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.


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.


the wooden sky – if i dont come home you know am gone 2009


i seriously recommend this album to you guys . since changing there name from friday mornings regret to there new monic of the wooden sky they have been taken the folk scene by storm . hailing from toronto canada and fronted by . gavin gardener the wooden sky are heading for big times and giving this genre of music a much needed kick up the ass it was yelling out for .


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 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)

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.”