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.

live double album here from the black keys cant recommend this one enough its just full of awesomeness so go grab it .

part 1 –

part 2 –

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 .

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.

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

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

stereophonics – keep calm and carry on 2010

2009 release, the stunning seventh studio album from the Welsh Alt-Rock band. The album was written and co-produced by Kelly Jones along with Mercury Award winning producer, Jim Abiss. (Arctic Monkeys/Kasabian). Five of their six previous studio albums have all gone straight to #1 in the UK and their 2008 hits collection, Decade In The Sun, sold almost a million copies in two months. 12 tracks including the lead single ‘Innocent’. Universal. 2009.

fyfe dangerfield – fly yellow moon 2010

Following Guillemots 2008 album ‘Red’, mercurial singer-songwriter Fyfe
Dangerfield has used the window of time created to spread his wings and
lovingly record his beautiful debut solo album ‘Fly Yellow Moon’,.

‘Fly Yellow Moon’ is written entirely by Fyfe and produced by Adam
Noble in Urchin Studios, London the same studios where Guillemots
recorded their first classic E.P. ‘I Saw Such Things In My Sleep’. The
10-track record startles from start to finish, magnificently eclectic,
warm and uplifting, haunting and melodic it sounds like a classic
upon its first listen.

Opening track ‘When You Walk In The Room’ (Free digitally track out
November 9th) strikes the perfect chord for the following nine sublime
tracks, capturing Fyfe’s truly remarkable voice, while flaunting his
daring, expansive and mystical songwriting.

The record flows with highlights including from the beautiful ‘So Brand
New’, the joyous ‘Faster Than The Setting Sun’ to the scintillating
‘She Needs Me’ (First single out January 11th) and the stunningly
reflective ‘Don’t Be Shy’.

Fyfe recorded the album in five days in what he describes as ‘the best
ever little studio’, which ended up being the happiest days he has ever
spent in studio land. The songs were written over a 12-month period in
snatched moments after soundchecks, before nights out, and after
moments of unmitigated lovestruck bliss.

He met up with Bernard Butler to mix a couple of songs (‘She Needs Me’,
‘Faster Than The Setting Sun’) on a 1960s-mixing desk to colour the
record in a different shade. The rest of the tracks remained just as
they were from their first recording session. “It often sounded best
this way, says Fyfe. “Capturing the moment they were recorded and not
being painted over too much.”

“A good time was had by all,” notes Fyfe, and we hope you do too!

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 – 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

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

dirty projectors – rise above

Dave Longstreth could have gone off the rails when re-imagining Black Flag favorites as lo-fi indie-soul oddities. But RISE ABOVE righteously subverts the hardcore legends’ original machismo, actually illuminating their songs’ intelligence and interpretative potential, while equally illustrating Longstreth’s beautifully bent creativity. “Six Pack,” in particular, is quite the trip, having morphed from alcohol-crazed testosterone into loose-limbed Talking Heads dysfunction (with female vocal harmonies to boot). As is the case with any covers/tribute album, the greatest superlative it can garner is that it feels essentially independent of its source material. By that criterion, RISE ABOVE has ascended to rarified skies.

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.


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.  


check out the track called mature fantasy its just awesome

tim cohen – two sides of tim cohen 2009


As if fronting super hyped garage rockers the Fresh & Onlys wasn’t enough, or being the one man in one man weirdo black metal horde AmocomA, or playing in Black Fiction and Three Leafs or any of a number of other local bands, or even being the back up band for psych rock legend Rodriguez, well, apparently none of that is enough, as here’s a brand new full length from Mr. Tim Cohen, he of all the above mentioned rockness.

Seems Tim Cohen’s a busy man these days, with the Fresh & Onlys last LP barely dying down to a simmer and an upcoming release impending on Woodsist; hey why not throw in a solo album as well? The Two Sides of Tim Cohen strays far from the work Cohen’s been doing lately with Fresh & Onlys, mixing a strong slice of loner psych into the haunted mysticism that permeated his previous work in Black Fiction. There are bursts of pop that peek through the rain soaked windows of Cohen’s songwriting, occasionally letting a little light into his bittersweet temperament, but for the most part the album burns a slow path through the minor key. As a result it doesn’t clinch on the first listen, or even the second, instead Two Sides reveals itself to be a slow grower over repeated listens. Each new layer peeled back from Cohen’s exterior reveals another marbled tear, another queasy calmness that echoes not only Tim’s past, but your own as well. Piece by piece the album pounds, stitches and tapes back together the human psyche only to offer it up to the hounds that tore it apart in the first place.

alberta cross


Now is probably the first time in something like 35 years that a posse of hairy menfolk could get away virtually scot-free with big, twangy rock songs in which the only possible name for the object of one’s affections is a terse “woman”. Indeed, the very first line of the very first track on Broken Side of Time – the debut album from these New York-residing Londoners – runs thusly: “Woman, I pushed you more than I should”. It’s called Song Three Blues, and pretty much sets the tone for an album in which the worst aspects of 70s rock (near mind-boggling levels of musical and social conservatism) does constant battle with the most laudable (riffola-clad tunes so epic and yearning they make the average choir of angels sound like a washing machine breaking down).

So you’ve got to hand it to Alberta Cross: they’ve got good timing.

joe gideon and the shark – harum scarum 2009






joe gideon and the shark debut release in october 13th 2009 . i caught this brother sister outfit and the end of the road festival in dorset and the just blew me away the live set was waesome and loud . i do recommend this album you will enjoy it there is hints of the fall in there and lift to experiance trust me if there out your way go and seem them the power of there live show is superb

david bazan – curse your branches 2009


been waiting for this solo album from david bazan for ages now . if your not familar with his work he wa the front man of pedro the lion before spliting and of the band headphones . his song writing is just amazing and clever , i do recommend that you grab this album .

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 .

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 .

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)


sugar – copper blue 1992

Sugar - Copper Blue CD Cover Art

album of the day

i just love this album and every so often it creeps its way back on the cd player . this is probably bob moulds best work since husker du . i cant recommend this album enough


Having disbanded the hugely influential Husker Du, guitarist/vocalist Bob Mould embarked on a solo career during which he completed two contrasting albums. He then founded this power-packed trio, which resurrected the tone of his earlier group. …  COPPER BLUE sees Mould still firmly in control of his art, his barking voice enveloped by loud, crushing guitar and a succession of exhilarating hooklines. The album possesses awesome power and drive, but beyond the speed and distortion lies an understanding of the mechanics of classic pop songs, short, sharp and highly memorable. Mould is a crafted composer; “Changes” is an awesome piece of hard pop.