the Undisputed Truth's "Smiling Faces Sometimes", "Egyptian Reggae" (Jonathan Richman), and J. J. Jackson's "But it's Alright". They also recorded second takes of "Disturbance at the Heron House" (Buck having broken a string during the first attempt) and "World Leader Pretend". The latter song, "Fretless", "Swan Swan H", and "Get Up" were subsequently dropped from the final running order, which aired on April 24, 1991:

The cover of Reg Presley's "Love Is all Around" was subsequently included on the longform video This Film Is On. A photograph taken during the performance by Retna’s Frank Micelotta can be found in the image section in the middle of Adventures in Hi-Fi: The Complete R.E.M., a book written by Rob Jovanovic and Tim Abbott, issued in 2001.

Unedited

1. "World Leader Pretend"

2. "Half a World Away"

3. "Disturbance at the Heron House"

4. "Spooky" (Classics IV)

5. "Fretless"

6. "Swan Swan H"

7. "Smiling Faces Sometimes" (Undisputed Truth)

8. "Radio Song"

9. "Low"

10. "But it's Alright" (J. J. Jackson)

11. "Perfect Circle"

12. "Fall on Me"

13. "Belong"

14. "Egyptian Reggae" (Jonathan Richman)

15. "Love Is All Around" (Reg Presley)

16. "It's the End of the World as We Know It (And I Feel Fine)"

17. "Losing My Religion"

18. "Pop Song 89"

19. "Get Up"

20. "World Leader Pretend" (re-take)

21. "Disturbance at the Heron House" (re-take)

22. "Endgame"

Edited

1. "Half a World Away"

2. "Disturbance at the Heron House"

3. "Radio Song"

4. "Low"

5. "Perfect Circle"

6. "Fall on Me"

7. "Belong"

8. "Love Is All Around" (Reg Presley)

9. "It's the End of the World as We Know It (And I Feel Fine)"

10. "Losing My Religion"

11. "Pop Song 89

http://rapidshare.com/files/87315748/R.E.M._-_MTV_Unplugged.rar

Dirty Three - Café la 2003

Dirty Three is an instrumental rock band, formed in 1993, in Melbourne, Australia by Warren Ellis (violin), Mick Turner (electric guitar), and Jim White (drums). Though each of the musicians has remained dedicated to the band since its inception almost fifteen years ago, Warren, Mick and Jim have contributed their respective talents to a multitude of artists over the years.

Their music has elements of folk melody, rock energy, and 20th century classical music. Their early albums offered many aggressive, ferociously emotional songs, but since their fourth album, Ocean Songs, Dirty Three have gradually shifted their focus towards a slower, arguably more melancholic, style of playing.

Alive show here Dirty Three - Café la 2003

http://www.mediafire.com/?c74d30npzaq

The Ponys - Laced With Romance

The Ponys are an American indie rock/garage rock band from Chicago, Illinois.

The Ponys was formed by singer/guitarist Jered Gummere, in early 2001. Gummere was concurrently in the punk band, Guilty Pleasures, at the time of The Ponys’ formation. He eventually left to devote himself entirely to The Ponys. Gummere recruited members of the band, his first choice being girlfriend Melissa Elias who he met while she was attending Illinois State University in his hometown. Together they experimented with indie/postpunk styles.

The two began to write songs, and were joined by ex-Mushuganas drummer, Nathan Jerde. The Ponys began touring the Chicago club circuit and would then record their first singles on Contaminated and Big Neck records. Concerned their sound was lacking, Gummere asked Ian Adams, a member of Happy Supply to join the band. After releasing a few more singles, the Ponys signed with In the Red Records (based in Los Angeles), due to widespread circulation.

Their initial release, Laced With Romance, met with moderate critical success . The album reached media from local indie-zines such as Horizontal Action, to mainstream-America music publications like Rolling Stone and Spin.

The Ponys toured to support their album, with bands like The Unicorns, The Fall, and The Fiery Furnaces.

http://rapidshare.com/files/87298082/Ponys__The_-_Laced_With_Romance.rar

PJ Harvey - Dry (acoustic)

As the first installment to the world of Polly Jean Harvey, DRY is a cautionary dip of the toe to test the temperature. DRY serves as an introduction to Harvey's fierce guitar--which at times recalls the front porches of the Delta--and highly visual lyrical angle that picks at the scabs of female iconography. And though it is the most modest of her initial three releases production-wise, Harvey's sheer talent makes DRY's mythical undercurrent hard to escape.

In "Sheela-Na-Gig" the narrator begs her lover for attention, but is answered with taunts of "you exhibitionist." According to Harvey, a Sheela-Na-Gig is a symbol of a woman ripping her reproductive organs out of her body...but laughing about it. On that song, and on the rest of the album, Harvey grabs on, and won't give up juxtaposing the nursery rhyme singsong of "gonna wash that man right out of my hair" with the contemptuous refrain, "put money in your idol hole." As the two sides duel it out--and the eerie classical overtones of Harvey's violin, and the aggressive guitar drenched in blues and rock textures mesh--DRY makes it clear that Harvey is a force to be reckoned with.

This was a demo (acoustic) version of the main album released in 1992 and apparently very rare, and I don't believe it has ever been released again.

PJ Harvey – Dry

http://rapidshare.com/files/87266301/PJ_Harvey_-_Dry__Demonstration_.rar

The Only Ones - Lovers of Today

The Only Ones are an English rock and roll band. They were initially active in the late 1970s and were associated with punk rock, yet straddled the musical territory in between punk, power pop and hard rock, with noticeable influences from psychedelia. The band reformed in 2007 following the band's biggest hit "Another Girl, Another Planet" being used in a Vodafone ad campaign in 2006. They completed a small UK tour in June and more dates are planned for the rest of the year.

The Only Ones have been very influential on the indie rock and alternative rock scenes ever since, on bands such as The Replacements, Blur and Nirvana, and more recently The Libertines. Several bands have covered their song "Another Girl, Another Planet", including, The Libertines (at London Forum with Peter Perrett guesting), The Replacements and Blink 182.

Single ‘Lovers of Today’

http://www.mediafire.com/?bhvjw54n4mn

The Saints - This Perfect Day

This is ‘The Saints’ second English release.

Single “This Perfect Day’

http://www.mediafire.com/?3nsb9jjbmyl

Magazine - Shot From Both Sides

Magazine was an English Post-punk group active between 1977 and 1981. The band was formed in Manchester by Howard Devoto after he left Buzzcocks in 1976. In April 1977 he met guitarist John McGeoch and they began writing songs which would become the first Magazine material. They recruited Barry Adamson, Bob Dickinson and Martin Jackson to form the first line-up of the band, which signed to Virgin Records. Bob Dickinson left shortly after the release of the band's first single "Shot by Both Sides" and was replaced by Dave Formula. "Shot by Both Sides", the chorus of which shared the same progression as the Buzzcocks' "Lipstick," reached the top 50 in the UK singles chart. It's cover was an early example of the goth influence in punk.

Following a tour to promote the first album Real Life, Jackson left and was replaced briefly by Paul Spencer and then John Doyle. In 1979 the second album, Secondhand Daylight followed. Devoto left the band in 1981, and after a brief solo outing and two albums with Luxuria he quit music to become a photo archivist.

This was Magazines first release and It’s not surprising how good Magazine were Barry Adamson on bass, who went on to produce some excellent solo material. John McGeoch who also played in PIL, The Banshees, and Visage. Pete Shelly contributed to the music for "Shot By Both Sides"

Single “Shot From Both Sides’

http://www.mediafire.com/?cl4ulmdmjxj

The Church - Back With Two Beasts

Back With Two Beasts is an album by Australian rock band The Church, released in 2005.

Track listing

1. "Snowfaller" – 5:41

2. "Pantechnicon" – 6:22

3. "Unreliable External" – 5:02

4. "Pearls" – 6:36

5. "Saturation" – 5:42

6. "Heading South" – 4:37

7. "Ionian Blues" – 3:40

8. "Anthem X" – 5:48

9. "Night Sequence" – 20:01

10. "I Don't Know" – 2:01

Disc 1

http://rapidshare.com/files/87222265/Church_-_Back_With_The_Beasts_d1_.rar

Disc 2

http://rapidshare.com/files/87247616/Church_-_Back_With_The_Beasts_d2_.rar

Datsuns - Datsuns & Smoke & Mirrors

The Datsuns are a rock band from Cambridge, New Zealand. In 1997, while still at school, Dolf de Borst (vocals, bass), Phil Buscke (guitar), and Matt Osment (drums) formed a band under the name Trinket. Christian Livingstone joined the band in 1997 as a second guitarist. They entered and won the 1999 89FM Battle of the Bands competition; by 2000 the band had renamed themselves 'The Datsuns'. In August 2000 they released their first single, "Super Gyration!" on 7 inch vinyl only. In July 2002, after featuring several times on John Peel's programme on the UK's BBC Radio 1 and being hailed as "the future of rock" by the British music press, the band signed with the V2 record label. Their self-titled debut album made a strong impression in the UK, as well as in Australia and New Zealand. They played Ozzfest in 2003 on the mainstage alongside the likes of Ozzy Osbourne, Marilyn Manson, Korn and Disturbed. They played the main stage of the 2004 Big Day Out festival and opened for Metallica in their Australian tour in the same year. Their second album, Outta Sight, Outta Mind, was produced by Led Zeppelin's John Paul Jones. However it did not receive the same praise as the first, critics giving it only a lukewarm response. In October 2006, the Datsuns came back with Smoke & Mirrors, heralded as a return to form in Australia and New Zealand. However it was largely ignored by music press overseas. After the release of the third album, drummer Matt Osment was replaced by Ben Cole.

The Datsuns went on a New Zealand tour with Shihad during the Christmas/New Year's period 2006/07.

The band recently completed a tour of Europe to promote Smoke & Mirrors. Although playing mostly locations the band had not previously visited, The Datsuns still managed to sell out the majority of the European dates.

The Datsuns are currently recording their fourth album in Europe, due to be released in early 2008.

Datsuns

http://www.mediafire.com/?dzno3bcdulp

Smoke and Mirrors

http://www.mediafire.com/?1ejnzp2zloi

The Chocolate Watchband - Best of

The Chocolate Watchband, a garage rock-band formed in Cupertino, California in 1965. The band broke apart by 1967. The band's music was largely garage rock with psychedelic influences. Ed Cobb was their manager.

Founding members were Mark Loomis (guitar), Danny Phay (vocals), Jo Kemling (Vox organ), Gary Andrijasevich (drums), Rich Young (bass), and Ned Torney (guitar). The group evolved over 1965 and 1966, and the Chocolate Watchband that most fans know was Mark Loomis, lead guitar and keyboards, Gary Andrijasevich, drums, Sean Tolby, rhythm guitar, Bill 'Flo' Flores, bass and Dave Aguilar, lead vocals and harmonica. They appeared in the 1967 film Riot on Sunset Strip.

The band was involved with disputes with their manager Ed Cobb, because they were presented as being more psychedelic on record than they were live due to Cobb's innovative production methods. In addition, Cobb was accused of recording parts of the Watchband's albums without them. They also recorded a Cobb tune already done by the Standells, 'Medication' (on 'The Inner Mystique').

http://rapidshare.com/files/87209671/Chocolate_Watchband__The_-_The_Best_of_Chocolate_Watchband.rar

The Church - EL MOMENTO DESCUIDADO

EL MOMENTO DESCUIDADO, which follows up 2004's underrated FORGET YOURSELF, finds the Church performing stripped-down renditions of their classic songs, while adding a handful of new tunes to the mix. The long-running Australian quartet sounds remarkably vibrant on this 14-track set, which begins, appropriately enough, with a gentle rendition of "The Unguarded Moment," from the group's 1981 debut. Among the other older songs here, the band performs a wonderfully spare version of "Almost with You" and, of course, their only true hit, "Under the Milky Way," which is even more lovely and emotionally direct in this acoustic format, with frontman Steve Kilbey's deep, rich vocals easing the tune along. It's impressive that the newer tracks blend nicely with their revered predecessors, most notably the beautifully chiming "0408" and minimalist, piano-led "Between Mirages." Like fellow Aussie pop heroes the Go-Betweens, the Church have learned to balance the old with the new, while remaining inventive and vital. Fans that may have written the group off in the '90s will likely be pleasantly surprised by this excellent outing, which looks both backward and forward.

http://rapidshare.com/files/87192263/The_Church_-_El_Momento_Descuidado.rar

The Morlocks - Emerge

The Morlocks is an American garage rock band from San Diego, California, which formed in 1984. In its first incarnation, the band consisted of guitarist Tom Clark, bassist Jeff Lucas, drummer Mark Mullen, as well as vocalist Leighton Koizumi and guitarist Ted Friedman, former members of the Gravedigger Five. After splitting up in 1987, the group reformed under Koizumi with a different lineup.

The Morlocks began performing together in late August 1984 when the already assembled core band of Jeff Lucas, Tom Clarke, and Mark Mullen, were able to entice former Gravedigger Five members Leighton Koizumi and Ted Friedman into joining the band. The newly-formed Morlocks' first performance came in September 1984 at the Rave-Up in Los Angeles; that same night, following their performance, the band received two separate recording offers, opting, after a time, to sign a deal with Midnight Records of New York City.

That December the band recorded their first mini-LP, Emerge, for Midnight Records. The Morlocks recorded the album with a set of smashed instruments destroyed at a show in San Francisco two days earlier by the band The Tell-Tale Heart, who agreed to lend the band the instruments for the recording session. The album was produced by Jordan Tarlow, the alias of Nadroj Wolrat, who would go on to join The Fuzztones. The label released the album in the spring of 1985. Following the release of their first LP the band relocated from San Diego to San Francisco where they released a second LP, this time for Epitaph Records. The band's second album was a live LP called Submerged Alive, which featured a performance the band had recorded in Berkeley, California, in 1986. While the album was apparently recorded live, the LP contained clear studio-manipulations of audience noise, prompting some to label it a "fake" live album.

In the summer of 1987 the band began to fall apart. Just prior to a show at the Fillmore in support of The Cult, bassist Jeff Lucas quit the band. The rest of the band held out long enough to record a handful of tracks under the production of Ron Rimsite before the entire group disbanded. The tracks recorded with Rimsite were eventually released posthumously on two 7" albums. Four years after the band's breakup a live LP from Croatia called "Wake Me When I'm Dead" was released. This was followed in 1997 by an officially-released live CD provided by guitarist Ted Friedman called "Uglier Than You'll Ever Be!," the band's final release.

http://rapidshare.com/files/87081801/Morlocks_-_Emerge.rar

Dead Moon - In The Graveyard

Dead Moon was a Portland, Oregon band fronted by longtime singer/guitarist/songwriter Fred Cole. Toody Cole, Fred's wife, played bass and Andrew Loomis played drums. Formed in 1987, the band combined garage rock, punk, and country in their stripped-down sound. Fred Cole engineered most of the band's recordings and mastered them on a mono lathe that was used for The Kingsmen's version of "Louie Louie". Their early records, such as In the Graveyard, were released on the Tombstone Records label, named for the musical equipment store Fred and Toody operated at the time. Soon they caught the attention of the German label Music Maniac Records, and toured Europe successfully. Not until the mid-nineties did they tour the United States. Much of their following is in Europe.

A U.S. filmmaking team (Kate Fix and Jason Summers) produced a 2004 documentary, Unknown Passage: The Dead Moon Story, which played in independent theaters around the U.S., New Zealand, and Melbourne International Film Fest, and was released on DVD in the fall of 2006. Dead Moon has recorded for labels such as Empty Records, but most releases are on Music Maniac abroad and Tombstone in the U.S. The Tombstone label has also provided cheap mastering and duplication for other bands, serving more as a cooperative than a promotional vehicle. Though Fred and Toody are in their fifties, they showed no signs of slowing down on their 2004 release Dead Ahead, continuing to tour the globe until 2006, which saw the release of the Echoes of the past compilation.

In December 2006, near the end of the Echoes of the Past tour, Dead Moon announced their disbandment. Their last gig was at the Vera club in Groningen on November 26, 2006. Fred and Toody currently own the Tombstone General Store in Clackamas, Oregon, and are building a shopping center nearby.

Pearl Jam covered the song "It's OK", they often segue it with their song "Daughter" in live performances. Eddie Vedder of Pearl Jam has also covered "Diamonds in the Rough" and "Running Out of Time".

Fred and Toody formed a new band called Pierced Arrows with Portland punk musician Kelly Halliburton (who is the son of someone who played in a band with Fred in the 70s) of Severed Head of State, Defiance and formerly Murder Disco X. Pierced Arrow played their first show debuting on May 18, 2007 at Portland’s Ash Street Saloon with the reformed Poison Idea. Andrew Loomis now plays drums for a band called The Shiny Things from Longview, Washington, along with Terry French (vocals) Becca D. (lead guitar) and Marc Nelson (guitar).

http://rapidshare.com/files/87081797/Dead_Moon_-_The_Graveyard.rar

The Sonics - Maintaining My Cool

The Sonics were a member of the wave of Pacific Northwest American garage rock groups in the early and mid-1960s, pioneered by The Kingsmen and The Wailers . Among The Sonics' other contemporaries were The Drastics, The Dynamics, The Regents, and Paul Revere & the Raiders. This movement is credited with founding Seattle's well-known music scene which survives to the present.

The Sonics' sound is noticeably rougher, cruder, and more brutal than that of their musical peers. Although they had a fairly standard instrumental line up for the time, The Sonics made their unique sound with wild arrangements, often disturbing lyrics, peppered with screaming and howling, and electric guitars played through amplifiers customized to achieve the harshest tones possible. Although their chief period of success was coincident with the release of Gibson's first fuzzbox, The Sonics' fuzzy sound was their own creation.

The songs they played were a mixture of garage rock standards ("Louie, Louie", "Have Love, Will Travel"), early rock and roll ("Jenny, Jenny") and original compositions such as "Strychnine", "Psycho", and "The Witch", all based upon simple chord sequences, played hard and fast.

The lyrics of The Sonics' original material dealt with early '60s teenage culture; cars, guitars, surfing, and girls (in songs like "The Hustler" and "Maintaining My Cool") alongside darker subject matter such as drinking strychnine for kicks, witches, psychopaths, and Satan (in the songs "Strychnine", "The Witch", "Psycho", and "He's Waiting", respectively).

http://rapidshare.com/files/87052681/Sonics__The_-_Maintaining_My_Cool.rar

Various Artists - JJJ Live At The Wireless

here is a link to Ausrock, cheers boys

The first ‘Live At The Wireless’

Various Artists

Live At The Wireless Vol 101 Pleas - Private Lives
02 (Bits Of) Wood - The Particles
03 Samurai Stomp - Samurai Trash
04 Hammer The Hammer - The Go-Betweens
05 My Baby Thinks She's A Train - The Triffids
06 Random Men - Second Language
07 Bring The Hammer Down - Do-Re-Mi
08 Lay Him Down - Dropbears
09 You've Changed - Soggy Porridge
10 Dig It Up - Hoodoo Gurus
11 Ritual - Idiom Flesh

http://www.mediafire.com/?8mrimymntim

Various Artists - Here Ain't The Sonics!!! (1989)

Various Artists - Here Ain't The Sonics!!! (1989)

Not a bad collection of tunes by a diverse assemblage of groups from around the country and beyond. Some big names here from the Pacific Northwest of the US of A (Fallouts, Girl Trouble, Mono Men, Screaming Trees, to name a few), as well as The Cynics, Thee Headcoats, Nomads and many others. They ain't the Sonics, but they try.

http://www.mediafire.com/?14inqogiyzm

The Thanes - Evolver

The Thanes 'Evolver' (2004)

A double LP collection to introduce you to the history and mystery of this quartet from Edinburgh who released their first record in 1987 and has been on the revival garage beat scene since. Classic 60s oriented beat that brings to mind everyone from the chesterfield Kings to the real Kings, the Standells - with whom the Thanes played at the Las Vegas Grind festival in 2000. Evolver is an exhaustive music file that explores the sound of the group throughout a cult discography of rarities, singles, Live concert and more from 1987 to present. A must for true garage rock lovers.

As Pilot X of the Soup Dragons puts it in the liner notes, "We took the Thanes out on a few supports in the early days and wow! Boy they rocked! My favourite memories: The band was so retro/accurate that we witnessed them on several occasion tuning up backstage using pitch pipes!!!! And the bass player's strings must have been about 30 years old - they were so dead and dull, but they sounded so subsonic and totally 60s! Lenny's hair was always clean and man, that boy was always smiling. And when he wailed he was like a caveman discovering fire!!!!!! The keyboard player Bruce was like a gaunt phantom spectra hovering, almost levitating, on his keyboards and there was pretty boy floyd with his geometric hair. I was definitely a fan!"

Disc 1

http://www.mediafire.com/?8o3vlcnunmy

Disc 2

http://www.mediafire.com/?84w2j2stj4u

King Loser - Sonic Super Free Hi-Fi

King Loser is vocalist Chris Heazlewood, guitarist Sean O'Reilly and bassist Celia "Pavlova" Mancini from New Zealand. With the album Sonic Super Free Hi-Fi (Turbulence, 1994), that features Peter Jefferies on drums, they seemed to aim for the title of most experimental surf band of all times: Neuron, Surf Lost, Dick Dale, the eight-minute Dead Fish emanate a huge noise a` la Blue Cheer.

http://rapidshare.com/files/87027416/King_Loser_-_Sonic_Super_Free_Hi-Fi.rar

The Primitives - 'The Ostrich/Sneaky Pete' 7" (1964)

The Primitives 'The Ostrich/Sneaky Pete' 7" (1964)

In 1963, Lou Reed moved to New York City, and began working as an in-house songwriter for Pickwick Records. In 1964 he scored a minor hit with the single 'The Ostrich', a parody novelty song of popular "dance songs" such as "The Twist". His employers had felt the song had hit record potential, and arranged for a band to be assembled around Reed to promote the recording. The ad hoc group, called The Primitives, included musician John Cale. The Welsh Cale had recently moved to New York to study music and was playing with the composer La Monte Young's Theater of Eternal Music along with Tony Conrad. Cale and Conrad were both surprised to find that for "The Ostrich" Reed tuned each string of his guitar to the same note. This technique created a drone effect similar to that which Cale and Conrad were experimenting with in their avant-garde ensemble. By contrast, according to Cale's memoirs, Reed demonstrated little interest in Cale's musical pedigree and continually propositioned him for sex, which Cale grudgingly accepted. Disappointed with Reed's performance, Cale was nevertheless impressed by Reed's early repertoire, and a partnership began to evolve.

http://rapidshare.com/files/87008334/Primitives__The_-_The_Primitives.rar

Tall Dwarfs - 'Throw A Sickie' EP (1986)

Tall Dwarfs 'Throw A Sickie' EP (1986)

Their 6th release, come inside and understand the universality of the Tall Dwarfs odd, handmade, lo-fidelity din. They always have great record covers and this one is particularly unappealing, sick, if you will...

From the CD liner notes: "Our least loved record. It was recorded very quickly with one of us being pretty ill at any given point, both of us equally debilitated at others. "And Other Kinds" was our second proper studio thing thru which Alec lay moaning in flu-ridden despair. Another couple were finished as Alec drove to the airport. He'd done all his bits, don't panic. We like it. It's under-rated, you finicky bastards."

http://rapidshare.com/files/87008335/Tall_Dwarfs_-_Sickie.rar

The Church - El Momento Siguiente 2007

El Momento Siguiente 2007

This one and it’s predecessor ,El Momento Descuidado’ have both been released since I left Oz, both came in under my radar. Heard it for the first time today. Been a good day for new discoveries this is a great album new interpretations of old songs… acoustic versions of Wide Open Road(Triffids), It's No Reason, Electric Lash, Reptile. Plus three brand new songs.

Track listing

1. "Wide Open Road"

2. "It's No Reason"

3. "Reptile"

4. "Tantalized"

5. "Electric Lash"

6. "After Everything"

7. "Song In The Afternoon"

8. "Two Places At Once"

9. "Appalatia"

10. "Bordello"

11. "Pure Chance"

12. "Grind"

13. "NSEW (North, South, East, And West)"

14. "Comeuppance"

Disc1

http://www.mediafire.com/?chm1yqwmtm9

Disc 2

http://www.mediafire.com/?34wlonx74at

The Greenhornes - 'East Grand Blues' (2005)

The Greenhornes 'East Grand Blues' (2005)

Had never heard of these guys until a couple of days ago…. what a discovery… this is one seriously excellent EP… ‘sounds like!’ a dash of 60’s garage, a splash 90’s indie and very large helpings of melody. Guitars a blazing, solid rhythm section and very catchy songs.

The Greenhornes started life as a high school band based in Dearborn County, Indiana (20 miles west of Cincinnati) called Us and Them, self-releasing a four-track tape. Originally a five piece that included guitarist Brian Olive (who later departed to play with the Toledo-based Soledad Brothers under the alias Oliver Henry), the Greenhornes debuted in 1998, issuing their first bit of music on a single released by Deary Me Records. The following year they released their first full-length album, Gun for You. A self-titled LP followed in 2001. 2002's Dual Mono came after the departure of Olive and keyboardist Jared McKinney and included guitarist and vocalist Eric Stein. By 2003, the band was down to Fox, Lawrence, and Keeler. 2005 saw the release of East Grand Blues, an EP for V2 Records, which was produced by Detroit musician Brendan Benson. It was quickly followed by the compilation, Sewed Soles. The band's collaboration with Holly Golightly, "There Is an End", was the theme song of Jim Jarmusch's 2005 film, Broken Flowers.

Throughout their career, the Greenhornes have toured almost constantly, only taking breaks when the musicians have worked on other projects.

Lawrence and Keeler, along with Detroit musician and producer Dave Feeny, were in the Do-Whaters, the band formed and led by Jack White of The White Stripes for Loretta Lynn's 2004 album Van Lear Rose. Lawrence and Keeler have spent all of 2006 at work in The Raconteurs with Benson and White. Lawrence is also the banjo and autoharp player for the Detroit band, Blanche, which also includes Feeny.

The Greenhornes have recently contributed the song "Pattern Skies" to the PS2/Xbox video game Destroy All Humans! 2.

http://rapidshare.com/files/86958249/Greenhorns__The_-_East_Grand_Blues.rar