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[JD]

Gonna be uploading 2 Los Campesinos albums soon. brb

[Avec]

Am I the only one not happy about this?

[imapiratearg]

Yes.

What is wrong with you?

[scarred]

The Seal Cub Clubbing Club - Super Science Fiction

Yes. So many times over, yes.

[JD]

Here you go

Los Campesinos- Hold on Now, Youngster

Every now and then the title of an album is a perfect embodiment of the music found within. Los Campesinos! are dead right calling their album Hold on Now, Youngster..., because from the first track on, the album is a thrilling madcap whirlwind of sound, words, and voices that by the end leaves you feeling like you've been engulfed in an indie pop-driven hurricane. The members of the Welsh seven-piece are hyper-literate, hilarious, and know their way around a hook as they pile through the 11 songs on the album like they are on a breakaway heading for the goal. Words tumble out in jumbles, the lead voices (Gareth with his high-pitched whine, Aleksandra with her sweet kid tones) trade off lines and sass each other, and the instruments (guitars, bells, keys, violins) whip up a joyful mess, while the drums try mightily to pin it all down. Bands with less grasp on dynamics and timing and a less sympathetic producer than Broken Social Scene's producer Dave Newfeld might have ended up with a real mess of a record on their hands. Instead, Los Campesinos! have a ringing success here: a combination of punk rock energy, indie pop wit and emotion, indie rock experimentation, and the raw feel of classic garage bands throughout the ages. The bands they bring to mind at different points of the record are the kind of groups whose songs could tear your heart out with a sudden dynamic burst, a cutting lyric, or a singalong chorus, bands like Huggy Bear, Comet Gain, Heavenly, and the early Pastels. It's no stretch to include Los Campesinos! in this select group or to favorably rate their best songs, like the indie disco fave "You! Me! Dancing!"with its raging glockenspiels, huge chorus, and snarky lyrics; the hard-driving "Don't Tell Me to Do the Math(s)," which features Aleksandra's best vocals; or the simply heart-stoppingly good "Death to Los Campesinos!," which sports the kind of hook that'll be stuck in your head for days. And you'll be thwarted if you try to find a weak spot or a duff moment on Hold on Now, Youngster.... The only possible problem is that people who need ballads to give them a breather between the squalls of noise and emotion will find them totally absent. They can go listen to a Shins album and leave the debut album of Los Campesinos! to lovers of wildness, unrestrained but thoughtful emotion, and careening songs that leave a mark when they hit you. Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster... highly required, then.

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http://www.mediafire.com/download.php?itdzaqzdz2q
Los Campesinos- We Are Beautiful, We Are Doomed

First there's the rule about not naming your band with an exclamation point, period. Then there's the one about not changing your last names so they're all the same as the band's, unless you're the Ramones (or arguably the Pastels). Referring to yourselves in a language not spoken in your country of origin? Another bad idea. Welsh boy/girl septet Los Campesinos! proved themselves an exception to all those rules this spring with Hold on Now, Youngster..., a debut album that encapsulated the best of three decades of indie's participatory culture.

There's no rule yet about not releasing a follow-up to your debut album in the same year, mostly because few bands have had the audacity to try it. Los Campesinos! are hedging their bets: they have yet to refer to We Are Beautiful, We Are Doomed as their "second album," even when they announced it would come in a limited pressing with a DVD documentary, poster, and 30-page zine (including contributions from members of Xiu Xiu, Grandaddy, Tender Forever, Menomena, Parenthetical Girls, and the Beautiful South). There will be no singles (and to these ears, there are none), and some online retailers have taken to listing the 10-track, 32-minute release as a "mini-album." Forget the technicalities and call it what it is: a messy, glorious, and cohesive artistic document of internet café-era indie life that sounds best when sung by heart.

Recorded in Seattle with John Goodmanson (Bikini Kill, Sleater-Kinney, Wu-Tang Clan), We Are Beautiful, We Are Doomed is a fittingly noisy release from a band who recently spent time on the "Shred Yr Face" tour with No Age and Times New Viking. The seismic instrumental "Between an Erupting Earth and an Exploding Sky" is reminiscent of a Swell Maps soundscape, and leads directly into the motorik-locked melancholia of "You'll Need Those Fingers for Crossing". Standout "Heart Swells/Pacific Daylight Time" is a lovelorn miniature epic, with gusting guitars and Parenthetical Girls-quoting lo-fi vocals which shift midway through to folky strums and scratchy, indecipherable mumbling. If you mistakenly dismissed the band as another set of childish twee-poppers, our special today is crow.

Los Campesinos! haven't changed drastically, though. Their self-loathing, anti-romantic bitterness, and LiveJournal detail have only intensified. Several songs sound like scuffed-up, feedback-streaked versions of the first record's shouty, strings- and glockenspiel-touched punk-pop, only the despair is now less deceptively perky, and more, um, desperate. Crashing opener "Ways to Make It Through the Wall" resigns itself to hopelessness, death, and the inevitability of becoming like our parents, even as it wonders "how you break the rules that you yourself imposed." Bleaker still, "The End of the Asterisk" rages of another person's self-deprecation, "It's spot on, and I'm better."

The precocious youngsters of the debut have become increasingly like the prematurely old man of Weezer's classic Pinkerton. Vomit is a recurring theme, on the cathartic title track and on "Miserabilia", which describes kneeling at urinals and imagines an ex masturbating. From 4 a.m. drunk dialing, "It's Never That Easy Though, Is It? (Song for the Other Kurt)" goes on to contemplate which is worse: "To see my ex-girlfriend/ Who by the way, I'm still in love with/ Sucking the face of some pretty boy"? Or to watch it happen "with my favorite band's most popular song in the background"? The finale, "All Your Kayfabe Friends", screeches to a halt after a fateful closing line: "I love the look of lust between your thighs."

Los Campesinos! know their history; they may be doomed, but not just to repeat it. We Are Beautiful, We Are Doomed's ragged sound and distinctive packaging, like the band's propensity for non-album 7"s, hearken back to previous decades, but they're also an attempt to develop a new underground community in the here and now. "We want this to feel like a proper event, the sort of thing that you're going to be hyped about going to see for days or weeks before, and the sort of thing that when you leave will stick long in your memory, and that you'll be happy to have been a part of," co-lead singer Gareth Campesinos! says ramblingly of the Shred Yr Face tour, addressing us-- as rappers often do but indie rockers so far usually haven't-- via YouTube. "It is, undoubtedly, a little narcissistic," he adds. It ain't trickin' if you got it.

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http://www.mediafire.com/download.php?2wmeq2zjmtj

[Tom]

Am I the only one not happy about this?

I just don't care, I've made my thoughts known on the band. If other people like them and want to share them, then they should be able to regardless of what some other people think.

[pulpfiction21]

I'm guessing he was unhappy because they have been posted before. I'm just guessing though.

[JD]

They aren't the only ones that have been posted before.

snobs

[Scandanavian War Machine]

everything Los Campesinos! have ever done is fucking terrible, besides the "Sticking Fingers Into Sockets EP" which is super-duper awesome for some reason. 

i don't know why

[imapiratearg]

wat

[JD]

I respectfully disagree with your opinion.

[Kyros]

everything Los Campesinos! have ever done is fucking terrible, besides the "Sticking Fingers Into Sockets EP" which is super-duper awesome for some reason. 

i don't know why

I do not respectfully disagree.

Pistols at dawn sir!

[Scandanavian War Machine]

yeah, i can't explain it. it's not like the music is different or anything (hell, some of the songs are even used again) but for some reason, i just can't listen to any of their albums without saying "fuck this" and putting on the EP instead.

[sean]

shit even i like that ep!

i mean that is just a really good ep. the rest of their stuff just isn't as good.

[Scandanavian War Machine]

exactly!

i'm glad somebody understands.

[JD]

Perhaps its just the fact that it's  shorter? Sometimes I don't wanna slog through an album even if I know it's good.

[Avec]

I'll just go ahead and say it, mediocre.


Edit: I just finished listening to the two albums, twice.

[JD]

I respectfully disagree with your opinion.

[Kyros]

You guys make me sad.

I frackin' LOVE those 7 Welsh Peasants...

In other news, I'm digging that Seal Cub Clubbing Club album.

[sean]

You're downloading free music, I think you can put a little effort into reading.

Your sharing something you love with a community, so put some effort into that! Just cause it's free doesn't mean you should half-ass it!

[Avec]

>:\

[DarkAvenger]

Hey guys! Actually posting here!




Okkervil River - "Pop Lie Single"

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http://www.mediaf!re.com/download.php?zyj5q2nmwnj
Contains - "Pop Lie", "Millionaire" (unreleased track from the Stage Names/Stand Ins recording sessions), and "Pop Lie (One Man Band Version)".

Will plays all of the instruments on the latter two. "Millionaire" is kind of like "The Presidents Dead" except slower (in the way that it seemingly drifts from verse to verse without a seemingly related plot (yes it is one of THOSE songs (not a bad thing)). The solo version of "Pop Lie" isn't an acoustic version. Rather, it is just Will playing for a different take on the song. Think slower, and fuzzier. If you're downloading this you've already heard the first track unless you're curious about the band. In that case listen to the rest of their albums. A lot of people here disagree on which album is the best. I think "Black Sheep Boy", others recommend either "The Stage Names" or "The Stand Ins". Or "Don't Fall in Love With Everyone You See". Unfortunately "Down the River of Golden Dreams" appears to be the weakest (in a discography with no losers at all).

Sorry. I'm forgetting which forum I'm on. Everyone here pretty much is in love with Okkervil River already.

[theoryC]

Viva Voce - Rose City

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http://www.mediaf!re.com/?zemnqxtgz5z

Any chance of a re-up?

[Harun]

ruuuuullllllllllllllllllles.

Orcus or one of mods maybe add them to the top? I think we've gone to far to post them all the way down here.

[theoryC]

ruuuuullllllllllllllllllles.

There are rules against pointing out a dead link? >_>  EDIT: Oh shit, looks like I fail X(

Well anyways just so's I'm contributing:

Hector Zazou and Katiejane Garside - Corps Electriques

1           Apostrophe (6:08)
2         Porte De Saint-Cloud (6:25)
3         Cocoon (4:56)
4         Butterfly Plaintif (5:13)
5         Vespers Of St. Katrina (3:01)
6         Loveless Sky (4:31)
7         Agony Of The Rose (5:46)
8         Ice Flower (5:43)
9         Symphony Of Ghosts (7:05)

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http://www.med!afire.com/?2ymgyttyitm

When you first think about it, the combination of Hector Zazou and Katie Jane Garside is almost unfathomable. For all of his experimentation, I have found that the Zazou recordings I have heard tend to have in common a studied calm; while Katie Jane can go from a whisper to a scream and points in between within the space of a phrase or two.

Yet, their collaboration (with Bill Rieflin, Lone Kent, and Nils Petter Molvaer) works beautifully; Corps électriques is a stunning piece of work, by turns beautiful, haunting, sweet, disturbing, and always intriguing.

Those familiar with Katie Jane's most recent music will find this to be a perfect companion to Ruby Throat's The Ventriloquist. While the Ruby Throat album is primarily acoustic, Corps électriques utilizes more electronic instrumentation. Yet, the electronics complement Katie Jane's vocals quite well; at no point does she seem to be out of place in this different setting.

There isn't much more I could say about this album that would do it justice. Suffice it to say that I find it to be utterly compelling, and recommend it highly.

Couldn't find a good review and I'm actually only halfway through it myself, but it sounds really good, and I don't think I have much that hasn't been uploaded already anyways.  First impressions suggest a hearty recommendation.

[valley_parade]

HEY JENS WHERE THE FUCK IS THAT COCK SPARRER?

Nowhere in sight! I was gonna upload them both last night but  seem to have misplaced both albums somehow. noooo. I will see if I can find them this afternoon.

I have both Shock Troops and Running Riot in '84, but my computer's being really picky right now, so I can't upload them for you. Damnable machines.

(Though seriously, Shock Troops is so much better)

[coldenginelogic]

TERRY ALLEN
Juarez
The Single Greatest Concept Album of All Time, Brecht-Style.
I am going on record here: Terry Allen's Juarez, a country-rock album recorded in 1975, is the best concept album ever recorded. That's right: better than Tommy (eesh) and Quadrophenia (which I love) and The Who Sell Out (which used to be my favorite); better than Willie's Red Headed Stranger (slightly overrated) and Marty Stuart's The Pilgrim (massively underrated); better than De La Soul Is Dead or A Prince Among Thieves or Under Construction or Imitation Real Life Gazette or Sgt. Pepper's Lonely Hearts Club Band or anything else you can name.
I say this knowing full well you won't believe me, because you haven't heard Juarez. In fact, only about 1,050 people ever owned this record, because that's how many copies were printed.
http://www.popmatters.com/music/reviews/a/allenterry-juarez.shtml -the rest of above lengthy review.

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http://www.mediaf!re.com/download.php?glxj5ygtiky

[Jace]

Totally Michael - Totally Michael

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http://www.mediaf!re.com/file/gzznyzze4ty/Totally Michael.zip

Sometimes, boredom takes us great places. At 20 a musician named Michael, who had amassed some fairly significant musical experience playing in a “crappy punk band” in high school, was living at home with his mom in Cabot, Arkansas, just a little perplexed about what to do with his life. Driven by boredom, armed with a guitar and a swift talent for using home recording software, Michael transformed himself into Totally Michael, a buoyant musician with a penchant for pop hooks and an adoration for blink-182.

Its just some really upbeat music and it makes you feel good about yourself when you listen to it.

[JD]

Hey guys, there was some talk about Hauschka on the previous page - just thought you should know: The top blog post of Coilhouse Magazine right now is about a movie that is a collaboration between Hauschka and Jeff Desom, a young German filmmaker.

I can't link directly to their post because the Coilhouse blog software sucks, so to anyone reading this in the future: Sorry. This is a relic of the past. Search for it if you want to!

You could link directly to the video

[Mr. Tool]

Viva Voce - Rose City

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http://www.mediaf!re.com/?zemnqxtgz5z

Any chance of a re-up?

Why? That link is still good.

[Scandanavian War Machine]

here is sort of a strange (and admittedly, not very good) upload. the band is Dead End Grave, a psychobilly band that i spent a couple weeks singing for in highschool. this is their three song demo that they recorded after they kicked me out of the band. give it a chance to grow on you because when you first hear it you will be like "wow, this sucks" but aftter a little while you might actually find yourself enjoying it, i don't know. i do, anyway.


Dead End Grave - demo

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http://www.mediafire.com/?wgyndmcogt2

the first track is called "The Creature of Your Death" and the third and final track is called "Saw Is Family." i have no idea what track two is called.

[Scandanavian War Machine]

also, could somebody please please re-upload The 1900's Cold & Kind?

Google refuses to give up the goods this time.

[Avec]

The Accidental - There Were Wolves.

If you were planning to eat rock salt and fiberglass, this would be nothing like it.

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http://www.mediaf!re.com/download.php?dnthuwzfig3

The term "supergroup" is misleading. As characteristically bloated, ego-driven juggernauts who hog precious limelight time via past glories, it is difficult to fathom many of the over-hyped efforts made by such conglomerates of talent. What the hell is so "super" about Zwan and Velvet Revolver, anyway? The Accidental — Sam Genders (Tunng), Stephen Cracknell (The Memory Band), Hannah Caughlin (The Bicycle Thieves), and Liam Bailey (Liam Bailey) — may not be coincidental parts of arena alt-rock behemoths used to demanding live emus on their backstage riders, but they are super nonetheless, and unquestionably deserve the label more than many others. Apart, they are each important cogs to their primary musical machines; together, they form a band that is increasingly garnering a lot of press for being, well, super.

Maybe "super side-project" is a more appropriate term to use for The Accidental (a perfect name for a band who came together through a series of casual acquaintances and whim recommendations). On their debut album, There Were Wolves, they tackle the oft-trampled territory of strange folk with a simple concoction of great songs and heart-warming vocal performances. Refreshingly, they sound not like bandmates who come together between holidays and rehab stints, but rather like those who share a central nervous system. Everything on There Were Wolves is catchy and well-arranged — sometimes lushly, often minimally — but what stands out primarily are the impeccable vocals.

[lauraelise204]

i can't believe no one has uploaded this yet!  it's a pretty popular leak right now.  all the searches i've done on google have come up with links that are no longer available, so i had a friend send this to me.

it's really different.  more consistently upbeat throughout the album than previous ones.  i really like it a lot!


mewithoutYou - it's all crazy! it's all false! it's all a dream! it's alright

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http://www.mediaf!re.com/download.php?fymdzymyqjy

[Avec]

FUCK YEAHHHHHH@%#^I)AEJOG)_)%JG_(^%(^(%(99259-_s

[JD]

Yeah, I thought basically the same thing.

[Avec]

I see what you mean now, I'm up to the third track and Aaron Weiss isn't doing his poetry monologue thing. I'll finish listening and update my thoughts.

[iamiam]

the 1900s - cold & kind

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hxxp://www.mediaf!re.com/download.php?mje0wm1jnjc

[lauraelise204]

the 1900s - cold & kind

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hxxp://www.mediaf!re.com/?sharekey=e1c4ae55d0de278c391d7d881749d3a7

mmmm..... fail.......... that link just takes you to an empty folder on mediaf!re.

[iamiam]

fail..........

fixed my original post!

[Scandanavian War Machine]

thanks for that 1900's record, iamiam! i haven't had that record since all my music ran away a while back and i've been wanting to listen to it really badly lately.

[coldenginelogic]

The Notekillers’ instrumentals won’t seem stunningly advanced to the modern listener; it’s a common issue with an “undiscovered” band that by the time their music is being heard, any novelty in their sound is often perceived as much more commonplace than it originally was. One of the band’s goals was to make music that touched upon everything that had come before it, a lofty aim indeed. To integrate punk rock, free jazz, ethnic music and minimalism into one band seems impossible, and it might be; the Notekillers didn’t quite do it. There’s no shame in trying, though, and there’s no doubt that the Notekillers’ music was turning heads anyway back in 1977. There’s a freneticism in their music akin to some of their New York neighbors to the north, though the Notekillers’ nervous energy is decidedly more aggressive, on the whole, than that of the Talking Heads or the Feelies. The songs are exercises in stamina, and though the visceral edge of the music is often lost in the rather flat production, there’s still evidence of how powerful the Notekillers may have been in their day. Much of this music relies on a sense of imminent disorder, and though streamlined rock instrumentals are the norm here, a close listener can discern a chaotic underpinning to much of the music, a sense of how pummeling the material could have been live. Even the most hi-fi of the disc’s 15 tracks are lacking the punchy production that the music deserves, but with an archival release such as this one, the proverbial beggars, of course, can’t be choosers. Adam Strohm

via http://www.dustedmagazine.com/reviews/1790



Posted this one way back but a heap of stuff burried it quickly in the first one-The warmer weather always makes this a win win

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http://www.mediafire.com/download.php?wdjn3yygzji

[coldenginelogic]

Rules:

No hot-linking images or albums. You can re-host images at http://imageshack.us.

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[sean]

hey guys i have a band. we recorded on crappy equipment a few weeks ago. this is what we came up with.

Good Night, Sweet Prince - Untitled #1

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http://www.mediafire.com/?lmytvoothez
we play post rock, and sometimes there is yelling. mostly just reverb and screwdrives though.

[sean]

also fuck i have had this link sitting around in my mediafire for a while, i can't belive i forgot to upload it!

Sawhorse - Cover It With Asphalt

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http://www.mediafire.com/?liy2ygjg3lz
Sawhorse is a post-rock band from Baltimore (i think?), Maryland. They share members with a butt fuck load of bands (my favorite being Age Sixteen). If Sparrows Swarm and Sing picked up where Godspeed You! Black Emperor left off, Sawhorse picks up where Sparrows Swarm and Sing left off. And I think that's all I really need to say.

[imapiratearg]

Sean, your music is awesome.

I thought I should let you know.

[Mr Fantasy]

Lurker since page 60 or so, here to save you from mediocre Los Campesinos albums:
 

Charlie Musselwhite - Stand Back! Here Comes Charlie Musselwhite's South Side Band

Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and... More rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.

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http://www.mediafire.com/?ny23ynhtwan

Gene Clark - White Light

Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.

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http://www.mediafire.com/file/ktwwnvm0jyy/gene%20clark%20-%20st%20(1971)256.rar

Van Duren - Are You Serious?

Van Duren is pure power pop. He spent time in the Memphis trenches with the big boys (Big Star, Chris Bell, The Scruffs), and knows his way around a hook and a melody as well as any of his heroes from Todd Rundgren, Paul McCartney, Emitt Rhodes and on to Badfinger. He went to high school with Jody Stephens, auditioned for Big Star after Bell's departure, and was in the short-lived but legendary Baker Street Regulars with both those cats. If you think Big Star never got the props they deserved, well they're the Beatles compared to Mr. Duren. This is his debut album, originally released in 1977 on the Big Sound label, and he is no also ran, he is the real deal, power pop at its finest.

Van Duren can belt out up-tempo numbers like the opener "Chemical Fire," "Yellow Light," and "New Years Eve," with respectable growl, but he can also sing ballads like "Positive," and the absolutely gorgeous "So Good to me (for the time being)" in a high register that will remind some listeners of Eric Carmen at his Raspberries best. The musicianship is tight and competent while the melodies and hooks take on the character of birds slowly soaring up into the sky. Other choice offerings from this album include "For a while," "This Love Inside," and "Ooh Babe." Put Are You Serious on and it's easy to imagine a group of friends gathered around a bon fire on a cool early spring evening; it has that kind of warmth and intimacy. Released over thirty years ago Van Duren's Are You Serious is a timeless classic.

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http://www.mediafire.com/download.php?xnfyaenzx29
The Vulgar Boatmen - You and Your Sister

The fact that only one of The Vulgar Boatmen's three classic albums is currently available demonstrates the shameful condition of the modern rock music scene. The Boatmen's style, melodic tuneful guitar rock augmented by violins, is most pleasing to the ears. What seperates them from the rest is the truly spectacular songwriting in which each song turns on an often unexpected hook. The best songs on "You and Your Sister," are the title track, "Katie," "Margaret Says," "Mary Jane," and "Drive Somewhere," the last one being the best six minute cruising song you'll ever hear.

Alton Ellis - Mr. Soul of Jamaica

Alton Ellis was a star long before rocksteady washed over Jamaica, but it took until that era for his debut album to arrive. 1967's Mr. Soul of Jamaica was his first, followed hot on its heels by Sings Rock and Soul. The latter came courtesy of Coxsone Dodd, it's a fine set, but pales in comparison to the former. Ellis had departed Dodd's Studio One for Duke Reid's Treasure Isle as rocksteady emerged, recording a stream of crucial hit singles for the label. Mr. Soul featured a clutch of them, but oddly not some of the biggest — the genre naming "Rock Steady," the classic "Girl I've Got a Date," the seminal "Cry Tough" were all missing. Presumably, Reid thought they were pointless inclusions, as everyone already had them on 45. What fans did get was a dozen numbers of equal caliber; Ellis didn't release anything less during this period. The sublime "Breaking Up" is a perfect case in point, the singer oozes heartache, while his backing Flames' harmonies are exquisite, and absolutely flawless. But Ellis is fabulous on every song within, even at his most pop-flecked, the sweet "Why Birds Follow Spring" is a good example, he laces a song with emotion. He swaddles "Can't Stop Now" in soul, while his haunting performance on the downbeat "If I Could Rule This World" is unforgettable. Some of the songs here are originals, like the excellent "Chatty Chatty People," the rest covers that Ellis makes his own, notably his phenomenal takes on "You Make Me So Very Happy," "Willow Tree," and "Remember That Sunday." The backings are Ellis' equals, and the reason for Treasure Isle's success. "Birds" is rocksteady perfection, "Sunday" a breezy, bouncy wonder, the brass lights up "Ain't That Loving You," while "All My Tears Come Rolling" is an insistent delight. Every song here has much to recommend it, and all told this compilation was one of the highlights of the era.

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

Jeru the Damaja - The Sun Rises in the East

When a Rastafarian MC stole the show on Gang Starr's posse cut "Im the Man" (from their Daily Operation LP), rap fans took notice. And they were not disappointed by Jeru the Damaja's aptly titled debut, The Sun Rises in the East. His ability to drop rhymes filled with Biblical references and simultaneously speak out against the C.R.E.A.M credo that permeates hip-hop is unparalleled. The Brooklyn mic fiends vast vocabulary and clear delivery are on display on "Mental Stamina," where he gloats that hes a "Phoenician with more stamina than a Christian," as he introduces the world to rhyme partner Afu Ra. And the street anthem "Come Clean" features DJ Premier--arguably hip-hops best producer--at his finest (check the drippy faucet sample). This album isnt without controversy, however. On "Da Bichez," Jeru draws a distinction between what he calls "bitches" and "young ladies" over a hot horn loop. But in spite of some minor inconsistencies in his stance as a prophet, this 40-minute album contains no filler, and remains his best work to date.

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http://www.megaupload.com/?d=093NC7PT

The Chameleons - Script of the Bridge

With two years, numerous radio sessions, and incessant gigging under their belts since their debut single, "In Shreds," the Chameleons came to the studio determined to make a great first album with Script of the Bridge. To say they succeeded would be like saying Shakespeare did pretty well with that one Hamlet play of his. Script remains a high-water mark of what can generally be called post-punk music, an hour's worth of one amazing song after another, practically a greatest-hits record on its own: the John Lennon tribute "Here Today," "Monkeyland," "Pleasure and Pain," "Paper Tigers," "As High as You Can Go," the breathtaking closer, "View From a Hill." Starting with the passionate fire of "Don't Fall," Script showcases how truly inventive, unique, and distinctly modern rock & roll could exist, instead of relentlessly rehashing the past to little effect. The scalpel-sharp interplay between the musicians is a sheer wonder to behold, the Dave Fielding/Reg Smithies guitar team provoke nothing but superlatives throughout, and John Lever and Mark Burgess make a perfect rhythm section -- while the crisp production of Colin Richardson and the band adds delicate synth lines and shadings, courtesy of early touring keyboardist Alistair Lewthwaite, and just the right amount of reverb and effects on the guitars. Add to that the words of Burgess, one of the few lyricists out there who can tackle Big Issues while retaining a human, personal touch, and it all just adds up perfectly. The best one-two punch comes from "Second Skin," a complex, beautifully arranged and played reflection on the meaning of music and fandom, and "Up the Down Escalator," an at once harrowing and thrilling antinuclear/mainstream politics slam.

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http://www.mediafire.com/download.php?mdwztho5cmt

John Fahey - The Transfiguration of Blind Joe Death

The Transfiguration of Blind Joe Death, originally released in 1965, is one of Fahey's earliest recordings; it's also one of the guitarist's most rewarding. Everything here is tactile and uncluttered: beauty, melancholy, humor, reflection. Yet it's these very qualities that make it so easy to ignore just how subtle and complex Fahey is when it comes to fusing country blues with both Western and Indian classical. Progressive folk doesn't get any better than this.

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http://www.mediafire.com/?ozcwmlv3qyx

Delmore Brothers - Brown's Ferry Blues

The brothers were born into poverty in Elkmont, Alabama, as the sons of tenant farmers amid a rich tradition of gospel music and Appalachian folk.Their mother, Mollie Delmore, wrote and sang gospel songs for their church. The Delmores blended gospel-style harmonies with the quicker guitar-work of traditional folk music and the blues to help create the still-emerging genre of country. In addition to the regular six-string acoustic guitar, the duo was one of the few to use the rare tenor guitar, a four-string instrument that had primarily been used previously in vaudeville shows Over the course of their careers, the Delmores wrote more than one thousand songs. Some of the most popular were Brown’s Ferry Blues, Gonna Lay Down My Old Guitar and Fifteen Miles from Birmingham and  their best-known song, "Blues Stay Away From Me," is regarded by some as the first rock and roll record. It was covered by Gene Vincent and the Blue Caps. Without a doubt, Alton and Raybon Delmore were among the most talented acts on the Grand Ole Opry during the 1930s. This wonderful CD provides a good cross-section of many of their original songs as well as fine renditions of old standards.

The Delmore Brothers, God, I really loved them! I think they've influenced every harmony I've ever tried to sing.

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http://www.mediafire.com/?zytmgbmn34b

[michaelicious]

Sean, your music is awesome.

I thought I should let you know.

Definitely. Those are pretty damn impressive for early recordings.

[coldenginelogic]

Thanks for the Vulgar boatmen share I have been trying to hunt down some of their stuff for awhile-mucho appreciated!

[sean]

aww, gee, thanks guys!