robert pollard – elephant jokes 2009


this guy has had a huge impact in my musical journey through the years from guided by voices to his solo work he is a true master of his work and people should really own more of his work and GBV .

green on red – gravity talks

green on red gravity talks

green on red wow here is my album for the weekend if you like your music with fuzzy guitars and with a bar room brawl sound then this album is for you . this is surely gonna be blasting from my stereo today so beware neighbours .

mazes – mazes 2009


debut album from mazes and i only stumbled across this by accident while trawling thru myspace . its a nice little album in the folk indie pop genre . i guess it would be nice if you have friends around and you want something easy on the ears that wont impose to much attention . my girlfriend really likes and and a bunch of her friends say its good . so if you wanna give your chic something its a safe bet .

if your still not sure about it then check out there myspace

best song on the album for me is i have laid in the darkness of doubt

devendra banhart – nino rojo

nino rojo

With NINO ROJO, San Francisco Bay Area neo-folkster Devendra Banhart brings forth a companion to his acclaimed REJOICING IN THE HANDS, released earlier in 2004. Sitting barefoot by the metaphorical campfire next to Beck, Tiny Tim, Karen Dalton, …    Full Descriptionand Vincent Gallo, Banhart plays acoustic guitar and sings in a manner that’s quirky, catchy, and a bit spooky. Here the tunes range from loopy ditties (“We All Know”), warbled mantras (“Ay Mama”), and half-crooned/half-whispered sing-alongs (“A Ribbon”) to works that include a little help from his likeminded friends, including Vetiver’s Andy Cabic (“At the Hop”).

“Little Yellow Spider” comes off like a perverse Raffi record, as interpreted by Mississippi Fred McDowell. Later, Banhart channels the vocals of both Blind Willie McTell and Marc Bolan for “Noah,” which includes whistling and a mournful piano. The enhanced CD presents a great, “psychedelicized” video of Devendra and friends jamming on “At the Hop,” which will surely cause pleasant flashbacks for anyone who’s ever spent a weekend in a woodsy cabin full of hippies.

ok so a little different from what i have been posting but today has been a little weird for me so i got pretty drugged up and thought i would put this on my ipod . and it all made sense in the end to me . dont ask me to explain this album or even figure it out but it works when your tripping in the sun . do try it you may like it and i dont mean the drugs thing thats just my choice .

bonnie prince billy – sings greatest palace music




Those who like the earlier versions of these songs may take issue with the cleaned-up updates and how the steady vocals of Bonnie “Prince” Billy-era Oldham supplant his Palace-era yelp. But there is something undeniably intriguing about hearing … “Ohio River Boat Song” with a female backing chorus and weeping, countrified electric guitar, or rich strings and saxophone supplementing “Viva Ultra.” The songs themselves, of course, are strong as ever, and many Palace music devotees will enjoy hearing them recast. The top-notch production and country arrangements should win some new converts to Oldham’s back catalogue as well.

my girlfriend says to me everytime i put this album on “what the fuck is wrong with you ” cause everytime i put it on i drift into my own little fucked up world were nothing can touch me or even get close to me . this album is always guarenteed to take me to this next level i just sit chill out eyes closed and batter into the wine . go on try it you will love it

song of the day

wonderful song here by scout niblett and bonnie prince billy this song is taken from the album “this fool should die now”

the pack A.D – tintype 2009


A no-holds barred garage-rock-blues cage match played out between two dynamic young women from East Van. — the East side of Vancouver, B.C., Canada.

The debut CD, Tintype, got lips smacking about the group grinding out the sort of noise that made boys cry and girls hot and, well, sold freakin’ beers. The follow-up, Funeral Mixtape, got the group reviews in every major music press that there is. Aside from a few critics who long ago decided that there could only be one loud, awesome killer duo allowed to make it at one time, the rest admitted the new disc kicks ass. And it does it with blues, punk, grind, thrash and that deep swagger baby.

“We are not a blues band, even though people keep putting us there,” says Maya. “We both love the blues, but we are a garage rock blues group.”

“We don’t play “Wang Dang Doodle.”

just one of the bands that are featuring low down at the end of the road festival . i will be posting other bands that will be on the bill from that festival .

the jayhawks – two angels (chords)

this is as near as i could possibly get it . sorry i dont do solo playing i leave that to my buddy .
INTRO (same chords are used for the CHORUS):

Em — G — D —-| C
G — C ———–| D


G   Am                           G
      I’d hoped to find you this mornin’
  Talkin’ to the trees
Bm                Am            F             D
I could miss you,   After what went down.

G    Am                    G
      In false love could lie by you
    While I’m swingin low
Bm                         Am            F             D
   I could steal down town   Making some sweet time

play the chords through twice:
once with vocals,  once with solo guitar/no words

Em  G               D      C
Two Angels, one bad end
         G              C
this lifetime’s easy
Way back home there’s a funeral


G    Am                    G
  Think I’ll take to the   sidewalk
   Knowin’ it’s not real
Bm                    Am            F             D
I cold steal downtown    makin some sweet time

CHORUS #2:(both times with words, no solo section)

Two Angels, one bad end

this lifetime’s easy

Way back home there’s a funeral

Two Angels, one bad end

this lifetime’s easy

Way back home there’s a funeral

  SOLO (over Verse chords, 1 time through)

Repeat CHORUS #2

song of the day

the most amazing song by the jayhawks what a combination these guys are

the jayhawks – music from the north country 2cd 2009

the jayhawks 

The Jayhawks – Music from the North Country: The Jayhawks Anthology [Deluxe Edition] (2009)

“Formed in Minneapolis in 1985 around the songwriting duo of Mark Olson and Gary Louris – along with bassist Marc Perlman – the Jayhawks brought together the best elements of country, folk, and rock. After four studio albums (including Hollywood Town Hall and Tomorrow The Green Grass) and numerous U.S. tours, Olson parted company in 1995, leaving Louris to carry on with a revolving lineup of bandmates, releasing the critically acclaimed albums Sound Of Lies, Smile and Rainy Day Music.

But that wasn’t to signal the end of Olson and Louris’ partnership. The duo reunited for three songs on Olson’s 2007 solo album The Salvation Blues, and they decided to continue working together under their own names. An album, Ready For The Flood, was released by New West this past January.

With Olson and Louris currently on the road performing both new songs and classic Jayhawks tracks, the time is right to release the Jayhawks’ first-ever compilation. Music From The North Country: The Jayhawks Anthology spans six Jayhawks albums, including their debut on Twin-Tone (Blue Earth) and the five albums cut for American Recordings. This double-CD-plus-DVD set gathers together b-sides, rarities, and previously unreleased material. The package was put together under the guidance of Gary Louris.”

ryan adams live 2001


here is a fine live recording from 2001 of ryan adams . this is probably his best work to date with all his classic songs like come pick me up etc most of these songs are taken from his best works from heartbreaker to gold . if your a fan of this fucked up dude then i think you must have this to your collection . if your new to him then its probably the best place to start . sorry its in megaupload but its a huge file .

01 – Intro
02 – New York, New York
03 – To Be Young (is to be sad, is to be high)
04 – The Rescue Blues
05 – Touch, Feel & Lose
06 – Nobody Girl
07 – When The Stars Go Blue
08 – Nervous Breakdown / Tina Toledo’s Street Walkin’ Blues
09 – Stage Banter
10 – Love Rollercoaster
11 – Stage Banter
12 – Sin City
13 – Shakedown On 9th Street
14 – Harder Now That It’s Over
15 – Stage Banter
16 – Saturday Night Special
17 – La Cienega Just Smiled
18 – Po’ Boy
19 – Answering Bell
20 – Saturday Night
21 – Stage Banter
22 – Firecracker
23 – My Winding Wheel
24 – Stage banter
25 – Don’t Ask For The Water
26 – Brown Sugar
27 – I Wanna Be Your Dog
28 – Come On Little Girl
29 – I Don’t Wanna Work
30 – Come Pick Me Up
31 – Rocket Man (with Leona Naess)

song of the day

here is a wonderful song from the debut album the low anthem . if you dont own this album yet you really need a serious kick up the ass .

link update

the link has been updated for the low anthem – oh my god charlie darwin .

if any other link is broken in future let me know and i’ll update link asap

suprise album

had some friends around last night and as you can imagine the beer was flowing fast infact it was very fast and not to forget the great red wine to . anyway we were having a blues night and trying to come up with a real classic blues album . so as you can imagine we were all digging through my vast and fucked up record collection . and pulling out the usual suspects john lee hooker , muddy waters and robert johnson . anyway as the night was rolling on and the amount of blues we actuallytook in was staggering ( pardon the pun) ctually agree on anything . by this time the beer was taking its toll and things started taking a different turn when i put on led zep when the levea breaks it changed our outlook on what was blues and what wasnt . but who gives a fuck if its good its good .100_0406

anyway back to this suprise album after the shock turn to led zep it opened the flood gates for other albums some were not blues at all but could get were they came from . and then all of suden it came from the blue or the depth of a drunken head an album that blew us all away .

its not led zep or the usual suspects just download it and try and let me know what you think

south san gabriel interview & performance

south san gabriel

midlake interview

5860.psd, 5860.CR2, 5860.jpg

Midlake didn’t wait until their third or fourth album to start branching in new directions. Between their two full lengths (and a handful of EPs), they have leapt from lo-fi to extravagant, from modern to nostalgic. Which is why the prospect of a new Midlake album is so exciting, especially as they have been crafting it for over a year, day in and day out, in their studio in Denton, TX. The bits and pieces I’ve heard are delicious. Tim Smith, Eric Pulido, and McKenzie Smith answered my questions about their lyrics, their work ethic, and their new songs.

How did the members of Midlake all come together? Did you all meet at the University of North Texas, or had some of you played music together before?

McKenzie Smith: Four of us met in the fall of 1997 while attending the University of North Texas. We were studying jazz and were in a completely different head space musically, which is kind of funny to think about now. I had known Eric Pulido since high school but he had gone to a different university. He was actually our manager for a short time before we told him to buy an electric guitar, move to Denton, and join the band. That was December 2001. It has been us five ever since then.

You spend a lot of time crafting your albums. Can you talk about the process and how you keep up with such a rigorous schedule in the studio?

Eric Pulido: The process is an ever-changing thing, but Tim will usually bring demoed versions of songs he’s written and then we will start working on them together to form and record. There’s not really an equation to how it comes together, we just run the gamut of ideas/instrumentation/sounds until we feel the magic. I think that’s what keeps us going — knowing that we’ll eventually get there.

What are some of the most favored pieces of gear in the Midlake studio?

McKenzie: It’s taken us quite some time to piece together what we have now, which is not all that much compared to most studios. But we do have a few nice pieces that are great to work with and certainly help to make great records. We record on a system called RADAR. It functions more like an old tape machine in that it has a session controller with big buttons on, much like a tape machine controller. It feels like you are using an old IBM desktop computer or something, without the monitor. We really love the simplicity of it and how it enables us to record in a modern way (i.e. digitally) but has an organic feel to it. There is no monitor with squiggly lines going by or the ease of just ‘fixing’ everything in some fancy program. It’s pretty cool. Oh, and it sounds really good, too. We also have a Distressor and a Fatso, both made by Empirical Labs, that we love and use all the time. We also have a few channels of Neve 1272s that get a lot of use. As far as microphones go, we love our Royer 122, our Neumann U87, Soundelux U99, Sennheiser 421s, and AKG C 414.

My favorite Midlake memory is listening to all of you singing along to America and Bread, with all of your gorgeous voices, when Tim was playing his iPod one night. It seems like you all love so much of the same music. Are your tastes very similar, and where do they diverge?

Eric: Thank you, Anna-Lynne, we must have been lip syncing! We do share a lot of the same musical tastes and have gone through several different phases together. Much of what we’re listening to is an influence to the music we’re making, so we really saturate ourselves in a style/era and inherently it comes out when writing and recording. As far as diverging, there are always guilty pleasures that everyone has (secretly or shared) but since I don’t want to get anyone in trouble I’ll just share my own… ’80s dance!

When the band’s sound shifted from jazz to indie rock, and later to folk, was that a response to all of the band members’ tastes shifting, or more about Tim leaning toward a different kind of songwriting and bringing it into the studio?

McKenzie: Over time, all of our tastes have changed and grown quite a bit. It’s natural, and I think very important for anybody, really. Tim is the musical visionary for the band, but we have all been quite happy following his lead and we have all worked hard to contribute and be a unified band that works together to get the music out that Tim writes. We all had to stop playing rock music like jazz music students, which took awhile, but now our jazz backgrounds are being used more and more in the way of improvisation on the new album.

There is an antiquated sense to the lyrics on The Trials of Van Occupanther, a type of vocabulary and sensibility that predates modern music. Are there particular fables or folk stories that served as inspiration? Did you have a specific time period in mind for the scenes of the album?

Tim Smith: Well, I’m into paintings by Bruegel and the film Andrei Rublev by Tarkovsky. I’m sure some inspiration was gathered from these. Other than that there wasn’t anything too specific that I can think of that influenced the feeling of the album.

How are you feeling about the new album and how close is it to being completed?

Eric: We all feel really good about the album and are looking forward to its completion. It’s been a long year and a half, and hasn’t come without its goods, bads, and uglies, but we feel like the time has done us well and we’re ultimately better for it. It should be completed this summer and we’ll have a firm release date at that time. That will be a glorious day.

Is it still slated to be called The Courage of Others, and where did that name come from?

Tim: Yeah, “The Courage of Others” was a song I wrote after Occupanther was completed. It was intended to be used as a b-side, but after recording the first version of it we felt it should be on the next album, so we saved it. The lyrics start out: “I will never have the courage of others, I will not approach you at all, I was always taught to worry about things, all the many things you can’t control.” So, we had our title for the next album.

For the new album, did you collectively discuss as a band what direction you wanted to move in and what you wanted to do differently before you started writing, or did you wait to see where the album took you?

Tim: We started out recording the songs I’d been working on over the previous months. They were sounding all right and could’ve made the album except that our musical tastes were changing once again and we weren’t satisfied. So new songs were written, different ways of playing (for us) were being figured out, and much conversation about the direction of the sound was had.

What other artists or art forms do you find inspiring your music lately?

Tim: The biggest influence on the new music has been bands like Fairport Convention, Steeleye Span, Jimmie Spheeris, Pentangle, Strawbs, The Incredible String Band, Amazing Blondel, Bread Love and Dreams, Black Sabbath, Sandy Denny, Yellow Autumn, Mellow Candle, John Renbourn, and many others. So I guess we got into more of this British folk thing and a ‘fair maiden’ thing as I call it, but I don’t think we really sound like these bands, though there is more than a hint of it on the new album.

Interview by Anna-Lynne Williams

yeasayer – all hour cymbols 2007


If most recent indie music is suggestive of a stylistic revisionism from the very recent past, Brooklyn outfit Yeasayer stretches far and wide to vast musical vistas–combining various pre-modern and pan-ethnic traditions into their own volatile … brand of psychedelia. ALL HOUR CYMBALS, the band’s debut release, hints at the spiritual possibilities of ritual music. Gospel-inflected chorales, chants, and whirling drones meld into powerful multi-part harmonies. But rather than succumb to cheap ethnocentric tropes, Yeasayer imparts a highly personalized aesthetic and symbology to their sonic omniverse.

A sense of existential dread and apprehension toward the hereafter characterizes vocalist Chris Keating’s lyrics. On the Celtic-folk dub number “2080,” Keating confesses, “I can’t sleep when I think about the future I was born into.” While interlocking polyrhythms and modal guitar create a dreamy tapestry of hazy psych-folk atmosphere, the chorus billows into a furious communal chant. But the album’s luminous spiritualism is best represented on the opening track, “Sunrise.” Tumbling tribal percussion and ominous organ drones create an unsettling atmosphere that eventually gives way to a transcendent, gospel-inflected vocal part. Reveling in music’s transformative, cathartic power, Yeasayer have crafted a bold, astonishingly original take on anthemic rock.

i stumbled across this band while i bought the mojo magazine this month . now i have seen them being hawked around but never really gave them a listen till it was on this free compilation and the track just blew me away . its called sunrise . even my girlfriend likes it and thats saying something

YeasayerSunrise (Black Dominoes Remix)


the low anthem – oh my god charlie darwin 2009

here is a little something to get you through the weekend . let me know what you think of it .

The group’s Nonesuch debut, Oh My God, Charlie Darwin, offers an elegant sort of Americana. Its songs about long-ago travels and romantic travails, eternal longing and inevitable leaving are often hushed, dreamy and mysterious. Simple folk-song structures are uplifted by hymn-like, chamber music arrangements. The three young multi-instrumentalists Ben Knox Miller, Jeff Prystowsky and Jocie Adams recorded the album in the most remote place they could find near their Providence, Rhode Island, home: ‘In the ghostly stillness of a Block Island winter,’ as they put it. The intimacy of the makeshift studio they created in their chilly off-season environs is palpable; Paste declared, ‘The Low Anthem’s harmonica-and-string-flavored ballads are as haunting as they are gorgeous. This group of Providence up-and-comers knows how to break your heart and make you smile at the same time.’ Not everything is understated, though: on ‘The Horizon Is A Beltway,’ they raise an exuberant acoustic clatter that recalls Bruce Springsteen’s work with his Seeger Sessions Band. They also cover Tom Waits’ ‘Home I’ll Never Be,’ a raucous adaptation of a Jack Kerouac poem.”

interesting music related sites

end of the road festival 2009

just got our tickets through to possibly the best festival in the uk and what a line up this is . after last years line up i thought they could not beat it , but it looks like they have . check out the line up

Explosions In The Sky Fleet Foxes The Hold Steady Okkervil River Steve Earle
Alela Diane Herman Dune Neko Case
Archie Bronson Outfit The Broken Family Band Dirty Projectors Efterklang The Horrors Magnolia Electric Co. Richmond Fontaine Shearwater Vetiver The Acorn Alasdair Roberts AU Bear Driver Blitzen Trapper Bob Lind Bob Log III The Boy Least Likely To Brakes Charlie Parr Chief Dan Michaelson & The Coastguards Dan Sartain Darren Hayman David Thomas Broughton Dent May & His Magnificent Ukulele The Dodos The Duke and The King Emily Barker & The Red Clay Halo Esben & The Witch First Aid Kit The Hand The Heavy Holly Throsby Howlin’ Rain Iain Archer J Tillman Jess Elva Joe Gideon & The Shark Laura Gibson Lay Low The Leisure Society Loney, Dear The Lost Brothers The Low Anthem Magic Arm Malcolm Middleton Motel Motel Mumford & Sons The Mummers Ohbijou The Pack A.D. Peter Broderick Quack Quack Sam Baker She Keeps Bees Soy Un Caballo Sparrow & The Workshop Spokes Stardeath and White Dwarfs Stars of Sunday League The Tallest Man On Earth The Tenebrous Liar The Week That Was This Frontier Needs Heroes Tiny Vipers The Travelling Band Treecreeper Twi the Humble Feather Whispertown 2000 Wildbirds & Peacedrums William Elliot Whitmore Wye Oak Zun Zun Egui 


south san gabriel – welcome convalescence 2003


last night i sat in the rear garden drinking wine like it was water and soaking up the glorious sunshine of the early evening and i had this album playing on the stereo and it captured the moment just right . the wine was fast flowing and going down a treat and i just had my last glass from the third bottle and the fucking dog kicked it over god i could of strung him up cause it was lovely and i was in no fit state to go over to our local store to buy more .

anyway back to this album its great and its deep sounding it’s the kind of album that resonates in your head the next day and wanting more . so check it out .

south san gabriel – the carlton chronicles 2005


fuck me i just love this album alot of people moan about will johnson’s warble voice but in my opinion the dude is just fucking awesome . with songs like “predatory king today” and “i’am six pounds of dynamite” and the killer track ” stupid is as stupid does”  you simply cant go wrong with this .

carlton chronicles was written by will johnson while observing a black cat at there recording studio . and the struggle this cat went through to avoid being mailed by the neighbours pit bulls . and what a concept album it is . it was also voted best alternative country album in 2005 by mojo magazine .

i strongly recomend you put this on your ipod and on a fine sunny day take your self out for a isolated walk and enjoy the journey this album takes you through .