the black keys – the big come up 2002

On paper, two Ohio white guys forming a drum-and-guitar blues duo seemed like the last thing the world needed in 2002. Fortunately, the guys revisiting the tried and true were guitarist-vocalist Dan Auerbach and drummer Patrick Carney a.k.a. the Black Keys. With the former’s blown-cone distortion and slinky riffs, and the latter’s positively Bonham-esque way of inhabiting each change with a loose power, they smacked judgment out of one’s brain before anyone could call it cliche. Taking cues from Fat Possum-centric blues legends like Junior Kimbrough and R.L. Burnside (both covered here on the first two tracks) and garage fetishists like Billy Childish and Jack White alike, the Akron duo arrived with swagger on these 13 tracks. Tackling covers traditional (like Sleepy John Estes’s “Leavin’ Trunk”) and non (the Beatles’s “She Said, She Said”) and their own workouts (the aptly titled “Heavy Soul”), THE BIG COME UP wins on the strength of Auerbach’s ravagedly expressive vocals–which match the egdes in his guitar tone crag for crag.

http://www.mediafire.com/error.php?errno=320

song of the day

September mix in advance

01. The xx / Basic Space
02. Arcade Fire / City With No Children
03. Aloe Blacc / I Need A Dollar
04. The Black Keys / Sinister Kid
05. Oliver North Boy Choir / Yes Sir, I Can Boogie
06. Mississippi John Hurt / Good Morning Miss Carrie
07. Charlotte Gainsbourg / Dandelion
08. White Hinterland / Bow & Arrow
09. Phoenix / Love Like A Sunset [Animal Collective Deakin’s Jam]
10. Eddie Floyd / Bring It On Home To Me
11. The Radio Dept. / Never Follow Suit
12. JJ / My Lif

http://www.sendspace.com/file/xha1zy

video of the day

live double album here from the black keys cant recommend this one enough its just full of awesomeness so go grab it .

part 1 – http://www.mediafire.com/?zj2yiqgqyit

part 2 – http://www.mediafire.com/?azjyjhjnizc

the black keys – the black keys 2007

sorry about the image guys this is all i could get anyway its a live e/p from these guys given away free with the mojo magazine back in 2007 .

http://www.mediafire.com/?nzykgzqmrj5

ramblings

ok readers new venture here new band in the making and getting there watch out for some recordings coming your way soon with a twist stayed tuned for more . and any idea’s of a band name feel free to say .

ramblings about nothing

well the last post went down like a pair of concrete boots , but ill leave it up for a while incase any of you guys want it . couldnt sleep last night so started digging thru my record collection , and came up with a few gems like golden smog best of album so when i get round to it i will upload and post .

oh and i will get back to my black keys discography soon .

the black keys – thickfreakness

While the vast majority of post-punk bands who have an obvious taste for the blues seem to enjoy taking the style apart and messing around with the bits and pieces, the Black Keys are the (relative) traditionalists within the subgenre. With their two-piece, no-bass format, there’s no room for clutter or wank, and the raunchy fuzz of Dan Auerbach’s guitar (and drummer Patrick Carney’s production) owes more to the Gories/Blues Explosion/White Stripes school of aural grime than anything else, but look past all that and the Black Keys are a straight-up blues band who could probably cut an album for Alligator if they were willing to clean up their act and fill out the lineup. And Alligator would doubtless be glad to have ’em — the Black Keys’s wail is hot, primal, and heartfelt, and Auerback’s lean but meaty guitar lines and room-filling vocals drag the blues into the 21st century through sheer force of will without sounding like these guys are in any way mocking their influences. In short, if you’re looking for irony, you’re out of luck; if you want to hear a rock band confront the blues with soul, muscle, and respect, then Thickfreakness is right up your alley. Points added for the fact that the Black Keys performed, recorded, and produced Thickfreakness all by their lonesome in a single day — further proof these guys are not messing around.

http://hotfile.com/dl/51650121/3aa49a3/The_Black_Keys_-_Thickfreakness.rar.html

the black keys – Chulahoma: The Songs Of Junior Kimbrough

This seven-track EP is the Akron, Ohio, blues-rock duo’s swan song for esteemed blues label Fat Possum, and, fittingly, it’s comprised entirely of songs originally written and performed by the legendary Junior Kimbrough, one of the label’s most important discoveries. Kimbrough’s hill-country blues had and enormous impact on the Keys, and they treat songs like “Meet Me in the City” and “Keep Your Hands off Her” with the reverence they deserve, while at the same time adding their own sonic embellishments to Kimbrough’s songs as a reminder that the blues is far from a stagnant form. “Have Mercy on Me,” for example, becomes a dirgy, swampy psych-blues epic as a haunting organ line and Dan Auerbach’s fractured guitar licks lead the listener down a wonderfully dark musical back road. This brief, loving tip of the cap is a fitting reminder that as the form’s finest practitioners continue to pass away, the blues itself is still kicking hard.

http://rapidshare.com/files/131061756/Chulahoma.rar.html

coming soon

ok guys this week am going to be busy i will be uploading all my black keys stuff that i have and completing the black keys discography of what i have so far . if any ting is missing from it please feel free to post a link in comments or direct me to missing material . so stayed tuned for this one

Ryan Adams – heartbreaker demo’s

dont really know if this is going to be released but here it is anyway been waiting for this one now for a while and the rumours of it be leaked looked like it came true . enjoy

http://depositfiles.com/en/files/jsbbu0sn4

festival time

ok guys its my festival time here in the UK and i am now starting to slip into that festival mode . really looking forward to catching a few great bands around and also while be avoiding alot of shite ones around . in August i will be catching the fall live at the summer sundea festival and also danny and the champions of the world , must say danny i caught a few years back live and just was a awesome set . also heading to the end of the road festival in september probably the best festival around in the uk for bands and setting . there i will be catching wilco , felice brothers and iron and wine cant wait for that one .

anyway hope you guys are enjoying what am posting and i will try and upload some more stuff

cheers

colin

Bombay bicycle club – flaws 2010

2010 release, a stunningly beautiful acoustic album by Bombay Bicycle Club. Having finished recording their debut LP I Had The Blues But I Shook Them Loose in February 2009, the band went straight back into the studio days after they submitted the master for I Had The Blues, and started the initial recordings for this album. Recorded in between touring over the past year and a half, a few early tracks were laid down at The Church and produced by Neill MacColl (guitarist Jamie’s dad), but the rest was recorded in singer, Jack Steadman’s bedroom and produced by Jack himself. Flaws is characterized by a delicate, heart-swelling beauty and lightness of touch throughout. This more stripped down, acoustic sound – though markedly different from the majority of their debut – isn’t new for the band, as almost every single they’ve released since their earliest days has been accompanied by an acoustic b-side.

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

the black keys – ohio

black keys – brother 2010

Retreating from the hazy Danger Mouse-fueled pot dream of Attack & Release, the Black Keys headed down to the legendary Muscle Shoals, recording their third album on their own and dubbing it Brothers. The studio, not to mention the artwork patterned after such disregarded Chess psychedelic-era relics as This Is Howlin’ Wolf’s New Album, are good indications that the tough blues band of the Black Keys earliest records is back, but the group hasn’t forgotten what they’ve learned in their inwardly psychedelic mid-period. Brothers still can get mighty trippy — the swirling chintzy organ that circles “The Only One,” the Baroque harpsichord flair of “Too Afraid to Love You” — but the album is built with blood and dirt, so its wilder moments remain gritty without being earthbound. Sonically, that scuffed-up spaciness — the open air created by the fuzz guitars and phasing, analog keyboards, and cavernous drums — is considerably appealing, but the Black Keys ace in the hole remains the exceptional songwriting Dan Auerbach and Patrick Carney are so good at as they twist a Gary Glitter stomp into swamp fuzz blues, steal a title from Archie Bell & the Drells but never reference that classic Tighten Up groove, or approximate a slow `60s soul crawl on “Unknown Brother” and follow it up with a version of Jerry Butler’s “Never Gonna Give You Up,” and it’s nearly impossible to tell which is the cover. And that’s the great thing about the Black Keys in general and Brothers in particular: the past and present intermingle so thoroughly that they blur, yet there’s no affect, just three hundred pounds of joy

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

songs about girls (mixtape)

disc 1

1.) casiotone for the painfully alone – daina flores you’re the one
2.) jens lekman – a postcard to nina
3.) elliott smith – sweet adeline
4.) the beatles – michelle
5.) avi buffalo – jessica
6.) clap your hands say yeah – emily jean stock
7.) art brut – emily kane
8.) belle & sebastian – string bean jean
9.) francoise hardy – suzanne
10.) the dodos – ashley
11.) eric’s trip – secret for julie
12.) hospital ships – oh, ramona
13.) bon iver – for emma
14.) the format – janet
15.) joanna newsom – sadie

http://www.mediafire.com/?mhzoliir5hd

disc 2

1.) tin hat – daisy bell
2.) local natives – cecilia
3.) lightning dust – antonia jane
4.) mates of state – laura
5.) shocking pinks – emily
6.) the siddeleys – love grows (where my rosemary goes)
7.) the mountain goats – jenny
8.) neutral milk hotel – naomi
9.) girls – lauren marie
10.) the microphones – oh anna
11.) the raveonettes – aly, walk with me
12.) pink floyd – julia dream
13.) sun cut flat – becka says
14.) simon & garfunkel – for emily, whenever i may find her
15.) pavement – loretta’s scars

http://www.mediafire.com/?kynnyn4jdty

brakes – beatific visions 2006

fantastic album here and everyone should own this this genre hopping album will keep you liking the brakes for a while and when you play it please do so loud VERY LOUD

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

phosphorescent – here’s to taking it easy 2010

Matthew Houck may operate out of the too-cool-for-school, New York City indie rock community, but the Alabama-born mastermind behind Phosphorescent has a muse that clearly resides in warmer climates. A breezy, classic rock-tinged collection of heartbreak road ballads nursed into existence on a steady diet of the Eagles and the Band, Here’s to Taking It Easy, the first Phosphorescent release to rely on musicians other than Houck, plays like a lost piece of vinyl from the early ’70s. Houck is a generous, earnest songsmith, and his tales of love on the rocks (“Tell Me Baby [Have You Had Enough]”), love lost (“Heaven, Sittin’ Down”), and love of the South (“It’s Hard to Be Humble [When You’re From Alabama]”) feel lived in and cared for. Even on autopilot (the slight “I Don’t Care If There’s Cursing” and the hippy-drippy “Hej, Me I’m Light”), his effortless, laid-back version of modern alt-country feels like an old friend, and the weepy, sun-drenched reverb that permeates the whole affair feels authentic rather than coerced out of a Pro Tools plug-in. The only downfall is that Here’s to Taking It Easy is so easy to take that at only nine songs, it flies by in no time at all.

http://www.mediafire.com/?ygi2jjnnigl

16 tracks for making a entrance (mixtape)

16 tracks that should be played when entering a room and make heads turn .

“do ya” – peaches
“richochet!” – shiny toy guns
“pot kettle black” – tilly and the wall
“jesus doesn’t love me” – dragonette
“post blue” – placebo
“horse pills” – the dandy warhols
“extraordinary” – liz phair
“short skirt, long jacket” – cake
“henrietta” – the fratellis
“maneater” – the bird and the bee
“i got mine” – the black keys
“cold hard bitch” – jet
“everlong” – foo fighters
“fuck the people” – the kills
“whatever happened to my rock” – black rebel motorcycle club
“hammering in my head” – garbage

http://www.mediafire.com/?n1mmqdyj5yw

i think i love you

ok here goes another mix tape of liking and loving people . it might work for you guys anyway enjoy the tunes .

Who – Nesey Gallons

Do What you Gotta Do – Okkervil River

Rust – Telekinesis!

I Love You – Brian Jonestown Massacre

Atmosphere – Ola Podrida

Crown of Love – Arcade Fire

Dress up in You – Belle & Sebastian

The Operation – Charlotte Gainsbourg

Wild Horses – The Rolling Stones

For You – Elephant Parade

Took you Two Years to Win my Heart – Final Fantasy

Bells Ring – Mazzy Star

Cut and Run – Electrelane

Lover’s Spit – Broken Social Scene (Featuring Feist)

All my Little Words – The Magnetic Fields

Where you’ll Find me Now – Neutral Milk Hotel

Pale Blue Eyes – The Velvet Underground

http://www.mediafire.com/?odrvjgzw2zt

hey guys

thanks for the sudden flurry of comments on my mixtapes glad they are going down well . and i will be working on another called heartbroken as it was requested by a reader of the blog . so keep your eyes open for it and watch this space

florence and the machine – lungs

Precocious Brit Florence Welch fired a bullet into the head of the U.K. music scene in 2008 with the single “Kiss with a Fist,” a punk-infused, perfectly juvenile summer anthem that had critics wiping the names Lily Allen, Amy Winehouse, and Kate Nash from their vocabularies and replacing them with Florence and the Machine. While the comparisons were apt at the time, “Kiss with a Fist” turned out to be a red herring in the wake of the release of LUNGS, one of the most musically mature and emotionally mesmerizing albums of 2009. With an arsenal of weaponry that included the daring musicality of Kate Bush, the fearless delivery of Sinéad O’Connor, and the dark, unhinged vulnerability of Fiona Apple, the London native crafted a debut that not only lived up to the machine-gun spray of buzz that heralded her arrival, but easily surpassed it. Like Kate Bush, Welch has little interest (for the most part) in traditional pop structures, and her songs are at their best when they see something sparkle in the woods and veer off of the main trail in pursuit. “Kiss with a Fist,” as good as it is, pales in comparison to stand-out cuts like “Dog Days Are Over,” “Hurricane Drunk,” “Drumming Song,” “Rabbit Heart (Raise It Up),” and “Cosmic Love,” all of which are anchored to the earth by Welch’s knockout voice (which hopefully in time will lose the occasional Natalie Merchant affectation), a truly impressive and intuitive trio of producers, and a backing band that sounds as intimate with the material as its creator.

http://www.sendspace.com/file/uzfrp8

catpower live on KCRW 12/09/2006

everyone should own a little catpower in there record collection . here is a live recording and bootleg from 2006 .

01. Intro
02. The Greatest
03. Wild Is the wind
04. Remember Me
05. ramblin’ man
06. good woman
07. interview
08. love & communication
09. house of the rising sun
10. hate
11. I don’t blame you
12. Islands

http://www.badongo.com/file/7150526

a summer mixtape

play at any time, so long as the sun is shining and the day is beautiful. when you’re in the car with the windows down, or you’re cleaning the house with music blasting because summer is coming, or when you’re jumping on a trampoline. this is for happiness, this is for smiling, this is for looking up at the sky, this is for summer.

1. the new pornographers – my rights versus yours
2. andrew bird – darkmatter
3. joanna newsom – good intentions paving company
4. the decemberists – sons and daughters
5. the mountain goats – palmcorder yajna
6. the thrills – restaurant
7. elf power – jane
8. the concretes – you can’t hurry love
9. the 1900s – two ways
10. the new pornographers – the bleeding heart show
11. andrew bird – tables and chairs
12. lovers – from a highway
13. the beatles – hey jude

http://www.mediafire.com/?ibmtv0jzzcy

plan B – defamation of strickland banks 2010

The defamation of strickland banks’ from plan b is the sound of motown, stax and obscure northern soul, filtered through the grit of contemporary east london. It is smokey robinson miraculously fused with eminem. It’s an urban fairytale, the story of a man who finds success hard to handle and then hits rock bottom. A sweet soul morsel with a razor-sharp edge. Plan b’s second single ‘she said’ currently b list on the uk’s radio 1 & radio 2 playlist. ‘the defamation of strickland banks’ are songs that tell the story of strickland banks, a sharp-suited british soul singer who finds fame with bitter-sweet love songs like ‘love goes down’ and ‘writing’s on the wall’ but loses everything when he ends up in prison for a crime he didn’t commit. It’s as if marvin gaye went from his early motown love songs to ‘what’s goin’ on’ in just one album, then had it all remixed by london grime artists. Produced by paul epworth, the studio genius behind recent hits by florence & the machine, the big pink and friendly fires, plan b’s latest is a ferocious collision of retro soul, funk, rock and rap that sounds smokey robinson fronting rage against the machine.

http://hotfile.com/dl/39466094/b6aa1e8/Plan_B-The_Defamation_Of_Strickland_Banks-2010.rar.html

stereophonics – keep calm and carry on 2010

2009 release, the stunning seventh studio album from the Welsh Alt-Rock band. The album was written and co-produced by Kelly Jones along with Mercury Award winning producer, Jim Abiss. (Arctic Monkeys/Kasabian). Five of their six previous studio albums have all gone straight to #1 in the UK and their 2008 hits collection, Decade In The Sun, sold almost a million copies in two months. 12 tracks including the lead single ‘Innocent’. Universal. 2009.

http://rapidshare.com/files/349805818/8TrackKC09.rar

patterson hood – pollyanne

http://www.youtube.com/watch?v=f0GbKCY845g

you just gotta love the hood when he performs

turin brakes – outbursts 2010

Aint gonna say to much about this album apart from they have went back to were it all began .

http://www.mediafire.com/?3k3gjijtwyx

the felice brothers – frankies gun chords

Frankies Gun
Felice Brothers
D
My car goes
A
Chicago
G
Every weekend to pick up some cargo
D A
I think I know the bloody way by now, Frankie
G
And turn the god damn radio down, thank you
D
Pull over
A
Count the money
G
But don’t count the thirty in the glove box buddy
D A G
That’s for to buy Lucille some cl othes
(I scratch and pause before the chorus, but you don’t have to)

D G
Bang bang bang went Frankie’s gun
A
He shot me down Lucille (x2)
D
He shot me down
A
He shot me down
G
He shot me down

D
Work zones double fines
A
Don’t pass the double lines
G
Trailer McDonald’s rest stop trailer double wide
D A
I saw a man hit my mom one time, really
G
I hurt him so damn bad I had to hide in Jersey
D
Called my mama told her
A
In the dresser
G
There’s ten or twenty dollars but there ain’t no lesser
D A G
That’s for to take my s ister to the picture s how

D G
Bang bang bang went Frankie’s gun
A
He shot me down Lucille (x2)
D
He shot me down
A
He shot me down
G
He shot me down

D A G
Sha nay n a sha nay n a na na na na na
D A G
Sha nay n a sha nay n a
D A G
Sha nay n a sha nay n a na na na na na
D A G
Sha nay n a sha nay n a

Break: D A G G (x4) (He mumbles something here…)

D
Slip make a fender shine
A
Frankie you’re a friend of mine
G
Got me off a bender after long legged Brenda died
D A
I thought we might be on a roll this time Frankie
G
I could have swore the box said Hollywood blanks but
D
You see my mama
A
Please tell her
G
I left a little rock in a box in the cellar
D A G
That’s for to we ar till kingdom c ome

D G
Bang bang bang went Frankie’s gun
A
He shot me down Lucille (x2)
D
He shot me down
A
He shot me down
G
He shot me down

D A G
Sha nay n a sha nay n a na na na na na
D A G
Sha nay n a sha nay n a
D A G
Sha nay n a sha nay n a na na na na na
D A G
Sha nay n a sha nay n a

End on D

FEMA

this is pretty scary stuff can anyone bring some light onto this

danny and the champions of the world – streets of our time 2010

highly recommended

not gonna tell you to much about it . just go and listen to it . he is a great song writer

http://rapidshare.com/files/341666040/StreetsTime.zip

deer tick – more fuel for the fire e/p

2009 Deer Tick’s More Fuel for the Fire EP tops off an explosive 2009 for the band that released Rolling Stone’s “country-rock breakthrough of the year” nine months earlier. Taken mostly from a month-long recording session in upstate New York nicknamed “The Black Dirt Sessions”, More Fuel for the Fire features three new studio tracks as well as a live version of “Straight Into A Storm” (from Born on Flag Day) recorded in Charlotte, NC at the Visulite Theatre. The songs have become staples of Deer Tick’s live shows over the past year, and are already fan favorites-and that’s who this one’s for…

http://rapidshare.com/files/315629191/deer_tick_-_more_fuel_for_the_fire_-_ep.zip

original soundtrack – crazy heart 2010

“It’s all magic.” That’s the phrase the late Stephen Bruton used in September 2008 to describe working on the set of Crazy Heart, and with good reason. Actor Jeff Bridges embodies his role as an original outlaw songwriter – confident, crooked, and hardened with time. Paired with Bruton’s lyricism, co-producer T Bone Burnett’s saturated Americana backdrop, and Joel Guzman’s accordion brushes, Bridges notches a Tex-Mex trifecta starting with opener “Hold on You” that bodes well against Burnett’s other soundtrack selections, including Townes Van Zandt (“If I Needed You”), Waylon Jennings (“Are You Sure Hank Done It This Way”), and Lightnin’ Hopkins (“Once a Gambler”). The actor’s take on rustic honky-tonk original “I Don’t Know,” co-written by Bruton and Burnett, actually trumps that of ringer Ryan Bingham, though the latter’s dusty theme song “The Weary Kind” captures the film’s scope better than Springsteen’s “The Wrestler.” Bingham’s local Dead Horses rip through the roadhouse boogie “Somebody Else,” and even Colin Farrell excels in Nashville single “Gone, Gone, Gone.” It’s magic all right, and a fond final tribute to one of South Austin’s finest.

http://rapidshare.com/files/337579116/enistosopradoido.rar

fyfe dangerfield – fly yellow moon 2010

Following Guillemots 2008 album ‘Red’, mercurial singer-songwriter Fyfe
Dangerfield has used the window of time created to spread his wings and
lovingly record his beautiful debut solo album ‘Fly Yellow Moon’,.

‘Fly Yellow Moon’ is written entirely by Fyfe and produced by Adam
Noble in Urchin Studios, London the same studios where Guillemots
recorded their first classic E.P. ‘I Saw Such Things In My Sleep’. The
10-track record startles from start to finish, magnificently eclectic,
warm and uplifting, haunting and melodic it sounds like a classic
upon its first listen.

Opening track ‘When You Walk In The Room’ (Free digitally track out
November 9th) strikes the perfect chord for the following nine sublime
tracks, capturing Fyfe’s truly remarkable voice, while flaunting his
daring, expansive and mystical songwriting.

The record flows with highlights including from the beautiful ‘So Brand
New’, the joyous ‘Faster Than The Setting Sun’ to the scintillating
‘She Needs Me’ (First single out January 11th) and the stunningly
reflective ‘Don’t Be Shy’.

Fyfe recorded the album in five days in what he describes as ‘the best
ever little studio’, which ended up being the happiest days he has ever
spent in studio land. The songs were written over a 12-month period in
snatched moments after soundchecks, before nights out, and after
moments of unmitigated lovestruck bliss.

He met up with Bernard Butler to mix a couple of songs (‘She Needs Me’,
‘Faster Than The Setting Sun’) on a 1960s-mixing desk to colour the
record in a different shade. The rest of the tracks remained just as
they were from their first recording session. “It often sounded best
this way, says Fyfe. “Capturing the moment they were recorded and not
being painted over too much.”

“A good time was had by all,” notes Fyfe, and we hope you do too!

http://rapidshare.com/files/336174943/fyfe.rar

clem snide – the meat of life 2010

there back clem snide drifted away a little when Eef barzeley chased and cut out a very successfull solo career . the meat of life firmly confirms that clem snide must stay around a little longer .

LINK REMOVED AS A REQUEST WAS MADE FROM CLEM SNIDE LABEL

sorry for lack of posting

sorry readers for the lack of postings but there has been no new music to grab my attention of lately and plus its been pretty mad here . if anyone is looking for an album that they cant find drop me a email or leave a comment and i’ll see if i have it in my collection .

phosphorescent – to willie 2009

album of the year 2009

In 1975, Willie Nelson released a tribute to one of the original country outlaws, Lefty Frizzell, called TO LEFTY FROM WILLIE. Phosphorescent’s TO WILLIE is an alt-country continuation of the same concept. Its 11 songs are all moderately obscure Willie Nelson tunes (no “Red Headed Stranger” or “On the Road Again”) delivered in a mournful indie country style that reveals Nelson’s oft-underestimated connection to this particular sub-genre. Highlights include “I Gotta Get Drunk” and “Reasons To Quit.”

http://www.mediafire.com/?nzz2ojytajz

avett brothers – i and love and you 2009

North Carolina sibling duo the Avett Brothers return in 2009, fresh off a few years of building a cult following for its melodic and rootsy alt-bluegrass sound, with the subdued I AND LOVE AND YOU. The opening single and title track basks in piano-pop splendor in an odd mix of Beach Boys, Byrds, and the Band.

The Avett Brothers continue charting the same musical course as EMOTIONALISM and MIGNONETTE on major-label debut I AND LOVE AND YOU, despite the presence of hands-on producer Rick Ruben. The country-folk duo continue to add elements of pop and hillbilly rock to a country/bluegrass foundation on the 2009 LP, a record with a newfound emphasis on piano and nuanced arrangements. Working with a larger budget allows the group to add small flourishes — a cello line here, a keyboard crescendo there — but the resulting music is rarely grand, focusing on textures rather than sheer volume. Scott and Seth Avett share vocals throughout the album, delivering their lyrics in a speak-sing cadence that sounds both tuneful and conversational. Given the opportunities presented here — the ability to flank their melodies with string sections, organ swells, and Harmonium — the two devote more focus to slower songs, eschewing the barn-burning bouncefests of their previous albums for material that better displays such sonic details. The result is an intimate, poignant album, laced with rich production that enhances, not clouds, the songwriting itself.

http://rapidshare.com/files/325881604/07_EuoamoreTu.rar

the national – white session 2007

this is the last national posting cause the rest is just single releases and i hope you have all enjoyed the rest of the stuff i uploaded

http://www.mediafire.com/?9lnb642m0dm

the national – live recordings

live on kexp

01 Start A War
02 Slow Show
03 Brainy
04 Apartment Story

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

the daytrotter sessions

01 Gospel
02 Lucky You
03 Slow Show

http://www.mediafire.com/?og1m95g1hni

the national – boxer (demos) 2007

01 Brainy (alternative)
02 Slow Show
03 Tall Saint
04 Rest Of Years
05 Santa Clara

http://www.mediafire.com/?xdz4y2y0ezr

the national – boxer 2007

On 2007’s BOXER, the National’s second full-length album for the venerable Beggars Banquet label, the Brooklyn-based indie-rock act follows up the lauded ALLIGATOR with another round of melancholy guitar-driven tunes. Led by deep-voiced vocalist Matt Berninger, who often sounds hung-over yet disarmingly articulate, the band excels at brooding mid-tempo songs, as exemplified by the world-weary “Fake Empire,” which combines political and personal themes, and “Mistaken for Strangers,” a track that recalls NYC peers Interpol, thanks in part to the punchy approach of shared producer Peter Katis.

And while his presence isn’t immediately apparent, indie hero Sufjan Stevens contributes piano to two tracks (“Racing Like a Pro” and “Ada”), adding to the National’s increasingly expansive aesthetic, which also incorporates strings and horns. Though BOXER is more subdued than ALLIGATOR, it will likely appeal to those won over by the earlier outing.

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

the national – alligator part 1 & 2 2005

The National’s debut for Beggars Banquet Records boasts eloquent production and some of frontman Matt Berninger’s finest songs. The Brooklyn band’s sound includes elements of folk and swirling indie rock, with Berninger’s literate, emotive tunes drawing heavily on the tradition of melancholic singer/songwriters. On “Daughters of the Soho Riots,” Berninger’s baritone croon recalls Gordon Lightfoot, yet his lyrics are incisive, confessional, and decidedly contemporary. The combination of surreal imagery and genuine pathos in “Baby, We’ll Be Fine” (expressed in the song’s repeated refrain) is also representative of Berninger’s craft.

part 1 – http://www.mediafire.com/?ny0vfmzprzt

part 2 – http://www.mediafire.com/?wvu4eoffnwd

the national – cherry tree e/p 2004

another addition to the national discography

http://www.mediafire.com/?1kzmchm6oml

the national – sad songs for dirty lovers 2003

For a band that’s been compared to Joy Division, Leonard Cohen, Wilco, and Nick Cave & the Bad Seeds, the National sure sounds a lot more like the Czars or Uncle Tupelo on this sophomore album Sad Songs for Dirty Lovers. Where the band might lack Joy Division’s angular fury, Cohen’s existentialism, and Cave’s vampiric attack, vocalist Matt Berninger and company whip up a murky alt country meets chamber pop vibe that’s quite potent. The five-piece mostly keeps things on the country side of the fence during the album’s first half, as slide guitars and fiddles overpower just about any hint of rock styling except the drumbeat, occasional feedback, and some screeching guitar freak-outs. Toward the album’s close, the songs’ textures finally shift from country to indie rock. Berninger is more than content to roam pastures featuring small patches of emo, sadcore, and artsy strings, clearly wearing his influences on his sleeve. Indeed, album-opener “Cardinal Song” could very easily be mistaken for the Tindersticks or Cousteau, with a passage that is a virtual note for note reconstruction of a Red House Painters song. Though the band focuses on slow atmospheric songs, it’s when it kicks out the jams that the music is the most compelling. Case in point is “Slipping Husband,” with its fine melodic waves and a perfectly placed bout of screaming. “Trophy Wife” presents yet another influence; the song seems a dead ringer for the Shins. It’s hard to shake the feeling that the National is highly influenced by and studied in the bands it emulates, but the album is still worth a listen for fans of moody country-tinged lounge music. With so many influences rearing their heads and ample musical chops in the bag, the National might not be masters of any one genre, but it creates a fine amalgam nonetheless.

http://www.mediafire.com/?vj1erninwxt

the national – black sessions 2005

if your a national fan and you dont have this then you gotta ask yourself WHY . this is an awesome album .

01 All The Wine
02 Secret Meeting
03 Driver Surprise Me
04 Lit Up
05 Cherry Tree
06 Baby, We’ll Be Fine
07 Geese
08 City Middle
09 Looking For Astronauts
10 Daughters Of The Soho Riots
11 Abel
13 Wasp Nest

http://www.mediafire.com/?d99mfzdo58z

lets hope you enjoy this one danielle also coming up is

sad songs for dirty lovers 2003

cherry tree ep 2004

alligator pt 1 & 2 2005

boxer 2007

boxer (demos) 2007 5 tracks only

live on kexp 2007

daytrotter session 2007

white sessions 2007

live on fair game 2008

then we have the singles collection

lit up 2005

secret meeting 2005

abel 2005

mistaken for strangers 2007

apartment story 2007

the national – the national 2001

been playing this album alot over the last few days never seems to let you down and there are some of the nationals best work on this debut album this one comes highly recommended .

This Ohio-based band strikes a lush, adorable balance between the country-pop of bands such as Jayhawks and Golden Smog and the gloomy, depressing crooning of Tom Waits. Lead singer Matt Berninger manages to transcend leveling the fine background with some reflection and introspection on “Cold Girl Fever” and “Watching You Well.” The country hues touched on in “American Mary” are only surpassed by the album’s perfect song “Theory of the Crows,” a morbid waltz through loneliness and loss. Throughout it all, the band manages not only to exceed their pigeonholed genres but gives a fresh perspective with brilliantly crafted numbers. Starting up where Wilco left off with their Summerteeth album, the group delivers a generous heaping of Americana and alt-country. Brilliant.

http://www.mediafire.com/?vkmj92b5xyw

monsters of folk – monsters of folk 2009

When M. Ward, Mike Mogis, Jim James, and Conor Oberst announced plans to record together, fans were quick to link the supergroup to the Traveling Wilburys, who blazed a similarly star-studded path 20 years prior. Truth be told, Monsters of Folk’s emphasis on harmony vocals and atmospheric arrangements has just as much in common with the work of Crosby, Stills, Nash & Young, even if the political concerns that grounded the latter group are largely absent here. Instead, the self-titled MONSTERS OF FOLK tackles religion, nature, love, and lust, with all four songwriters sharing vocals and songwriting duties. Mogis, who rose to prominence by playing a central but somewhat surreptitious role in Bright Eyes, receives slightly less screen time than the others, preferring instead to remain behind the scenes as producer and sideman. Even so, his guitar solo during “Say Please” is one of the album’s loudest, rawest moments, and his production helps draw connections between the album’s slew of songwriting styles and genres. “Folk” is defined broadly here, as the album encompasses everything from trip-hop to roots-rock to homely, homespun pop. Spread over fifteen tracks, the combination wears thin at several points, and several songs feel more like their creator’s solo work than a composite product. MONSTERS OF FOLK has moments on undeniable beauty, though, and when the musicians pitch their voices atop one another–as they do to notable effect on the gorgeous “Slow Down Jo”–the benefits of teamwork are more than clear.

http://www.mediafire.com/?znzm25mmvng

mumford and sons – sigh no more 2009

Mumford & Sons finally release their debut album Sigh No More under a tremendous weight of expectation.
Having been buoyed by the enthusiastic response given to their various single and EP releases, as well as comparisons to both Crosby, Stills and Nash and Kings of Leon, they have a lot to live up to in ensuring the long-player realises the hype.
Fortunately, it does. While certainly perhaps more of an acquired taste given the propensity for country-tinged harmonies and banjo-heavy instrumentation, it’s a fine listen that signals the arrival of a major new talent.
Mumford & Sons are Marcus Mumford (vocals, guitar, bass drum, and tambourine strapped to his left foot and right), Ben Lovett (keyboards), Country Wilson (banjo, dobro, electric guitar), and Ted Dwane (bass)… and just from that roll call you can tell how musically talented they are.
Indeed, the scope of their instrumentation, and the way that they layer it into their engaging songwriting, is one of the major pluses of listening to Sigh No More.
Songs such as Winter Winds, for instance, contain a tremendously uplifting vibe courtesy of the keen mix of banjo and bass, while arriving in stark comparison to the more intimate likes of Roll Away Your Stone, which begins in utterly disarming fashion before opening up to grand heights.
The lovelorn White Blank Page is another tender slow-builder, with Mumford’s husky, lived-in vocals particularly effective in declaring his love against a slow-building instrumentation and ever more despondent lyrics (“oh tell me now where was my fault in loving you with my whole heart”). It’s a mini-epic and one of several highlights.
Another is former single Little Lion Man, a rousing a rampage about regret and unresolved heartbreak that contains thrilling banjo licks, and a rollicking sensibility that’s utterly infectious in spite of its downbeat lyrics.
The lyrics (“I really fucked it up this time, didn’t I my dear”) are also honest, heartfelt and pleasingly no-nonsense – and somehow designed to make you want to sing along.
And Awake My Soul is another slow-builder of terrifically rousing quality, unfolding into a foot-stompingly lively blend of banjo and percussion that enlivens lyrics such as “you were made to meet your maker”.
The album closes out with Dust Bowl Dance and the bluegrass After The Storm to ensure that it ends on as big a high as it began.
Mumford & Sons look like they’re here to stay… and should win countless fans along the way.

http://www.sendspace.com/file/64jk8c

sorry again its sendspace but mediafire playing me up today