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

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

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

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

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

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

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

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

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

death cab for cutie – narrow stairs

i have been listening to this album today and like many other albums i have i forget how good this album really is . you should give this a play if you dont already own it .

Throughout their career, and especially since they were forever enshrined as the favorite band of sardonic emo kid Seth Cohen on television’s THE OC, Death Cab For Cutie have always been known as indie rock’s most famous sensitive guys. Even at their most abrasive on previous albums like PLANS and WE HAVE THE FACTS AND WE’RE VOTING YES, Ben Gibbard and crew have always had an inherent gentleness along with the low-key pop sensibility that allowed them to make the jump from the indie fringe to major-label stardom. The ambitious, experimental NARROW STAIRS is Death Cab For Cutie’s unexpectedly edgy response to any preconceptions, a wide-ranging, noisy and exciting album that sounds little like anything they’ve done before. From the epic-length first single. “I Will Possess Your Heart.” through the spacy, almost psychedelic “Pity and Fear” and the noise-riddled “Your New Twin Sized Bed,” NARROW STAIRS is Death Cab For Cutie’s equivalent to Radiohead’s KID A, a bracingly ambitious attempt to counter expectations as their stardom ascends.
After spending the better part of a decade in the musical minor leagues, Death Cab for Cutie went pro with 2005’s Plans, a record whose optimism and Technicolor sound gave the band enough leverage to finally enter the mainstream. “Soul Meets Body” became their biggest rock single to date, but it was Ben Gibbard’s delicate love song, “I Will Follow You Into the Dark,” that earned the quartet a Grammy nomination and legions of new fans. Some bands might have taken a cue from such success and resigned themselves to a career of acoustic ballads, not unlike the Goo Goo Dolls’ transformation in the mid-’90s. But Narrow Stairs roughs up Plans’ bright palette with something starker, more harrowing, and altogether darkened by Gibbard’s blues. No longer crooning about immortal love or his desire to embrace all of Manhattan, the frontman lives inside his own troubled head on these 11 tracks — or at least the heads of the characters he conjures up with ease, like some music-minded novelist with a knack for pop melodies and witty observations. There’s “Cath,” an ill-married girl who “holds a smile like someone would hold a crying child,” as well as the creepy stalker in “I Will Possess Your Heart,” who simply demands that his intended lover give him the time of day. Elsewhere, Gibbard examines a friend’s recent heartbreak by referencing her bedroom furniture (“Your New Twin Sized Bed”), offering up his concern — if not quite his help — while the band conjures up a lazy summer’s day with gauzy keyboards and brightly chiming riffs. Such contrast between music and text plays an occasional role on Narrow Stairs, with songs like “No Sunlight” and “Long Division” pairing somber lyrics with upbeat orchestration. But the album largely paints itself as the darker, mysterious cousin to Plans — raw rather than polished, heartbroken rather than optimistic, enigmatic rather than energetic. Gibbard strings his words together with an army of free-flowing “ands” and “buts”, and the resulting lyrics — long, uncoiling sentences with no clear end — mirror his characters’ desperate attitudes. Narrow Stairs is far from desperate, however, and the album’s willingness to steer Death Cab into unfamiliar territory (or, to reference an earlier lyric, “into the dark”), is by far its strongest asset. ~ Andrew LeaheyRolling Stone (p.66) – 4 stars out of 5 — “[T]he album is as dark as anything the band has done….[T]he most indelible moment is ‘Grapevine Fires,’ a minor-key processional framed by churchy organ and electric piano.

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

 

drummer – feel good together 2009

l_4bb6d86325274bf6a2d8d31a2a73426ePatrick Carney, drummer for the Black Keys, perceived in his mind’s eye one snowy February afternoon in 2009. “Dan (Auerbach, vocalist/guitarist for the Black Keys) was leaving on tour to support his solo record, and I wasn’t going to have anything to do for a while,” says Patrick of his impetus to start this new band. He immediately established a psychic link with old friend Jamie Stillman, better known as the drummer in both Columbus, Ohio’s hirsute lumberjacks Teeth of the Hydra and Kent, Ohio’s popular art-school dweebs Harriet the Spy.

Jamie liked the idea of a band dedicated to good feelings, and thought their mutual pal Jon Finley, former drummer for Kent, Ohio’s legendary show-offs Party of Helicopters (for which Jamie played guitar) and current singer/multi-instrumentalist for Kent, Ohio’s lovable ne’er-do-wells Beaten Awake, might be interested as well. Via three-way telepathic hook-up, Jamie and Jon discussed the plan with Stephen Clements, drummer for Akron, Ohio’s blustery train-wreck Houseguest, knowing, as they did, that few men were more skilled in the subtle science of feeling good.

Now Patrick had four of his intended five. Four drummers, not drumming. Patrick would play bass, Jamie guitar, Jon would sing and play guitar, and Steve, keyboards. But, now, who would drum the drums? What of a band of four drummers, without a fifth to drum those drums? The answer appeared in a radiant fever vision, alighting gently upon all four brains simultaneously: the perfect fifth for this proposed super-group was Greg Boyd, late of Cincinnati, Ohio surf-rock band Ghostman & Sandman. Greg could and would hit those drums (and rhythmically, no less) without hesitation.

Retreating to Patrick’s North Akron bunker, the band began writing furiously in the hopes of releasing a record before the next winter set in. Engineering the recording sessions was Ben Vehorn, whose credits include Love as Laughter, Licorice Roots, Houseguest, and Other Girls. What emerged were eleven songs of classic, feel-good rock, suitable for listening to while doing donuts with an ’86 IROC in the Dairy Queen parking lot, or polishing off a six-pack on the local Par 3.

The five members of Drummer are your kind of people, and their debut album, Feel Good Together, is your kind of music. It encapsulates the soul of Northeastern Ohio, where, whether in reference to local sports, the local economy, or just trying to find one’s place in the world, the phrases “almost, but not quite” and “better luck next time” are applicable in perpetuity. But who cares? Not Drummer. If nothing else pans out, hopefully we can, at least, say we had a good time. Whatever you need to do, it can probably wait ‘til tomorrow. For now, put the record on, sit down, and let’s just feel good. Together.

Drummer’s debut album, Feel Good Together, will be available September 29th from Audio Eagle Records.  

drummmersundae

http://rapidshare.com/files/290446120/Trommler.zip

check out the track called mature fantasy its just awesome