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


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


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…


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.


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 .


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.”


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.


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


the national – live recordings

live on kexp

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


the daytrotter sessions

01 Gospel
02 Lucky You
03 Slow Show


the national – boxer (demos) 2007

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


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.


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


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.


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


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.


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.


United Steel Workers of Montreal – Three On the Tree (2009)

“Urban hillbillies, the United Steel Workers of Montreal are a bar band. Their latest release, Three on the Tree, would best be heard with a flask of whiskey and a group of sweaty strangers in some seedy watering hole. Three Hard Knocks sets the wild tone of the album. It’s fast finger-pluckin’ guitar, banjo and mandolin and Gern’s gruff vocals. For Love and Your Mother’s Sake is on the same train, though Felicity Hamer takes over on vocals. Shawn Beauchamp takes it down a notch on Son, Your Daddy Was Bad. United Steel Workers of Montreal divide their vocals throughout the album, which befits the plethora of musical styles the band explores. Imagine bluegrass, Irish and country with a mixture of folk elements. The Line should be a favourite among duet lovers. But it’s The Ballad of Mary Gallagher that highlights the band’s exceptional craftsmanship and creative integrity.”



ryan adams – gold 2001 (weekend classic album)

ryan adams

The “it” boy of early-’00s roots-rock, former Whiskeytown leader Ryan Adams has responded to the mountain of hype surrounding him with an arrogance worthy of his idol, mid-’60s Bob Dylan. Accordingly he follows his stripped-down solo debut with a two-disc, fully produced set that finds him grasping for the mantle of alt-country messiah. GOLD picks up where Whiskeytown’s swan song FAITHLESS STREET left off; a step removed from the country-rock hard line but still full of rootsy, organic, Band-like warmth.

The up-tempo opening tune “New York, New York” recalls vintage Steve Forbert, while “Answering Bell” sounds like David Gray fronting the aforementioned Band on a rewritten “The Weight.” The epic, acoustic guitar-based ballad “Nobody’s Girl” is one of the more overtly Dylanesque pieces here, and while trying to overshadow Zimmy is a fool’s errand no matter how big your britches, one has to admire Adams for the considerable chutzpah necessary to even take up the task. Whether you believe he’s the Gram Parsons of the 21st century or not, its that undeniable spirit and ambition that lay at the heart of GOLD’s appeal.

The “it” boy of early-’00s roots-rock, former Whiskeytown leader Ryan Adams has responded to the mountain of hype surrounding him with an arrogance worthy of his idol, mid-’60s Bob Dylan. Accordingly he follows his stripped-down solo debut with a two-disc, fully produced set that finds him grasping for the mantle of alt-c

Recorded at the Sunset Sound Factory, Hollywood, California.

disc 1 – http://www.mediafire.com/?kjzvhz0yzey

disc 2 bonus disc limited edition – http://www.mediafire.com/?9wjyxnd2xdj

langhorne slim – be set free 2009

langhorne slim

Something of a one-man mixture of the Cramps, Beck’s early indie records (circa One Foot in the Grave), and the soundtrack to O Brother Where Art Thou, singer and guitarist Langhorne Slim offers a sardonic, modern take on traditional folk, country, and blues. Fancifully dubbed “the bastard son of Hasil Adkins” in some of his early press releases, Langhorne Slim is in fact a Pennsylvania native who resettled in Brooklyn after his graduation from the State University of New York at Purchase. After a self-released demo garnered some local and online attention (as well as a semi-regular gig as the opening act for indie novelty outfit the Trachtenberg Family Slideshow Players), Langhorne Slim signed with the indie label Narnack Records and released his first EP, Electric Love Letter, in March 2004. The more varied and band-oriented full-length When the Sun’s Gone Down followed in the spring of 2005. Much touring ensued over the next year, including support dates with Lucero and Murder by Death, with drummer Malachi DeLorenzo and upright bassist Paul DeFiglia (aka “the War Eagles”) in tow. In 2006, Langhorne Slim signed with the larger (though still not major) label V2 Records, which released the all-new EP Engine in September of that year, as the singer was finishing recording his second full album, produced by Josh Ritter’s keyboardist, Sam Kassirer. The deal fell through, however, and the band was left labelless. Langhorne Slim found a new home on Kemado Records, who released the self-titled album in the spring of 2008


volcano choir – unmap 2009

volcano chior

came across this freak folk style sound by complete accident and was amazed how how alike to the sounds of Bon Iver and deyarmond eddison .

Volcano Choir is an assembly of Wisconsinites Jon Mueller, Chris Rosenau, Jim Schoenecker, Daniel Spack, Justin Vernon, and Thomas Wincek. You might find these old friends also frequenting records and stages under different monikers, Collections of Colonies of Bees and Bon Iver. The collaboration predates the meteoric rise of Justin Vernon’s Bon Iver project, with original songwriting dating back to the summer of 2005, right around the time the Bees first toured with Vernon’s previous band DeYarmond Edison.

While entirely a studio record, the collection doesn’t suffer from the overburdens of a digital pile up or over-thinking. Rather it breathes and convulses in equal measure, radiating an inherent dynamism found only in the voluntary bondage of intimacy. With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group’s influence is music itself. You can hear it in the care and real love generously applied to each moment of Unmap. With the vibe of some intimate backwoods gospel, plus a spirit of patience and thoughtful repetition, the music of Volcano Choir is as dynamic as it is lovely.

Unmap ultimately came together over a weekend in November 2008 in Fall Creek, Wisconsin, at Justin and Nate Vernon’s recording studio. And while it is at its heart a record about the allure of being with people you need and making something with them, it is also a document created by musicians with rare gifts getting together to exorcise their ideas about beauty. This scaffolding of loops and off grid tempos for choral style vocals offers a state of continual surprise, call it unexpectation.

Unmap marks the debut full-length from Volcano Choir, the collaboration between Collections of Colonies of Bees and Justin Vernon of Bon Iver.


10 songs hand picked by vetiver (mixtape series)



Andy Cabic of the San Francisco based group vetiver hand picked these 10 songs to compile a great mix tape . there is some rare country folk tunes on here so i recon you guys need to grab this .

mixin with vetiver


the moe greene specials – s/t


i got given this album by a friend out sad it was complete rubbish . but hey i never listen to others about music i make my own mind up . god its fucking awesome i love it and your a sucker for giving it away . if you like calexico or richmond fontaine then this could be your thing to . its like a crazy speghetti western soundtrack .


richmond fontaine – we used to think the freeway sounded like a river 2009

richmond fontaine


Richmond Fontaine have served up some of the best alt-country/Americana out there during the past decade and to much critical acclaim, especially on this side of the Atlantic, yet still remain some distance away from the kind of vaguely populist recognition attained by the likes of Ryan Adams, Lambchop, or a Wilco with retained twang. And that’s a damned cryin’ shame. Lynch pin of the Portland four-piece is singer/songwriter Willy Vlautin. His songs burst with the vivid imagery and hard hitting, totally compelling storytelling you would expect from a published novelist (with a probable Hollywood film adaptation in the pipeline for one of his books too). Like a crushed Springsteen at his very best, telling thumbnail sketches of keen observation bring characters to life; characters who often appear in both books and songs, and typically inhabit a tragic downbeat world where every wall has peeling paint, all shoes are scuffed, and clothes retain a whiff of stale beer – in short America(na) at its most (heart)broken.

There is a smattering of bristling straight ahead dry-throated rousing alt-country (as in first single “You Can Move Back Here”), but a better representation of the album is more measured and decidedly downbeat in its focus on the seedy side of life. Several of the real gems here are those where Vlautin adopts a practically spoken word approach. Words are to be savoured for their weary sound as well as their meaning, bringing to mind the kind of spellbinding monologues that Van Morrison can deliver transplanted to the far West. The title track has a singing saw (or saw-sounding pedal steel) eerily and memorably warbling the main hook of the chorus over a casino lounge band backing while Vlautin tells the story of a couple enjoying the boho thrill of living in a crumby neighbourhood – until the inevitable happens. With even more restraint, the near perfect vignette “A Letter To The Patron Saint Of Nurses” brings an overwhelming sense of drowsy closure fitting for the final cut – an atmosphere so powerful that it’s a real effort to do anything other than switch off and curl up. The faint glimmer of hope from the final line is just enough to let sleep come easily with the chance of better fortune with a new day.

Embellishment from piano, pedal steel, and on “The Boyfriends”, a marvellous bittersweet flourish of trumpet are all added to the basic mix intermittently and faultlessly. Together with the variations in tempo and song structure the interest hardly drops. “Only “Ruby And Lou” doesn’t quite click into place – a mournful cello not being enough to carry the seemingly cramped lyrics. The best of the narrative songs adopt the first person, and the two very best feature hugely confrontational climaxes. “The Boyfriends” paints an alarming picture of a drunken hook-up (”She said she wasn’t used to drinking / But I could tell she was“) being interupted by the single mom’s son, before flipping in time and perspective to catalogue a succession of ‘uncles’ as witnessed from the singer’s own childhood. A wonderful, wonderful song. “Two Alone” is a fiercely emotional 6 minute mini-opus (there’s been rock operas, but ever an alt-country opera?) where bitterness ebbs and flows in a drama played out between a son and mother (”watching the credit card TV“) echoing the departure of long gone father (”You’re gonna run / You’ll be just like your Dad“), with whom he also never shared a bond (”I don’t like sports and I never will“). More desolation comes with the desperate tale of a reformed alcoholic who finds redemptive focus but ultimate destruction in boxing, and the guitar freek-out in “43? conveying the tension and angry frustration of a man forced into illicit drug manufacturing to make ends meet.

Don’t come here looking for a good time, but do check them out when they tour here in September. This is an intelligent, engrossing, and immediately venerable, yet naturally approachable, album that may well settle down into a being an understated classic. With many a depressing yarn and phrases that stick and tumble around in your mind, perhaps the best and simplest message comes from the single line of the beguiling, almost instrumental, “Watch Out”. “Watch out or your heart’ll be nothing but scars”. Now, like I said, I’ve just got to curl up and sleep. Everything will work out better tomorrow.


the cave singers – welcome joy 2009


i cant really say to much about this album other than it is amazing and you really need to own this album . this is a high contender for the best album of 2009 i doubt very much that something will beat this .


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 .


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)

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 .

peter bruntnell – normal for bridgewater

peter bruntnell


sorry about the album cover quality . last year i came across this fantastic gem of an album by peter bruntnell and over the past couple of days i just cant seem to stop playing it


This is the third release by British singer-songwriter Peter Bruntnell. The album’s title makes reference to the English town of Bridgwater, in Somerset, also known as the cider-drinking capitol of the country. A local doctor reportedly would …    Full Descriptionlist his patients as “normal for Bridgwater” in their medical histories. The core quartet is a rough-and-tumble outfit that perfectly fits Bruntnell’s songs. They’re joined by a range of guests, adding dobro, pedal steel, fiddle and a few other flourishes.

The music is brethren to the alt-country music scene, sharing a reverence for such key forebears as Gram Parsons. The songs are beautifully crafted, with the gorgeous and evocative “N.F.B.” being the title song of sorts. Bruntnell’s voice is gentle, yet can be forceful when needed. Background vocals add lushness when appropriate, and producer George Howard succeeded in creating a warm atmosphere throughout.

uncle tupelo – the demo trilogy



well it was just a matter of time before this all became availible , these guys are truely the stalwarts of alternative country disc 1 is a collection of half live and half studio recordings from 1988 with classic uncle tupelo songs like cocaine blues , no depression and screen door .

disc 2 is aonly 5 tracks but still awesome and disc 3 is the demo that broke it for uncle tupelo and got these guys signed .

disc 1 – Download – Uncle Tupelo – Live and Otherwise (Demo tape)

disc 2 – Download – Uncle Tupelo – Colorblind & Rhymeless (Demo Tape)

disc 3 – Download – Uncle Tupelo – Not Forever, Just For Now (Demo Tape)