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mad parade

Many thanks to the original up loaders of these files. Music is the voice of each generation, let their voice be heard.

Updated: 2018-03-05T18:06:09.345-08:00


Blah, Blah, Blah


Greetings to ALL

Firstly many thanks to ken, tricky, mel and cob for their contributions. Also to spike-x cheers for taking the time and contributing his thoughts.

The sole purpose of this blog is to share music. The essence of karma is the unconditional and selfless act of giving. I encourage all responses to what goes on in this blog whether they are complimentary or negative. I will also exhibit my right of reply.

I've had a couple of negative responses of late, from the 'e police' and the obligatory 'Anonymous' expressing their dislike for me 'leeching' and 'stealing' music...... all of the music on this blog can be readily found on countless sites across the net .... I see it as sharing, the giving without the expectation of reward. As far as the artists are concerned they receive a minuscule amount for each unit sold, the main financial gain for bands are merchandise sales and ticket sales for live shows ... blog spots are promoting their music to people who otherwise would never hear it.

Basically if you have a problem with this don't download the music, don't search blog sites .. that is the essence of 'freedom of choice' But personally I suggest YOU GET A LIFE. The world is full of negativity and selfishness, with the support of the people who contribute to this blog .... the journey continues.

I've also had skids over as ausrock telling me I should 'acknowledge' the original uploaders. Well mate I try to give everyone a mention.... but hey I'm not perfect..... sometimes I forget where the music comes from.... sometimes I just don't have the time .... to anyone I have omitted in recognising their contribution ..... please accept my sincerely apologies

Message to the maddies crew and any kind Samaritan'

I need some help...... been searching all week without much luck .... I'm after some music from 'The Waifs' found their new album ... but locked with a password...... also after anything by 'Motor Ace' and 'Alex Lloyd' ....... any help would be appreciated

thanking you

stay tuned got some music from 'Nick Drake' for all to enjoy ...... I'm in acoustic mode at the moment.

again cheers to all who have contributed

peace and love


Supergrass – In It For The Money


Supergrass – In It For The Money In It for the Money is the second album by Supergrass, released in 1997. NME called it "more fun than watching a wombat in a washing machine" and named it the 10th best album of the year. In 1998, Q readers voted it the 68th greatest album of all time, while in 2000 the same magazine placed it at number 57 in its list of the 100 Greatest British Albums Ever. Its sound is more focused and ambitious than their debut, I Should Coco. Track listing 1. "In It for the Money" – 3:05 2. "Richard III" – 3:13 3. "Tonight" – 3:09 4. "Late in the Day" – 4:43 5. "G-Song" – 3:27 6. "Sun Hits the Sky" – 4:55 7. "Going Out" – 4:16 8. "It's Not Me" – 2:56 9. "Cheapskate" – 2:43 10. "You Can See Me" – 3:40 11. "Hollow Little Reign" – 4:08 12. "Sometimes I Make You Sad" – 2:48 Supergrass – In It For The Money[...]

Heroes & Zeros - Strange Constellations


Heroes & Zeros - Strange Constellations Heroes & Zeros are a rock band from Norway. The group is composed of Hans Jørgen Undelstvedt, Lars Løberg Tofte, and Arne Kjelsrud Mathisen. Its members grew up together in a small town on the southern coast of Norway called Lillesand. After developing their sound together, they moved to Oslo, where they currently live when not on tour. Their music is a breed of their own, combining elements from a variety of styles to call their own. Heroes & Zeros got its name because it represents the highs and lows in life. There is a myth in the rock-industry, which claims that the more hard work you put into it the more you deserve success. The number of gigs and miles in a rusty old van supposedly defines whether or not you deserve to be taken seriously. Heroes&Zeros deny this myth by throwing in the golden X-factor that many aspiring bands often are lacking. We are talking about something as simple as a talent for making classic rock-songs. In the course of their four-year existence Heroes&Zeros has shown that it need not take 15 years to break through as long as you underline amazing talent with hard work. Hans Jørgen Undelstvedt, Lars Løberg Tofte and Arne Kjelsrud Mathisen climbed onto a stage together for the first time at Skuret in Oslo in 2005, after spending two years in a cramped rehearsing room deciding on which direction they wanted to go musically. A friend of the band once described the music and said: While the bass-player and drummer has both feet in American rock, the singer wants to sing in a British indie-band. When asked about important albums the trio mentions Radiohead, Sonic Youth, Flaming Lips, Motorpsycho and Indie-rock is heavily represented. - Sebadoh and Pavement paved the way through lo-fi, and we have had long standing relationships with Pixies and Spiritualized, says singer Hans Jørgen. The audience was quick to embrace the epic and melodic rock of Heroes&Zeros. - On our first show 90 people showed up, on the next 180, we doubled our audience instantly, Arne says. After a couple of gigs the trio entered one of the local finals of Zoom, and won easily a spot on the coveted Zoom-tour which took them all over Norway. - Ever since our very first gig we have focused on playing live as much as possible, it has snowballed from then on really, explains Lars It snowballed quickly for Heroes&Zeros, who did not waste any time deciding what to do with their music. - We recorded our first song "Cellophane" because we needed something to send off to by:Larm. That recording went on to win the "Urørt" final on the national radio station P3 and subsequent heavy rotation. In 2006 they released "Circles EP", and the success on P3 secured Heroes&Zeros a spot on National Broadcasting's annual P3 Sessions-tour that summer. Heroes&Zeros opened the event playing live for 5000 people at Youngstorget in Oslo. Once again Heroes&Zeros proved what they're good for, even though the singer Hans Jørgen admits a black out for most of the half hour they were up on stage. - I can barely remember a few faces upfront who sang along, other than that it's all a blur to me, but it's a handy experience I guess now that we're lined up for this year's summer-festivals This year's summer-festival-rounds is based upon "Strange Constellations",which is the result of three years of dedicated hard work and fine-tuning of the trio's talent for writing songs. In a time when media proclaims Armageddon for the music-industry and others claim that the album-format is smothered by downloading of singles and an increasing focus on hits, "Strange Constellations" is proof that you ought to spend more than three or four minutes on an artist. - I believe that the audience will make a return to the album. People really need that hour or so of music, and not just one song by an artist. Creating a cohesive and complete album was a constant ambition for Heroes&Zeros when they recorded the ten songs on "Strange [...]

Supergrass – Supergrass is 10 (Greatest Hits)


Supergrass are an English rock band from Oxford. The band consists of brothers Gaz (guitar and lead vocals) and Rob Coombes (keyboards), Danny Goffey (drums and backing vocals), and Mick Quinn (bass and backing vocals). The band rose to prominence during the Britpop era in the mid-90s with their hit "Alright". The band's youthful image and music (two of the band members were still teenagers when the band formed) came as a contrast to the more serious bands such as Oasis, Blur and Suede. The band's main musical influences are Buzzcocks, T.Rex, the Jam and The Kinks. They combined these influences with traits of the pop-punk era, characterized by fast, three-chord, guitar-based, catchy tunes. On their own the band's jubilance and musicality have influenced many new artists as Arctic Monkeys, The Coral, The Fratellis, Kaiser Chiefs and The Vines. Troy Carpenter, co-director of Nude as the News describes the band as "a fun-loving rock group whose undeniable musical talent is sometimes overshadowed by the sheer ebullience of its music.[1] Their first albums I Should Coco (1995) and In It for the Money (1997) were a blend of British pop and pop punk. Their eponymous Supergrass or the X-Ray Album (1999) was a new direction to darker lyrics, but again preserving the pop-sensibility. As the band have grown up as musicians their latest albums feature more musical sophistication than their first efforts. The band's fourth album Life on Other Planets (2002) was a retreat to the poppines of the early days, while still developing their sound. The band then released their first compilation of singles Supergrass is 10 (2004) commemorating their first decade as a band. Their fifth album Road to Rouen (2005) featured more orchestral and darker material than before, with many pointing as a reason the death of Coombes' mother. The band are preparing their sixth album Diamond Hoo Ha for March 2008 release. Supergrass – Supergrass is 10 (Greatest Hits)[...]

Supergrass - Road to Rouen


Supergrass - Road to Rouen Road to Rouen is the fifth studio album by English rock band Supergrass, released in the UK on 15 August 2005 (see 2005 in music). The album was recorded in a converted barn in Rouen, Normandy, and was a difficult album for the band due to personal reasons including Danny Goffey's tabloid ordeal and the death of the Coombes' mother. The album naturally reflected a rough period for the band and as it was oriented towards longer, looser, more orchestral material. The record was highly acclaimed and well received by most fans of the band; it reached a respectable #9 on the UK charts. But some listeners were disappointed in the album, expecting the band's friskier style, rather than the darker lyrics Track listing 1. "Tales of Endurance (Parts 4, 5 & 6)" – 5:31 2. "St. Petersburg" – 3:09 3. "Sad Girl" – 3:37 4. "Roxy" – 6:17 5. "Coffee In The Pot" – 1:49 6. "Road to Rouen" – 3:51 7. "Kick In The Teeth" – 3:36 8. "Low C" – 4:16 9. "Fin" – 3:11 Singles "St. Petersburg", August 8, 2005 - #22"Low C", October 24, 2005 - #52"Fin", January 2, 2006 Supergrass - Road to Rouen[...]

Supergrass – Life On Other Planets


Supergrass – Life On Other Planets Life On Other Planets is the fourth album from English rock band Supergrass. It is the first album that includes Rob Coombes as an official member of the band. Track listing 1. "Za" – 3:04 2. "Rush Hour Soul" – 2:55 3. "Seen the Light" – 2:25 4. "Brecon Beacons" – 2:56 5. "Can't Get Up" – 4:02 6. "Evening Of The Day" – 5:18 7. "Never Done Nothing Like That Before" – 1:43 8. "Funniest Thing" – 2:29 9. "Grace" – 2:30 10. "La Song" – 3:43 11. "Prophet 15" – 4:05 12. "Run" – 5:28 Supergrass – Life On Other Planets[...]

Supergrass – X-Ray Album


Supergrass – X-Ray Album Supergrass is the third album by the band of the same name. It is often referred to as "the X-ray" album due to the picture on the sleeve. The Australian release came with a bonus live EP. Track listing 1. "Moving" – 4:26 2. "Your Love" – 3:27 3. "What Went Wrong (In Your Head)" – 4:05 4. "Beautiful People" – 3:22 5. "Shotover Hill" – 3:43 6. "Eon" – 3:44 7. "Mary" – 4:00 8. "Jesus Came from Outta Space" – 4:10 9. "Pumping on Your Stereo" – 3:20 10. "Born Again" – 3:38 11. "Far Away" – 5:05 12. "Mama & Papa" – 2:30 Supergrass – X-Ray Album[...]

Supergrass – I Should Coco


Supergrass – I Should Coco I Should Coco was Supergrass' 1995 debut album. This album was released at the height of Britpop when numerous small bands were springing up, usually influenced by what were seen as the two biggest bands in the movement, Oasis and Blur. Supergrass were one of the few bands who went on to have lasting success. The influences on Supergrass for this album were extremely diverse, ranging from the very cheerful, fast, keyboard augmented "I'd Like To Know" to the guitar-driven punk narrative "Caught By The Fuzz" to the mainly piano based rhythm of the teen anthem "Alright" and finally to the acoustic guitar and country music influenced "Time to Go". Even in the extremely diverse genre of Britpop, the album was seen as very eclectic - usually as a compliment. Overall, the album could be described only as Britpop, influenced in equal parts by Buzzcocks and The Kinks. Chart-wise, I Should Coco reached Number 1 on the British album chart. Singles "Caught By The Fuzz" #43"Mansize Rooster" #20"Lose It" #75"Lenny" #10"Alright"/"Time" #2 Culturally, the album's glorification of teenage freedom made a very big impact on the overall Britpop music scene. The whole genre was seen as the voice of youth, but Supergrass dealt with the subject most elaborately, being still in their teens themselves when the album was made. The most well-known song from the album, "Alright", is still played regularly in Britain and Ireland, and held up as an example of teenage rebellion in music. To date, it is the only Supergrass album that has made any impact in the United States of America. The videos for "Caught By The Fuzz" and "Alright" were in rotation on MTV in the USA. Track listing 1. "I'd Like To Know" – 4:02 2. "Caught By The Fuzz" – 2:16 3. "Mansize Rooster" – 2:34 4. "Alright" – 3:01 5. "Lose It" – 2:37 6. "Lenny" – 2:42 7. "Strange Ones" – 4:19 8. "Sitting Up Straight" – 2:20 9. "She's So Loose" – 2:59 10. "We're Not Supposed To" – 2:04 11. "Time" – 3:10 12. "Sofa (Of My Lethargy)" – 6:18 13. "Time To Go" – 1:56 Supergrass – I Should Coco[...]

Syd Matters - Ghost Days-2008.



Syd Matters - Ghost Days-2008.

You have to imagine Syd Matters alone in his flat with the dawn fingering at his window. He hasn’t talked to anyone for a week and the hours and days are gradually slipping by him. One by one, childhood memories come back, sometimes they clash. He composes crystal-clear tunes on his guitar, the din of the world is far away and he listens to the music inside of him. And when day comes, the song is suddenly there. Syd experiences a strange sense of joy, feels incredibly present and at the same time as if he was floating. These are his “Ghost Days”, as he puts it. They provide the title of his third album – which also happens to be his most beautiful one to date. It’s not that Syd’s been idle up until now. The Parisian Jonathan Morali, alias Syd Matters, came from nowhere to make a big impression at the first Les Inrockuptibles QED awards – he was only 22 at the time – and his two spellbinding albums have since won over both critics and the general public. The first was “A Whisper And A Sigh” (2003), riding on the back of the space-folk hit “Black & White Eyes”. Then came “Someday We Will Foresee Obstacles” (2005) which was enhanced by large-scale, enthralling, Pink Floyd-style concerts – it’s worth mentioning that Jonathan had by this time surrounded himself with four musicians in his own vein, Olivier, Jean-Yves, Clément and Rémi, who bring a new dimension to Syd Matters. He was also much talked about this autumn with the release of the film “Heartbeat Detector”, for which he composed the soundtrack. He now says that this was a decisive experience for him, one that helped him grow.

Cure, The - Kiss Me, Kiss Me, Kiss Me


Cure, The - Kiss Me, Kiss Me, Kiss Me The Cure: Robert Smith (vocals, guitar, keyboards); Porl Thompson (guitar, saxophone, keyboards); Laurence Tolhurst (keyboards); Simon Gallup (bass guitar); Boris Williams (drums).Recording information: 1987.This hefty double album often sounds more like a compilation than a coherent whole, with musical ideas bouncing frantically back and forth. Nevertheless, in typical Cure style, KISS ME, KISS ME, KISS ME successfully combines catchy pop with bitter despair. Through 17 immensely sensual songs, Robert Smith is at his most poetic ("strange as angels, dancing in the deepest ocean, twisting in the water, you're just like a dream") and vitriolic ("get your fucking voice out of my head...I never wanted any of this, I wish you were dead"). The joyous pop of "Just Like Heaven" and "The Perfect Girl" still delights, and the frisson provided by "Shiver And Shake" reinforces the physical nature of this collection. Track Listing Song Title KISS ME, KISS ME, KISS ME: 1. Kiss, The 2. Catch 3. Torture 4. If Only Tonight We Could Sleep 5. Why Can't I Be You? 6. How Beautiful You Are 7. Snakepit, The 8. Hey You! 9. Just Like Heaven 10. All I Want 11. Hot Hot Hot!!! 12. One More Time 13. Like Cockatoos 14. Icing Sugar 15. Perfect Girl, The 16. Thousand Hours, A 17. Shiver And Shake 18. Fight[...]

The Harpeth Trace - On Disappearing-(Advance) 2008.



The Harpeth Trace - On Disappearing-(Advance) 2008.

Sprawling echo-laden songs that are delivered with whispery, breathy vocals and slowly turning guitar arpeggios. "Two Plainclothes Cops" is a cryptic, faintly psychedelic reverie with sparse, crumbling chords, while the piano-stoked "Georgia May" is sweetly ethereal. There's a Western grandeur to the austere jangle of "Kodachrome Wolves," and Josh Kasselman's fragile, feathery vocals swim in and out of the watery '60s pop of "Locked Out and Wandering."

Emily Barker - Photos, Fires, Fables (2007)



Emily Barker - Photos, Fires, Fables (2007)

Emily Barker has released her first solo album Photos Fires Fables to tremendous acclaim, both from her fast-growing fanbase and from the media. Somehow Emily Barker has managed to cross over the borders of Folk and Americana in the way few artists outside of America have been able to do. Rising stars such as Antje Duvekot in the USA have taken the Celtic and English Folk origins and forged them with traditional singer-songwriting, but on Photos Fires Fables Emily Barker stamps out her own personality with her soaring and magical vocals and imaginative and plaintive songwriting. Hailing from Blackwood Valley in Western Australia, Emily Barker struck a chord with the revered late BBC broadcaster John Peel who supported her playing tracks on his show. Emily's band The Red Clay Halo, provide sympathetic acoustic support without ever threatening to overwhelm her warm and sensitive voice. Dividing her time promoting Photos Fires Fables in both the UK and her native Australia, Emily Barker's impact has been sudden but not unexpected by those who saw her opening set at the 2006 Cambridge Folk Festival, performing material from Photos Fires Fables accompanied by the strings and accordion of The Red Clay Halo.

Emily Barker - Photos, Fires, Fables (2007)

Weddings Parties Anything - Scorn Of The Women


another from cob Scorn Of The Women Weddings Parties Anything, often known as WPA and Weddoes, were an Australian folk rock band formed in 1984 in Melbourne and continuing until 1998. Their name came from The Clash song ("Revolution Rock") and musicologist Billy Pinnell described their first album as the best Australian rock debut since Skyhooks' Living in the '70s. WPA were formed by Mick Thomas in Melbourne in 1985, initially with drummer, Marcus Schintler, later recruiting accordionist Mark Wallace, guitarist Dave Steel, and bassist Janine Hall (formerly of the band The Saints). An independent EP, and constant touring of Australia caught the attention of WEA Australia, who signed the band in 1987, and promptly released their debut album, Scorn Of The Women. Janine Hall left the band following the release of the album, and was replaced by Peter Lawler. It was that line-up that produced 1988's Roaring Days. 1988 also saw WPA winning its first ARIA award for 'Best New Talent', which was followed by another ARIA in 1989 for 'Best Indigenous Release' (Roaring Days) . Dave Steel left the band following a tour of North America, citing exhaustion as the chief reason. He also noted in several interviews, at the time of his departure (1988), that he was feeling frustrated not getting a lot of his material on the WPA albums. He released his debut solo album, through WEA in 1989. He was replaced by Richard Burgman for 1989's The Big Don't Argue, and accompanying tours. In 1989 the band won a third ARIA for 'Best Indigenous Release' (The Big Don't Argue). The band spent a great deal of time touring over the next three years, and managed to release only one EP in 1990, titled The Weddings Play Sports (and Falcons), featuring cover versions of the bands The Sports, and Jo Jo Zep & The Falcons. The band resurfaced, on CD in 1992, with Difficult Loves and yet another guitarist, Paul Thomas, replacing the departing Richard Burgman. The single "Fathers Day" reaching No. 42 on the ARIA charts, was nominated for 'Single of the Year' and won 'Song of the Year' at the 1993 ARIA awards). This line-up (Michael Thomas, Paul Thomas, Mark Wallace, Marcus Schintler, and Peter Lawler) remained in tack for another two years, producing one more CD, King Tide in 1993. Following the world tour to promote that release, Marcus Schintler left the band for family reasons, with Peter Lawler leaving a year later to pursue a solo career. Thomas reformed the band, and by 1996, the new line-up of WPA were ready for their first release, the independently produced Donkey Serenade. The band now included Jen Anderson (violins, mandolin)(formerly of the band, The Black Sorrows), Michael Barclay (drums), Stephen O'Prey (bass), as well as Michael Thomas, Paul Thomas and Mark Wallace. The music style shifted somewhat from folk to a more alternative country sound. The band decided at this time to concentrate on the Australian market, and did less touring outside of their native Australia. WPA finished 1997 with a new release, Riveresque on a new label (Mushroom/Sony), and by 1998, the band decided to take a break and work on several solo projects, including Michael Thomas's musical Wide Open Road. WPA initially gained a reputation as a hot new band through their constant touring in their early days; however they never really became a commercial success. They did however, form a fanatical supporter base, known as the "Wedheads" that continued to sustain the band for years. Upon the conclusion of the band several members continued on to other projects, with Mick Thomas creating Croxton Records with friend Nick Corr. Renowned for their energetic live shows, WPA had a handful of li[...]

Weddings Parties Anything - Roaring Days.


one from cob Weddings Parties Anything - Roaring Days. Roaring Days (1988) is the second studio album released by Australian rock band Weddings Parties Anything. Track listing 1. "Industrial Town" (Mick Thomas) - 4:06 2. "Under the Clocks" (Mick Thomas) - 3:29 3. "Gun" (Dave Steel) - 3:43 4. "Brunswick" (Mick Thomas) - 2:54 5. "Tilting at Windmills" (Mick Thomas) - 2:53 6. "Sergeant Small" (Tex Morton) - 3:13 7. "Sisters of Mercy" (Mick Thomas) - 4:42 8. "Roaring Days" (Mick Thomas) - 2:54 9. "Say the Word" (Mick Thomas) - 3:21 10. "Missing in Action" (Mick Thomas) - 3:07 11. "Laughing Boy" (Paul Kelly) - 4:39 12. "Big River" (Dave Steel) - 4:32 13. "Summons in the Morning" (Mick Thomas) - 3:17 14. "Morton (Song for Tex)" (Mick Thomas) - 3:18 Weddings Parties Anything - Roaring Days.[...]

Nick Drake - Tanworth-in-Arden (1967-68)



Nick Drake - Tanworth-in-Arden (1967-68)

Nick Drake was the quintessential fragile genius. His late-1960s and early-'70s albums combine pastoral, very British romanticism with a jazzy folk lilt that owes a debt to Tim Buckley and Tim Hardin. His hypnotic whisper of a voice and his virtuosic fingerpicking were the perfect emissaries for Drake's songs of quiet longing and displacement. Though he was virtually unknown during his too-short life, he would posthumously inspire a subsequent generation of artists.

Nick Drake - Tanworth-in-Arden (1967-68)

Nick Drake - Tanworth-in-Arden II

Smithereens – Especially for You


a link from peter at c-60 Low Noise, cheers mate one of my favourite records Smithereens – Especially for You Remastered version with a couple of bonus tracks…… can never have enough of the Smithereens. The Smithereens: Pat DiNizio (guitar, vocals); Jim Babjak (guitar); Mike Mesaros (bass, vocals); Dennis Diken (drums, percussion, vocals).Additional personnel: Frank Christian (acoustic guitar); John Rokosny (electric guitar); Kenny Margolis (accordion); Joe Kernich (piano); Jerome Jerome (organ, piano); Don Dixon (piano, percussion, background vocals); Jeffrey Berman (vibraphone); Mark Johnson, Suzanne Vega (background vocals).Recorded at The Record Plant, New York. Includes liner notes by Dennis Diken.New Jersey's Smithereens popped up at the tail end of the New Wave era, but arrived just in time for the ascension of alternative rock. In factthey were neither; essentially Pat DiNizio and company were power-poppers with strong 1960s roots (Beatles, Beach Boys, et al).Ultimately, they brought the style further into the mainstream than any of their contemporaries, with their initial full-length salvo ESPECIALLY FOR YOU making a big splash via the hits "Blood and Roses" and "Behind the Wall of Sleep." The Smithereens' sound was also brawnier and more working-class than most of their contemporaries (they later confessed to being influenced by Black Sabbath's guitar sound), and this may have had a great deal to do with their success. It also didn't hurt that singer/songwriter/guitarist DiNizio had a seemingly limitless knack for churning out infectious pop gems that sounded like they'd been around forever. Delivered in DiNizio's strong, deep voice, the songs on ESPECIALLY FOR YOU suggest nothing so much as an '80s Badfinger fronted by a less pretentious Jim Morrison. Track Listing Song Title 1. Strangers When We Meet 2. Listen To Me Girl 3. Groovy Tuesday 4. Cigarette 5. I Don't Want To Lose You 6. Time And Time Again 7. Behind The Wall Of Sleep 8. In A Lonely Place 9. Blood And Roses 10. Crazy Mixed-Up Kid 11. Hand Of Glory 12. Alone At Midnight 13. White Castle Blues - (bonus track) 14. Mr. Eliminator - (bonus track) Smithereens – Especially for You[...]

Smithereens – Green Thoughts


a link from peter at c-60 Low Noise Smithereens – Green Thoughts The Smithereens were responsible for some of the most lyrically rich and stirring music that emerged from the 80's. I recommend this CD for any forty something year old that wants to take a trip back to College. The Smithereens: Pat DiNizio (vocals, guitar); Jim Babjak (guitar, vocals); Mike Mesaros (bass, vocals); Dennis Diken (drums, vocals).Additional personnel: Del Shannon, Marti Jones (vocals); Don Dixon (guitar, piano, vocals); Steve Berlin (saxophone); Kenny Margolis (piano, harpsichord, accordion).Recorded at Capitol Tower, Studio B, Hollywood.Marked as a bar band or Britrock-inspired American college band, The Smithereens released GREEN THOUGHTS in 1988 to some critical respect. In 2003 this album was remastered and reissued with Lemon Recordings. Track Listing Song Title 1. Only A Memory 2. House We Used To Live In 3. Something New 4. World We Know 5. Especially For You 6. Drown In My Own Tears 7. Deep Black 8. Elaine 9. Spellbound 10. If The Sun Doesn't Shine 11. Green Thoughts Smithereens – Green Thoughts[...]

Nick Drake – Time of No reply (Rare Tracks)


Rodney Drake (June 19, 1948 – November 25, 1974) was an English singer-songwriter and musician best known for his acoustic, autumnal songs. His primary instrument was the guitar, though he was also proficient at piano, clarinet, and saxophone. Although he failed to find a wide audience during his lifetime, Drake's work has grown steadily in stature, to the extent that he now ranks among the most influential English singer-songwriters of the last 50 years. Drake signed to Island Records when he was twenty years old, and released his debut album Five Leaves Left in 1969. By 1972 he had recorded a further two albums, although none sold more than five thousand copies in their initial releases, while his reluctance to perform live or be interviewed further contributed to his lack of commercial success. Drake battled with depression and insomnia throughout his life, and the topics were often reflected in his lyrics. Upon completion of his third album, 1972's Pink Moon, he withdrew from both live performance and recording, retreating to his parents' home in rural Warwickshire. On 25 November 1974, Drake died from an overdose of the prescribed antidepressant, Amitriptyline. There was residual interest in Drake's music through the mid-1970s, but it was not until the 1979 release of the retrospective album Fruit Tree that his back catalogue came to be reassessed. By the mid-1980s, Drake was being credited as an influence by such artists as Robert Smith and Peter Buck. In 1985, The Dream Academy reached the UK and US charts with "Life in a Northern Town", a song written for and dedicated to Drake.[4] By the early 1990s, he had come to represent a certain type of 'doomed romantic' musician in the UK music press, and was frequently cited by artists including Kate Bush, Paul Weller, and The Black Crowes. Drake's first biography was written in 1997, and was followed in 1998 by the documentary film A Stranger Amongst Us. In 2000, Volkswagen featured the title track from Pink Moon in a television advertisement, and within one month Drake had sold more records than he had in the previous thirty years. More recently one of Drake's songs, Things Behind The Sun, was covered on the album The Bedlam in Goliath by The Mars Volta as a bonus track. Nick Drake – Time of No reply (Rare Tracks)[...]

Nick Drake - Five Leaves Left (1968)


Nick Drake - Five Leaves Left (1968) Drake began recording his debut album Five Leaves Left later in 1968, with Boyd assuming the role of producer. The sessions took place in Sound Techniques studio, London, with Drake skipping lectures to travel by train to the capital. Inspired by John Simon's production of Leonard Cohen's first album, Boyd was keen that Drake's voice would be recorded in a similar close and intimate style, "with no shiny pop reverb". He also sought to include a string arrangement similar to Simon's, "without overwhelming...or sounding cheesy". To provide backing, Boyd enlisted various contacts from the London folk rock scene, including Fairport Convention guitarist Richard Thompson, and Pentangle bassist Danny Thompson. He recruited John Wood as engineer, and drafted Richard Hewson in to provide the string arrangements. Initial recordings did not go well; the sessions were irregular and rushed, taking place during studio downtime borrowed from Fairport Convention's production of their Unhalfbricking album. Tension arose between artist and producer as to the direction the album should take—Boyd was an advocate of George Martin's "using the studio as an instrument" approach, while Drake preferred a more organic sound. Dann has observed that Drake appears "tight and anxious" on bootleg recordings taken from the sessions, and notes a number of Boyd's unsuccessful attempts at instrumentation. Both were unhappy with Hewson's contribution, which they felt was too mainstream in sound for Drake's songs. Drake suggested using his college friend Robert Kirby as a replacement, although Boyd was skeptical at taking on an amateur music student lacking prior recording experience. However, he was impressed by Drake's uncharacteristic assertiveness, and agreed to a trial. Kirby had previously presented Drake with some arrangements for his songs, and went on to provide a spare chamber music quartet score associated with the sound of the final album. However, Kirby did not feel confident enough to score the album's centerpiece "River Man", and Boyd was forced to stretch the Witchseason budget to hire the veteran composer Harry Robinson, with the instruction that he echo the tone of Delius and Ravel. Post-production difficulties led to the release being delayed by several months, and the album was poorly marketed and supported when it finally arrived. Reviews in the music press were few and lukewarm. In July, Melody Maker referred to the album as "poetic" and "interesting"; NME wrote in October that there was "not nearly enough variety to make it entertaining" It received little radio support outside of BBC's John Peel, who would occasionally play tracks. Drake was unhappy with the inlay sleeve, which printed songs in the wrong running order and reproduced verses omitted from the recorded versions. His disappointment in the final result is reflected in an interview comment made by his sister Gabrielle: "He was very secretive. I knew he was making an album but I didn't know what stage of completion it was at until he walked into my room and said, 'There you are.' He threw it on to the bed and walked out!" Nick Drake - Five Leaves Left[...]

Nick Drake - Bryter Layter (1970)


Nick Drake - Bryter Layter (1970) Drake ended his studies at Cambridge just nine months before graduation, and in autumn 1969 moved to London to concentrate on a career in music. His father remembered "writing him long letters, pointing out the disadvantages of going away from Cambridge...a degree was a safety net, if you manage to get a degree, at least you have something to fall back on; his reply to that was that a safety net was the one thing he did not want." Drake spent his first few months in the capital drifting from place to place, occasionally staying at his sister's Kensington flat, but usually sleeping on friends’ sofas and floors. Eventually, in an attempt to bring some stability and a telephone into Drake's life, Boyd organised and paid for a ground floor bedsit in Belsize Park, Camden. In August, Drake recorded three unaccompanied songs for the BBC's John Peel show. Two months later, he opened for Fairport Convention at the Royal Festival Hall in London, followed by appearances at folk clubs in Birmingham and Hull. Remembering the performance in Hull, folk singer Michael Chapman commented: "The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea–shanties and sing-alongs at a Nick Drake gig!" The experience reinforced Drake's decision to retreat from live appearances; the few concerts he did play around this time were usually brief, awkward, and poorly attended. Drake seemed unwilling to "perform", and rarely addressed his audience. As many of his songs were played in different tunings, he frequently paused to retune between numbers. Although the publicity generated by Five Leaves Left was minor, Boyd was keen to build on what momentum there was. 1970's Bryter Layter, again produced by Boyd and engineered by Wood, introduced a more upbeat, jazzier sound. Disappointed by his debut's poor commercial performance, Drake sought to move away from his pastoral sound, and agreed to his producer's suggestions to include bass and drum tracks on the recordings. "It was more of a pop sound, I suppose", Boyd later said, "I imagined it as more commercial." Like its predecessor, the album featured musicians from Fairport Convention, as well as contributions from John Cale on two songs: "Northern Sky" and "Fly". Trevor Dann has noted that while sections of "Northern Sky" sound more characteristic of Cale, the song was the closest Drake came to a release with chart potential. In his 1999 biography, Cale admits to taking heroin during this period, and his older friend Brian Wells began to suspect that Drake was also using. Both Boyd and Wood were confident that the album would be a commercial success, but it went on to sell fewer than three thousand copies. Reviews were again mixed: while Record Mirror praised Drake as a "beautiful guitarist—clean and with perfect timing, [and] accompanied by soft, beautiful arrangements", Melody Maker described the album as "an awkward mix of folk and cocktail jazz". Soon after the release, Boyd sold Witchseason to Island Records, and moved to Los Angeles to work with Warner Brothers in the development of soundtracks for film. The loss of this key mentor figure, coupled with the album's poor sales, led Drake to further retreat into depression. His attitude to London had changed: he was [...]

Nick Drake – Pink Moon


Nick Drake – Pink Moon Personnel: Nick Drake (vocals, guitar, piano).It's widely reported that by the time Nick Drake got around to recording his third and final album, PINK MOON, his already-precarious mental/emotional state had drastically deteriorated. In a deep depression, Drake recorded a brace of solo acoustic tunes, dropped the tape off unannounced at the label's office one day, and that was the last the world at large ever heard of Drake's music.The results of those solo sessions were as harrowing and stark as anything by Robert Johnson or Charley Patton. Enclosed in an inner world of psychological distress, Drake recorded PINK MOON's dispatches from a private hell that was simultaneously terrifying and beautiful. Both the lyrics and the melodic motifs are pared to the bone here, their simplicity making them all the more immediately striking. The most nakedly emotional and disturbing moment is probably "Parasite," a visceral-but-mysterious account of a disconsolate soul roaming through the world in search of succor, with Drake taking the starring role, ultimately offering, "take a look, you may see me in the dirt." This was the end of the road for Nick Drake in more ways than one, but just the beginning for the scores of songwriters subsequently inspired by his bleak-but-beautiful visions. Track Listing Song Title 1. Pink Moon 2. Place To Be 3. Road 4. Which Will 5. Horn 6. Things Behind The Sun 7. Know 8. Parasite 9. Free Ride 10. Harvest Breed 11. From The Morning Nick Drake – Pink Moon[...]

The Vines - Vision Valley


The Vines – Vision Valley In mid 2005, the group announced they were working on their third album with producer Wayne Connolly. Andy Kent of fellow Australians You Am I filled in on bass playing duties. In November, the band's management announced they had finished recording all the songs that would appear on the album. Mixing and mastering of the tracks commenced January 2006. In mid December 2005, it was discovered that one of the songs from the album had been leaked. Although the song was as-of-yet untitled and unfinished, it contained guide vocals and instruments. The band's manager asked for the song to be taken down from the blog it was found on, and drummer Hamish Rosser also issued a statement on the band's fan club forum asking fans not to post or distribute the song on the internet. "Don't Listen to the Radio" was released as the album's first single and was made available for digital download on March 7th on iTunes. "Gross out" was made available for digital download on March 18th, and was the first song leaked from the album. Vision Valley was released on April 1, 2006 in Australia, April 3 in Europe and April 4 in the United States. Vision Valley was packed full of short, immediate songs; the album running little over 30 minutes in length. "Anysound" was the second official single from the album, and an animated music video was released exclusively through YouTube. "Dope Train" was released as a third single, with a music video composed of candid and live footage of the band from Big Day Out in 2007. On the Vines' third full-length outing, the Australian alt-rock band has evolved without sacrificing any of its youthful energy. While singer/guitarist Craig Nicholls has clearly outgrown some of the hooliganism that made him notorious in the group's early days, he still exudes plenty of energy with his signature raspy voice and razor-sharp six-string lines, as best evidenced on the fierce, melodic first single "Don't Listen to the Radio." Though a few tracks on VISION VALLEY take a punkier approach (see the propulsive "Gross Out"), those tunes are tempered by dreamier moments such as "Spaceship," revealing that while Nicholls's songwriting is tighter and more varied than before, it's just as thrilling. Track Listing Song Title THE VINES: 1. Anysound 2. Nothing Coming 3. Candy Days 4. Vision Valley 5. Don't Listen To The Radio 6. Gross Out 7. Take Me Back 8. Going Gone 9. F*@ Yeh 10. Futuretarded 11. Dope Train 12. Atmos 13. Spaceship The Vines – Vision Valley [...]

Silverchair - Diorama (2002)



Silverchair - Diorama (2002)

Silverchair: Daniel Johns (vocals, guitar, piano, harpsichord); Chris Joannou (bass); Ben Gillies (drums).

Additional personnel: Michele Rose (pedal steel); Paul Mac (piano); Rob Woolf (Hammond organ); Jim Moginie (keyboards).

Recorded at Studios 301 and Mangrove Studios, Australia; Larabee North Studios, U.S.A.

Casting aside the shackles that accompany any band whose first flush of success comes when its members are still teens, Silverchair makes a fresh start on a new label with their fourth album DIORAMA. Teaming up with producer David Bottrill, this Aussie trio abandon their earlier grunge-fueled sound for a more complex and lush approach more Van Dyke Parks (who contributes orchestral arrangements) than Van Halen. Seemingly more settled in his skin, frontman Daniel Johns operates with a rich tone in his voice that cuts to the heart of the soaring "World Upon Your Shoulders" and equally enchanting "The Greatest View" (featuring Midnight Oil's Jim Moginie. Also noteworthy is "Tuna In The Brine," a cut overflowing with intriguing string arrangements. The DIORAMA created by these talented Aussies turns out to be one of delightful nuance.

Silverchair - Diorama (2002)