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

wow

Jason Molina and Will Johnson Collaborate on New LP, Plot European Tour

Call this the Phantoms of Folk. Call this two lone wolves running together for one dark blissout of a night. Two of the finest indie-folk songwriters of the last decade come together under the Texas sky to quietly lay to tape 14 crushing, haunting tunes, leaving space enough in each to match their surroundings. In this collaboration between Jason Molina and Will Johnson, each seem to hold the other’s talents to fire and elevate both performance and creativity. In the friendly sharing of ideas, Molina and Johnson become two poet’s poets in a workshop, aimed to craft a singular, searing elegy.

Will Johnson describes this alignment of two red stars: “For ten days we wrote, co-wrote, workshopped, complimented, scrutinized, drank, invited friends to come play music, smoked, made lots of notes and drawings, drank a little more and shot the BB gun off the back porch when we just needed some time and space. In the throes of all this, our record was made in the late February sun.”

The album is also abound with contributions from other fine musicians, such as Magnolia Electric Co.’s Michael Kapinus and Texas songwriter Sarah Jaffe, whose plaintive vocals “All Gone, All Gone,” accompanied by the sound of a crying saw, will stir in your gut for days. Other accomplished contributors include Howard Draper, Bryan VanDivier and Scott Danbom.

Hear an mp3 of Molina and Johnson’s “Twenty Cycles to the Ground” HERE.

or down load album http://www.mediafire.com/?gzmnlyyojz4

classic song

oh my sweet carolina

Capo at 2nd Fret
Intro (x2)
e|--------------------------------|
B|-------1---------1--------------|
G|-------0-0h2-----0--------------|
D|-0-0h2-------0h2-2-2p0----------|
A|-3---------------3--------------|
E|--------------------------------|

Verse 1
    C                         F		       C
I went down to Houston and I stopped in San Antone
    C                            G
I passed up the station for the bus
      F                 C               Am               F
Was trying to find me something but I wasn't sure just what
          C          G               C
Man I ended up with pockets full of dust

Verse 2 (same chords):
So I went on to Cleveland and I ended up insane
Bought a borrowed suit and learned to dance
I was spendin' money like the way it likes to rain
Man I ended up with pockets full of cane

Chorus:
      Am  F      C      Am       F           G
Oh my swe-eet Carolina, what compels me to go
      Am  F         C              Am      G         F
Oh my swe-eet disposition, may you one day carry me home

(repeat intro)
Verse 3:
I ain't never been to Vegas but I gambled up my life
Building newsprint boats I raced to sewer mains
Trying to find me something but I wasn't sure just what
Funny how they say that some things never change

(repeat chorus)

(piano break)
Am F C G x3
C C/B Am G F

Verse 4:
Up here in the city, it feels like things are closin' in
The sunset's just my light bulb burning out
I miss Kentucky and I miss my family
All the sweetest winds they blow across the south

(repeat chorus)
         Am     G        C	F
May you one day carry me ho____me.
	 Am     G        C	F
	 Am     G        C

holly golightly – the good things 1995

think i will do a holly golightly discography and i’ll start with her first solo album .

Holly Golightly’s solo debut is quite a departure from her usual gig as a member of the garage-rocking, Billy Childish-sponsored group Thee Headcoatees. But for a couple of tracks, Golightly and Thee Headcoatees drummer Bruce Brand create a low-key and introspective musical mood. The overall sound is still raw and live, but the tempos and performances are relaxed. Golightly’s voice is very intimate and conversational. She sounds especially good when she harmonizes with herself to create a girl group sound. The songs she wrote are filled with wit and verve and not a little anger. The title track is a classic “you hurt me, you suck” type of song; in fact, most of the songs here are. It is a real broken-hearted breakup record. And Golightly has the good sense to cover a Wreckless Eric song, “Comedy Time.” Good Things is a strong debut that definitely points the way to good things to come from Holly Golightly

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