Studio Masters – HDMusic.me

Lawrence is an impeccable trumpet player with a glossy sound. Like all but a few jazz musicians under 40 in the world, he wants to write his own stuff. The concept behind this album is synesthesia, one form of which is the experience of music as color. Tunes include “Green,” “RED!,” “Black” and “Blue.” The relationships between songs and specific colors mean something to Lawrence; listeners will have to take these relationships on faith. Tracks alternate between energetic, intricate postbop structures and slow-to-medium forms. All are harmonically astute, well made and expertly executed. All are nice. None is sufficiently differentiated from the vast recent canon of compositions by under-40 jazz musicians to make it entirely memorable. Lawrence’s new leader record “Color Theory” showcases his original compositions and is meant to be reflections of the entire color spectrum.

Josh Lawrence brings a full complement of tones and contrasts to his new record “Color Theory.” Featuring a powerful line-up fronted by Lawrence’s trumpet, keyboardist Adam Faulk, pianist Orrin Evans, and alto saxophonist Caleb Curtis, everything stays straight forward and swinging hard while the rhythm section of bassist Madison Rast and drummer Anwar Marshall keep everything honest and in the pocket. The music is meant to be reflections of the entire spectrum, and the musical program covers several hues and shades with an exciting and evocative presentation of Lawrence’s amazing new original compositions. “Color Theory” features an amazing combination of talents and a highlight reel of brilliant performances. Josh Lawrence is a new star on the jazz horizon and his music is sure to bring bright moments to jazz fans everywhere.

Tracklist:
01 – Yellow
02 – Presence
03 – The Ripoff
04 – Red!
05 – The Conceptualizer
06 – Green
07 – Black
08 – An Uptown Romance
09 – Purple (4 Price)
10 – Blue
11 – On the Yangtze

Musicians:
Josh Lawrence – trumpet
Caleb Curtis – sax
Brent White – trombone
Orrin Evans – piano
Adam Faulk – rhodes
Madison Rast – bass
Anwar Marshall – drums

Download:

https://subyshare.com/wfqrd1bxlf2i/J0shLawrenceC0l0rThe0ry2017HDTracks2496.part1.rar.html
https://subyshare.com/yq94h6a0srw6/J0shLawrenceC0l0rThe0ry2017HDTracks2496.part2.rar.html

Tennessee-born Kane Brown is a country singer who first found fame by taking his music directly to the people. In 2014, Brown began posting homemade videos of himself performing some of this favorite songs, and he soon became a viral sensation. In the fall of 2015, Brown’s performance of George Strait’s “Check Yes or No” racked up more than seven million views. After self-releasing an EP of original material, Brown made his first entry into the country charts, and Nashville began to sit up and take notice. In early 2016, Brown signed a major-label recording deal with Sony Music Nashville. Released on March 16, 2016, Chapter 1 is a five-song EP that takes Brown’s career to the next level. Featuring five new songs (four co-written by the singer) and polished production, the EP finds Brown poised to join the new generation of 21st century country stars. ~ Mark Deming

Tracklist:
01 – Wide Open
02 – Used to Love You Sober
03 – Last Minute Late Night
04 – Excuses
05 – There Goes My Everything

Download:

https://subyshare.com/ahe8lwyzk9pb/KaneBr0wnChapter1EP2016Q0buz2496.rar.html

Kari Bremnes is a Norwegian singer and songwriter from the Lofoten Islands, based in Oslo. Nordic, European, open, powerful, personal and melancholic – are the words that describe Kari’s music. From light to dark and raw, but always deeply connected to mystery of life and human fate. “Det vi har” (Eng: What We Have) is her last album and biggest tour with over 60 concerts in Norway and Germany.

Tracklist:
01 – Det kunne skjedd
02 – Glem ikkje
03 – Det e min sønn
04 – Kanskje
05 – Rim sin stemme
06 – Det må være orden
07 – Det einaste vi ville
08 – Tog vi ikkje tok
09 – Det som ennu ikkje har et navn
10 – En sang fra andre sia
11 – Spor

Produced & Engineered by Bengt E. Hanssen.

Musicians:
Kari Bremnes – vocals
Bengt E. Hanssen – piano, vocals
Børge Petersen-Øverleir – guitar
Hallgrim Bratberg – guitar
Petter Unstad – bass, vocals
Børre Flyen – drums

Download:

https://subyshare.com/a4m0iabza6ln/KariBremnesDetvihar2017HDTracks2496.rar.html

R&B enthusiast Kehlani Parrish began 2015 as an under-the-radar critical darling and ended it an iTunes smash, a major label signee and a Grammy nominee — not bad for someone who technically hasn’t released an album. On her second mixtape, she echews the reverb-y, soup-y haze of modern R&B in favor of the decidedly vintage idea of showing off your soaring pipes and occasionally breathy delivery. She’s a mix of Chilli’s silky voice with Left Eye’s middle-finger attitude on kiss-offs like “How That Taste” or warnings like “Yet”; and the minimal, clicking hi-hats of producer Jahaan Sweet find a cozy midpoint between the shuffle of classic Aaliyah and the jitter of contemporary trap rap.

When Kehlani was fronting the Oakland band Poplyfe during the sixth season of America’s Got Talent, judge Piers Morgan informed the young singer, “I don’t think you need the group.” Four years later, Kehlani had two independent solo releases to her credit: the eight-track Cloud19 (2014) and this album-length affair. A week after the latter was made available, major-label Atlantic announced its signing of Kehlani, one of the more promising artists of the mid-2010s. While the singer and songwriter has fashioned herself into a contemporary R&B artist comparable to the likes of Jhené Aiko and Tinashe, she has retained the charming, down-to-earth qualities she displayed with her band. She’s clearly making her own way, unafraid to knock suitors down a couple pegs (“How That Taste”), allowing her vulnerability to shine through (“You Should Be Here”), and affirming her individuality; in the “take me as I am” highlight “Unconditional,” she offers “And I’d rather lace my sneakers up, ’cause high heels ain’t my thing.” The Chance the Rapper appearance is bound to get more attention than any of the other collaborations, but “Down for You,” a duet with BJ the Chicago Kid, is deeper and more representative of Kehlani’s refreshing approach to contemporary R&B for young adults. ~ Andy Kellman

Tracklist:
01 – Intro
02 – You Should Be Here
03 – How That Taste
04 – Jealous (feat. Lexii Alijai)
05 – Niggas
06 – Wanted
07 – The Way (feat. Chance the Rapper)
08 – Unconditional
09 – The Letter
10 – Runnin’ (Interlude)
11 – Be Alright
12 – Down for You (feat. BJ The Chicago Kid)
13 – Yet
14 – Bright
15 – Alive (feat. Coucheron)

Download:

https://subyshare.com/ci452wcohvdh/KehlaniY0uSh0uldBeHere2015Q0buz2448.rar.html

Various Artists – Black Panther: The Album – Music From And Inspired By (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 49:12 minutes | 554 MB | Genre: Rap
Studio Masters, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © Universal Music

“Black Panther: The Album – Music from and Inspired By” (alternatively Black Panther: The Album) is the soundtrack album for the Marvel Studios film Black Panther. It was curated by Kendrick Lamar, and features a variety of collaborators, including The Weeknd, Future, Jorja Smith, Vince Staples, Jay Rock and SZA.

A culturally momentous film directed by a black man, featuring a black lead actor and a predominantly black supporting cast, Marvel Studios’ Black Panther is augmented with an album powered by Kendrick Lamar. It’s an unprecedented convergence of the mainstream film industry with an uncompromising musician thriving commercially and artistically. Director Ryan Coogler sought Lamar out to contribute to the album, but the artist ended up involved with every track, credited in varying combinations as headliner, featured artist, co-songwriter, and co-producer, with long-term producer Sounwave a factor in all but three cuts. Subtitled “Music from and Inspired By,” this is not a soundtrack in the strictest sense. Indeed, a significant portion of the content – from whole tracks like the Travis Scott turn “Big Shot,” to the part where Future quotes Juicy J’s “Slob on My Knob” – has no relation to the film, though there’s a reflectively militant quality to a high percentage of the verses. Elements that are alternately obvious and subtle, including tribal-futuristic drums, audio-logo-like mentions of character names, and ululations (the last instance via the Weeknd on the despairing but proud finale), are threaded throughout to maintain the connection. They frame Lamar, a central figure as he proclaims his sovereign rank and examines its pitfalls – not a stretch for him. The set has a major crossover single bid in the form of “All the Stars,” an elegantly crafted SZA showcase that sounds at once like a defiant hero’s anthem and a love theme. Another canny aspect in the album’s assemblage is its inclusion of several artists from South Africa. The most notable appearance is made by Yugen Blakrok, “half-machine” Johannesburg native who boasts of “crushing any system that belittles us,” references Millie Jackson, and leaves a pile of smoldering rubble in her wake. Lamar also enlists England’s Jorja Smith and James Blake, and a Stateside crew that includes Mozzy, Ab-Soul, and Anderson Paak, as well as SOB x RBE, who, like Coogler, represent the Bay Area. Given the level of the performances, the majority of the guests evidently approached this as a Kendrick Lamar album, not as a soundtrack. Black Panther: The Album serves both purposes well.

Tracklist:
01. Kendrick Lamar – Black Panther
02. Kendrick Lamar, SZA – All The Stars
03. ScHoolboy Q, 2 Chainz, Saudi – X
04. Khalid, Swae Lee – The Ways
05. Vince Staples, Yugen Blakrok – Opps
06. Jorja Smith – I Am
07. Sob X Rbe – Paramedic!
08. Ab-Soul, Anderson Paak, James Blake – Bloody Waters
09. Jay Rock, Kendrick Lamar, Future, James Blake – King’s Dead
10. Zacari – Redemption Interlude
11. Zacari, Babes Wodumo – Redemption
12. Mozzy, Sjava, Reason – Seasons
13. Kendrick Lamar, Travis Scott – Big Shot
14. The Weeknd, Kendrick Lamar – Pray For Me

Download:

https://subyshare.com/kuvywf0o4yxn/KendrickLamarTheWeekndSZABlackPanther.TheAlbumMusicFr0mAndInspiredBy2018Q0buz24441.rar.html

The Weeknd – Beauty Behind The Madness (2015)
FLAC (tracks) 24 bit/44.1 kHz | Time – 65:13 minutes | 741 MB | Genre: R&B, Funk, Soul
Studio Masters, Official Digital Download – Source: Qobuz | © The Weeknd XO, Inc/Republic

Abel Tesfaye, known by his stage name The Weeknd, is a Canadian Indie R&B singer, songwriter and record producer. His second studio album features guest appearances and production from Labrinth, Ed Sheeran, Kanye West and Lana Del Rey. Beauty Behind the Madness received generally positive reviews from music critics.

The Weeknd is a slightly nicer, and much more firmly structured, songwriter on “Beauty Behind the Madness,” his bid for pop outreach. He has expanded his longtime group of collaborators to include Top 10 hitmakers, among them Stephan Moccio, who helped write Miley Cyrus’s “Wrecking Ball,” and the ubiquitous Max Martin and his associates.

On this album, clear-cut intros, verses, choruses and bridges have replaced bleary incantations, and the music has moved from the shadowy haze of trip-hop to an emphatic, monumental clarity — high-end pop craftsmanship. The production still conjures huge spaces, but now they are brightly illuminated, with each sound in crisp focus. There are echoes of Peter Gabriel, Depeche Mode and above all Michael Jackson, both in the production and in the way the Weeknd makes his voice tense, plaintive and percussive. The makeover has already paid off in two hit songs: “Earned It,” from the “Fifty Shades of Grey” soundtrack, with Mr. Moccio among the songwriters, and “Can’t Feel My Face,” with Mr. Martin and others.

The Weeknd has found new ways to mix darkness and light. Over its danceable backbeat, “Can’t Feel My Face” equates cocaine addiction with a love affair. “In the Night,” an even more upbeat Max Martin collaboration (with a triplet undercurrent like Jackson’s “The Way You Make Me Feel”) sketches the story of a girl damaged by child sexual abuse.

But the emerging, pop-friendly Weeknd knows he has to offer something else: affection and empathy, or at least a semblance of them. “Earned It” is a relatively un-hedged love song, and so is “As You Are,” a full-fledged vow of devotion: “Show me your broken heart and all your scars/Baby I’ll take, I’ll take, I’ll take, I’ll take you as you are.” But at the end, it slows down and fades to an uncertain plea: “Baby, won’t you take me as I am?” The show of vulnerability is pop strategy that works.

Tracklist:
01 – Real Life
02 – Losers (feat. Labrinth)
03 – Tell Your Friends
04 – Often
05 – The Hills
06 – Acquainted
07 – Can’t Feel My Face
08 – Shameless
09 – Earned It (Fifty Shades Of Grey)
10 – In The Night
11 – As You Are
12 – Dark Times (feat. Ed Sheeran)
13 – Prisoner (feat. Lana Del Rey)
14 – Angel

Download:

https://subyshare.com/aheq3igwaoat/TheWeekndBeautyBehindTheMadness2015Q0buz24441.rar.html

Academy Award-nominated, 2X GRAMMY Award-winning, and 9X JUNO Award-winning alternative R&B artist The Weeknd releases his fourth full-length album Starboy. The title track featuring Daft Punk broke the record for “Most Release Weekend Streams Ever” upon its release. In less than a week, the single amassed over 17 million streams globally and 6.5 million streams in the United States, becoming #1 Most Added at Top 40, Rhythm, Urban, and Hot AC.

The extent of the 2015 Weeknd commercial rebound, symbolized by platinum certifications for Beauty Behind the Madness and all four of its singles, didn’t merely embolden Abel Tesfaye. On this follow-up’s fourth track, a blithe midtempo cut where Tesfaye takes a swipe at pretenders while boasting about drinking codeine out of one of his trophies, the level of success is a source of amusement. He notes the absurdity in taking a “kids’ show” award for “Can’t Feel My Face,” in which he was “talkin’ ’bout a face numbin’ off a bag of blow.” The track actually lost to Adele’s “Hello,” but it clearly, somewhat comically, reached an unintended demographic. It comes as no surprise that Tesfaye, on his third proper album, doesn’t attempt to optimize the reach of his biggest hit by consciously targeting youngsters. He sings of being a “Starboy” with access to a fleet of sports cars, but he’s a “motherfuckin’ starboy,” one who is 26 years old and proud to observe his woman snort cocaine off his fancy table. While Starboy often reflects an increased opulence in the personal and professional aspects of Tesfaye’s life — from more upscale pronouns to expensive collaborations with the likes of Daft Punk (two) and “Can’t Feel My Face” producers Max Martin and Ali Payami (four) — the dark moments of vulnerability are pitch black. Lines like “I switch up my cup, I kill any pain” could have come from Tesfaye’s mixtape debut, yet there are new levels of torment. In “Ordinary Life,” he considers driving off a Mulholland Drive cliff, James Dean style, wishing he could swap everything for angel status. It’s followed with “Nothing Without You,” a ballad of toxic dysfunction. He asks his lover if she’d feel guilty for not answering his call if he happened to die that night. It’s not all dread and depravity. There’s some sense of joy in a one-night stand, and an echo of “Say Say Say” Michael Jackson, on the Luomo-ish house track “Rockin’.” Contrition is shown in the slick retro-modern disco-funk of “A Lonely Night.” Ironically enough, in the aching “True Colors,” Tesfaye sounds a little insecure about a lover’s past. The album’s lighter, comparatively sweeter parts — the Tears for Fears-sampling/Romantics-referencing “Secrets” and the breezy and only slightly devilish “I Feel It Coming” among them — are all welcome highlights. At 18 tracks, the album is a “contracted edition” playlist toolkit. The songwriting credits list just under 40 composers, and the productions — the majority of which involve Doc McKinney and/or Cirkut, low-lighted by maneater dance-punk dud “False Alarm” — are roughly as variable in style as they are in quality. When pared down to its ten best songs, Starboy sounds like Tesfaye’s most accomplished work.

Tracklist

1. Starboy (feat. Daft Punk) (03:50)
2. Party Monster (04:09)
3. False Alarm (03:40)
4. Reminder (03:38)
5. Rockin’ (03:52)
6. Secrets (04:25)
7. True Colors (03:26)
8. Stargirl Interlude (feat. Lana Del Rey) (01:51)
9. Sidewalks (feat. Kendrick Lamar) (03:51)
10. Six Feet Under (03:57)
11. Love To Lay (03:43)
12. A Lonely Night (03:40)
13. Attention (03:17)
14. Ordinary Life (03:41)
15. Nothing Without You (03:18)
16. All I Know (feat. Future) (05:21)
17. Die For You (04:20)
18. I Feel It Coming (feat. Daft Punk) (04:29)

Download:

https://subyshare.com/ek6colyvexbp/TheWeekndStarb0y2016HDTracks2444.1.rar.html

To Pimp a Butterfly is the third studio album by American rapper Kendrick Lamar. It was released on March 15, 2015, by Top Dawg Entertainment, Aftermath Entertainment and Interscope Records. The album was recorded in studios throughout the United States, with production from Sounwave, Terrace Martin, Taz “Tisa” Arnold, Thundercat, Rahki, LoveDragon, Flying Lotus, Pharrell Williams, Boi-1da, and several other high-profile hip hop producers, as well as executive production from Dr. Dre and Anthony “Top Dawg” Tiffith. The album incorporates elements of hard bop, funk, soul, spoken word, and avant-garde and explores a variety of political and personal themes concerning African-American culture, racial inequality, depression, and institutional discrimination.

Becoming an adult ultimately means accepting one’s imperfections, unimportance, and mortality, but that doesn’t mean we stop striving for the ideal, a search that’s so at the center of our very being that our greatest works of art celebrate it, and often amplify it. Anguish and despair rightfully earn more Grammys, Emmys, Tonys, and Pulitzer Prizes than sweetness and light ever do, but West Coast rapper Kendrick Lamar is already on elevated masterwork number two, so expect his version of the sobering truth to sound like a party at points. He’s aware, as Bilal sings here, that “Shit don’t change ’til you get up and wash your ass,” and don’t it feel good? The sentiment is universal, but the viewpoint on his second LP is inner-city and African-American, as radio regulars like the Isley Brothers (sampled to perfection during the key track “I”), George Clinton (who helps make “Wesley’s Theory” a cross between “Atomic Dog” and Dante’s Inferno), and Dr. Dre (who literally phones his appearance in) put the listener in Lamar’s era of Compton, just as well as Lou Reed took us to New York and Brecht took us to Weimar Republic Berlin. These G-funky moments are incredibly seductive, which helps usher the listener through the album’s 80-minute runtime, plus its constant mutating (Pharrell productions, spoken word, soul power anthems, and sound collages all fly by, with few tracks ending as they began), much of it influenced, and sometimes assisted by, producer Flying Lotus and his frequent collaborator Thundercat. “u” sounds like an MP3 collection deteriorating, while the broken beat of the brilliant “Momma” will challenge the listener’s balance, and yet, Lamar is such a prodigiously talented and seductive artist, his wit, wisdom, and wordplay knock all these stray molecules into place. Survivor’s guilt, realizing one’s destiny, and a Snoop Dogg performance of Doggystyle caliber are woven among it all; plus, highlights offer that Parliament-Funkadelic-styled subversion, as “The Blacker the Berry” (“The sweeter the juice”) offers revolutionary slogans and dips for the hip. Free your mind, and your ass will follow, and at the end of this beautiful black berry, there’s a miraculous “talk” between Kendrick and the legendary 2Pac, as the brutalist trailblazer mentors this profound populist. To Pimp a Butterfly is as dark, intense, complicated, and violent as Picasso’s Guernica, and should hold the same importance for its genre and the same beauty for its intended audience. ~ David Jeffries

Tracklist:

01 Wesley’s Theory (feat. George Clinton & Thundercat)
02 For Free? (Interlude)
03 King Kunta
04 Institutionalized (feat. Bilal, Anna Wise & Snoop Dogg)
05 These Walls (feat. Bilal, Anna Wise & Thundercat)
06 u
07 Alright
08 For Sale? (Interlude)
09 Momma
10 Hood Politics
11 How Much a Dollar Cost (feat. James Fauntleroy & Ronald Isley)
12 Complexion (A Zulu Love) [feat. Rapsody]13 The Blacker the Berry
14 You Ain’t Gotta Lie (Momma Said)
15 i
16 Mortal Man

Download:

https://subyshare.com/fad3cdekh889/KendrickLamarT0PimpAButterfly20152444.1.rar.html

If Kendrick Lamar, Travis Scott, James Fauntleroy and Isaiah Rashad all crop up on a debut album, it is surely at least worth a listen. Especially if it has been brought out by Top Dawg Entertainment… This record from Solána Row aka SZA has been eagerly-awaited. Signed to TDA for some years, the most exciting R&B singer in the rap’n’soul world today has released a pretty-much-perfect studio album. Alternating between a sensual languor and grooves that float on air, CTRL also possesses an addictive freshness. A real revelation.

Solana Rowe’s proper debut album, due to its title, invites comparisons to Janet Jackson’s 1986 personal and commercial breakout. It’s an individual statement, however, one distinct from even the contemporary likes of Kehlani’s SweetSexySavage. Placed beside only Z, its three-year-old prelude, Ctrl is the work of a considerably less-inhibited songwriter. Rowe likewise truly fronts these frank songs that wield power as they lament lonesomeness, insecurity, and inertia. She neither projects slight wisps nor obscures herself inside swirling synthesizers, yet she oversells not a single thought. On screen, a slight shrug from her would probably devastate an expectant admirer. In the slow-motion hip-hop soul of “Doves in the Wind,” featuring a hectoring verse from fellow TDE artist Kendrick Lamar, Rowe schools inapt and inept male behavior, offering intimate counsel and acerbic derision in a uniquely offhanded style. As assured as she is in this mode, she’s not too proud to test a partner (“Call me on my bullshit, lie to me and say my booty gettin’ bigger even if it ain’t”), express personal dissatisfaction (“All alone still, not a thing in my name”), or plainly grieve (“Do you even know I’m alive?”). The production crew here is almost completely different from the one involved on Z, with TDE regular Tyran Donaldson (aka Antydote and Scum) the lone holdover, present on seven tracks. For every overdone trap trick, there’s a couple of sly wrinkles, like the thick, chiming groove in “Go Gina,” where Rowe brilliantly illustrates a specific kind of fatigue (“Picking up a penny with a press-on is easier than holding you down”) and the woozy, decayed synthesizer line in the Travis Scott-assisted single “Love Galore,” ideal for a song about rekindling a dead-end affair. This is a marked improvement and an indication of more great work to come.

Tracklist:
01. Supermodel
02. Love Galore (feat. Travis Scott)
03. Doves In The Wind (feat. Kendrick Lamar)
04. Drew Barrymore
05. Prom
06. The Weekend
07. Go Gina
08. Garden (Say It Like Dat)
09. Broken Clocks
10. Anything
11. Wavy (Interlude – feat. James Fauntleroy II)
12. Normal Girl
13. Pretty Little Birds (feat. Isaiah Rashad)
14. 20 Something

Download:

https://subyshare.com/lcxu2ifte82h/SZACtrl20172444.1.rar.html

King Gizzard & The Lizard Wizard – Sketches Of Brunswick East (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 37:19 minutes | 428 MB | Genre: Psychedelic Rock
Studio Master, Official Digital Download – Source: Download Card | Front Cover | © Heavenly Recordings

“Sketches of Brunswick East” is the eleventh studio album by Australian psychedelic rock band King Gizzard & the Lizard Wizard. The title is a reference to the Melbourne suburb of Brunswick East and Miles Davis’ 1960 LP Sketches of Spain, which inspired the album’s jazz-orientated sound. The album was generally well received by professional music critics upon its initial release.

Trying to make sense of, and/or keep up with, King Gizzard & the Lizard Wizard can be a daunting prospect. They are nothing if not prolific, and nothing if not willing to throw curve ball after curve ball. After releasing two albums already in 2017, the microtonal experiment Flying Microtonal Banana and the synth prog epic Murder of the Universe, they hooked up with Alex Brettin of the soft rock weirdos Mild High Club to concoct the smoothed-out psychedelic jazz album Sketches of Brunswick East. It proves to be a winning combination all around, with Brettin’s warped pop sensibilities mingling nicely with the sonic exploration that the lads of Gizzard do so well. The album comprises small snippets, where the warm keyboards team with woozy samples and piping flutes to conjure up mental images of warmly lapping waves and trippy colors, and more fleshed-out songs that have a perfect blend of imaginative arranging and melodic charm. The instrumental segments are nice moments of cool-breeze Zen, helping the listener achieve the perfect state of relaxed calm, while the actual songs have the opposite effect and really get the blood flowing, not in the usual sense that King Gizzard albums do – it’s not a raging volcano of excited blood – but in a more laid-back, happy-all-over way that fills the body and mind with warmth. The lovely “Countdown” has a nocturnal groove and cocktail bar feel, turned strange by Stu Mackenzie’s treated vocals; “Tezeta”‘s warped waltz and odd vocals can’t hide the swooningly sweet melody, which sounds like something a Wilson brother might have come up with while on a three-day bender; “The Spider and Me” finds them effortlessly hitting the sound bands like Tame Impala work way too hard to reach; and the stuttering African jazz-rocker “The Book” brings in some of their previous microtonal theory and stretches it out into a very satisfying jam. It’s fun to hear Gizzard being reshaped by Brettin’s soft rock wizardry, and in the process making their third album of the year the most listenable so far. Conversely, working with the Australian wildmen gives Brettin’s work an unpredictable nature not found on Mild High Club albums. This mutual benefaction means Sketches of Brunswick East is a collaboration that works wonders for both sides and will also make fans of both groups very happy.

Tracklist:
01 – Sketches Of Brunswick East I
02 – Countdown
03 – D-Day
04 – Tezeta
05 – Cranes, Planes, Migraines
06 – The Spider And Me
07 – Sketches Of Brunswick East II
08 – Dusk To Dawn On Lygon Street
09 – The Book
10 – A Journey To (S)Hell
11 – Rolling Stoned
12 – You Can Be Your Silhouette
13 – Sketches Of Brunswick East III

Produced by Stu Mackenzie.
Recorded at Flightless HQ, East Brunswick.
Mastered by Joseph Carra.

Download:

https://subyshare.com/60r4m1g3unzy/KingGizzardTheLizardWizardSketches0fBrunswickEast2017DLCard24441.rar.html

Third album from multi-platinum selling Country singer/songwriter/guitarist Kip Moore. Featuring 13 brand new tracks, “Slowheart” sees the Georgia native adding a deeply personal slant to his songwriting expertise. Following a period away from the spotlight, Moore returns with his most powerful musical statement to date, and his edgiest too, with some of the material bringing to mind artists such as Bob Seger, Tom Petty and Bruce Springsteen. With the profile of ‘country’ and ‘roots’ music continuing to grow apace, Moore is well placed to build on the considerable glories of the past with his own unique style and stance.

“Practice makes perfect” is a cliché, but it suits Kip Moore. He first essayed his update of heartland rock in 2012, polishing it with a hefty dose of bro-country swagger that earned him a few big hits, including the number one “Somethin’ ‘Bout a Truck,” but he didn’t strike the right balance on Wild Ones, a 2015 sequel that found him striving to achieve the cavernous music of the ’80s. Delivered just two years later, Slowheart is the record Moore has been attempting to make all along: a big-sounding, big-hearted album that’s as much Midwestern rock as it is modern country. Moore made this progression by taking the reins into his own hands, seizing control of the production, and co-writing all but two of the record’s 13 songs, with the remaining two brought to him by songwriter Luke Dick. All this means Slowheart is an auteurist album, one driven by Moore’s sense of self, and he winds up precisely articulating his blend of arena country and AOR. Slowheart strips back some of the gloss of Wild Ones without renouncing the idea of studio polish. Indeed, Moore undergirds his soaring guitars with a brawny rhythm section, one that helps pound home the beats of “Plead the Fifth” and “Fast Women” but is limber enough to swing on “Just Another Girl.” The latter is just one cut that showcases his playfulness, his good cheer reaching a pinnacle on “I’ve Been Around” – the hookiest melody here serving a playful lyric – but threaded throughout the album. Slowheart may sound tougher than either of its predecessors, but Moore also appears appealingly bruised, patching himself up after suffering a series of broken hearts and disappointments. He’s not wallowing in his misery, he’s brushing himself off and moving forward, and this weathered sensitivity when combined with the music’s full-throated roar gives Slowheart a soul uncommon in contemporary country. Moore isn’t a bro-country goofball or a dour revivalist: he’s a passionate true believer in the redeeming power of loud guitars and sturdy songs, and Slowheart is proof he can deliver what he preaches.

Tracklist:
01 – Plead The Fifth
02 – Just Another Girl
03 – I’ve Been Around
04 – Fast Women
05 – Bittersweet Company
06 – Sunburn
07 – More Girls Like You
08 – The Bull
09 – Blonde
10 – Good Thing
11 – Last Shot
12 – Try Again
13 – Guitar Man

Download:

https://subyshare.com/3fws5k7ubvrj/KipM00reSl0wheart2017Q0buz24441.rar.html

Pianist Lara Downes celebrates the launch of her Sony Classical debut album FOR LENNY, a Leonard Bernstein centennial tribute that spans the landscape of American music from the past, present, and future. Downes, joined on stage by singer Rhiannon Giddens, presents a portrait of Bernstein the man, full of boundless curiosity and a fervent belief in the power of music to change our world for the better.

Lara Downes’ new album For Lenny celebrates the 100th birthday of Leonard Bernstein with a special friends-and-family tribute to the man behind the music. The recording features Bernstein’s aptly-named Anniversaries for Piano, new arrangements of his songs, and world premieres of works dedicated to Bernstein by leading American composers including Stephen Sondheim, John Corigliano, and Stephen Schwartz. The album is introduced by an essay from acclaimed New Yorker writer Adam Gopnik. Describing FOR LENNY, Lara says: “Leonard Bernstein reminds me of what a musician can be. Of what music can do in this world – how it can reach and teach and make things happen. Just imagine what American music was before Lenny came along, everything he changed. I’m only here at all, I think, because of the rules he broke and the doors he knocked down. Imagine the thousands of other musicians who feel the same way”.

Tracklist:
01 – Something’s Coming [with. Kevin Olusola]02 – Anniversary for Lenny
03 – Anniversaire for Lenny
04 – Romance for Lenny
05 – Iconoclasm (for Lenny)
06 – Big Stuff
07 – 4 Anniversaries: No. 2. For Johnny Mehegan
08 – 7 Anniversaries: No. 1. For Aaron Copland
09 – No. 3. For Stephen Sondheim
10 – I Remember (arr. for piano)
11 – West Side Story, Act I: Cool (arr. for clarinet and piano) [with Javier Morales-Martinez]12 – Story of My Life (arr. J. Distler for piano)
13 – Arias and Barcarolles: No. 5. Greeting (arr. L. Downes for piano)
14 – Innocent Psalm (for the Bernstein baby)
15 – No. 6. For My Daughter, Nina
16 – No. 11. For Felicia, on our 28th Birthday (and her 52nd)
17 – So Pretty [with Rhiannon Giddens]18 – Anniversary in Memoriam (for Lenny)
19 – No. 2. For Lucas Foss
20 – For Lenny (Variation on New York, New York)
21 – What Shall We Remember? (arr. for piano)
22 – Mass: Hymn and Psalm, “A Simple Song” [with Thomas Hampson]23 – Exuberance (for Lenny)
24 – No. 4. For Craig Urquhart
25 – Remembering Lenny
26 – Goodbye Chorale (for Lenny)
27 – Youth, Day, Old Age and Night (arr. L. Downes for piano)
28 – On the Town, Act II: Some Other Time (arr. J. Distler for piano)

Produced by Adam Abeshouse.

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This first full-length album from the young German indie pop songstress follows the 2015 eponymous debut EP that launched her into the public eye. With elements of retro pop, soul, and classic rock, this is an assured collection of tracks that see Lilly’s rich, powerful voice nestled within smooth arrangements combining traditional pop/rock instrumentation with sympathetic electronic flourishes. The singles “Blood & History,” “Your Hands Are like Home,” and “The Only One” are included. ~ John D. Buchanan

Tracklist:
01 – Everyone Else
02 – The Only One
03 – Long Distance Relationship
04 – Listen To Your Mama
05 – Awake
06 – Keep
07 – Like A Bombshell
08 – Your Hands Are Like Home
09 – Mother Mother
10 – Remember Me
11 – Blood & History

Download:

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Lillian “Lilly” Alice Hiatt is an American, Nashville, Tennessee-based singer-songwriter. She is the daughter of singer-songwriter John Hiatt. “Trinity Lane”, her third album to date, is an emotionally charged affair, a breakup record that captures all the ups and downs and in-betweens felt during that period, and just as Lilly Hiatt had to be in a certain head space to create it, you have to be in a certain mood to appreciate it.

There are plenty of working songwriters who would be lost if they couldn’t pen lyrics about alcohol or broken hearts. Lilly Hiatt isn’t one of them, but both of those subjects pop up a lot on her third album, 2017’s Trinity Lane. Hiatt had gone through a serious breakup and gave up drinking before she started writing the songs for this album, and these two struggles inform many of the songs on Trinity Lane (named for the street in East Nashville where she was living when she wrote the album). While Hiatt showed off her strength as both a songwriter and a vocalist on her first two albums, Trinity Lane is significantly more personal than anything she’s released to date, and she’s stepped up her game as she’s bared her soul with these 12 songs. There’s plenty of hard-won wisdom on this album, and if Hiatt sounds as if she’s learned her lessons about her exes as well as the bottle, she doesn’t have any illusions about her feelings about either. The bitterness of “Everything I Had” and the delusions of “Different, I Guess” feel as real and as honest as the more reasoned resignation of “The Night David Bowie Died.” If the title tune celebrates the hard, good work of sobriety, “I Wanna Go Home” is a pained remembrance of the bad nights along the way. And “Imposter” is a striking look into Hiatt’s sometimes troubled family relations. Michael Trent of Shovels & Rope produced Trinity Lane as well as handling many of the instrumental chores, and he gives the music a moody, atmospheric tone that serves the songs very well; Hiatt allows her natural country twang to step forth in her vocals, and it meshes beautifully with the confessional tone of her lyrics. Trinity Lane is honest, well-crafted, and hits an emotional bulls-eye: it’s Lilly Hiatt’s strongest and most moving work to date.

Tracklist:
01 – All Kinds of People
02 – The Night David Bowie Died
03 – Trinity Lane
04 – Everything I Had
05 – I Wanna Go Home
06 – Imposter
07 – Records
08 – Different, I Guess
09 – Rotterdam
10 – Sucker
11 – So Much You Don’t Know
12 – See Ya Later

Produced by Michael Trent.
Recorded by Andy Dixon at Studio Bees in Johns Island, SC.
Mastered by Dave McNair at Dave McNair Mastering in Winston-Salem, NC.

Musicians:
Lilly Hiatt – vocals, rhythm guitar
John Condit – lead guitar
Robert Hudson – bass
Allen Jones – drums

Guests:
Michael Trent – keys, electric guitar, guitar solo on “3”, autoharp, mandolin, tambourine, b-vocals, shaker and claps
Shovels & Rope – background vocals on “4”
Andy Dixon – lap steel on “6”
Josh Kaler – pedal steel on “8”

Download:

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Nashville’s Lionlimb is a psych-inflected rock outfit centering on singer/songwriter, multi-instrumentalist Stewart Bronaugh. Originally formed in 2010, Lionlimb was shelved for several years as Bronaugh spent time working in Chicago and San Francisco before returning to Nashville in 2014. Once back in Nashville, Bronaugh resurrected Lionlimb, collaborating on new music with drummer Joshua Jaeger. This second full-length album from Lionlimb forgoes the layered production of their debut in favor of a minimal look at ensemble work. Recorded live in New York in the spring of 2017, the resulting album surprises with new instrumentation and a spacious sound that highlights the individuality of each player across these six songs about family and memory.

There’s an unrestrained spontaneity woven through Lionlimb’s lilting six-track album, Tape Recorder. It’s the second project from the psych-inflected folk rock outfit made up of of Stewart Bronaugh and Joshua Jaeger, who have also played as bandmates alongside Angel Olsen outside of their work together for Lionlimb (Bronaugh no longer plays with Angel, but Jaeger does). Bronaugh wrote most of Tape Recorder in a secluded basement practice space on the Columbia University campus last winter, endeavoring to find new ways to articulate his sound. Speaking from Los Angeles, he talks about the collective energy that permeates the album’s ambience and how music can reflect the human experience. Tape Recorder does feel more raw and stripped-down than Lionlimb’s 2016 album Shoo. It seems to hang delicately in some balance between wistful and euphoric, which is something Bronaugh said he strove for while he was composing it. Bronaugh intentionally waited to hear the album played full until it was ultimately recorded live. He explains that he wanted the dynamic parts of the music to come from the musicians who were bringing it to life.

Tracklist:
01 – Clover
02 – Maria
03 – Star Mangled
04 – Tape Recorder
05 – Swallow’s Song
06 – Velvet

Download:

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Living Voices – Sing Christmas Music + The Little Drummer Boy (1962+65/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 32:17/28:44 minutes | 1,11/1,04 GB | Genre: Holiday
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy

RCA’s wildly successful Living Stereo series spawned a number of ensembles with Living in their titles; the two that folks remember these days are The Living Strings and The Living Voices. Both groups were the brainchild of RCA’s trailblazing female producer Ethel Gabriel, who assembled some of the finest studio musicians, arrangers and vocalists for lush, beautifully recorded albums aimed at a middle America eager to give their newly acquired stereo systems a spin. In particular, the two holiday albums featured on this twofer that she released with The Living Voices remain treasured among Christmas music aficionados for their ornate orchestration, innovative arrangements, and, most of all, sweeping stereo sound. The first, 1962’s Sing Christmas Music, had actually come out on the Living Stereo imprint in 1959 as Christmas Surprises from The Ralph Hunter Choir; choir director Hunter garnered two Grammy nominations that year for his album The Wild Wild West. Among the surprises was the introduction of orchestra of toys including the Hunter family s electric train and transformer to Parade of the Wooden Soldiers, and an intriguing rendition of The Indian Christmas Carol, which is credited as being the first North American Christmas song dating back to 1643! The second album, 1965’s The Little Drummer Boy, featured the legendary Anita Kerr Singers and production by Anita Kerr herself; the program varies from recent Broadway fare (Be a Santa from Subways Are for Sleeping; Pine Cones and Holly Berries from Here s Love) to warhorses like Jingle Bells and We Wish You a Merry Christmas to modern classics like Blue Christmas and the title tune.

Living Voices – Sing Christmas Music (1962/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 32:17 minutes | 1,16 GB
Studio Master, Official Digital Download | Artwork: Front cover

Tracklist:
01 – Santa Claus Is Comin’ to Town
02 – Parade of the Wooden Soldiers
03 – Jingle Bells
04 – Winter Wonderland
05 – The Christmas Song (Chestnuts Roasting on an Open Fire)
06 – White Christmas
07 – Wassail Song
08 – Carol Medley: Joy to the World / God Rest Ye Merry, Gentlemen / Hark! The Herald Angels Sing
09 – The First Noël
10 – Indian Christmas Carol
11 – Latin Lullaby (Canción de Cuna)
12 – Silent Night
Arranged & Conducted by Ralph Hunter.
Recorded at RCA Victor Studios, Nashville.

Living Voices – The Little Drummer Boy (1965/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 28:44 minutes | 1,09 GB
Studio Master, Official Digital Download | Artwork: Front cover

Tracklist:
01 – Medley: Jingle Bells / Sleigh Ride
02 – A Holly Jolly Christmas
03 – Medley: Silver Bells / Little Christmas Tree Waltz
04 – Be a Santa
05 – Medley: Pine Cones and Holly Berries (It’s Beginning to Look Like Christmas) / We Wish You a Merry Christmas
06 – The Little Drummer Boy
07 – Do You Hear What I Hear
08 – I Heard the Bells on Christmas Day
09 – Blue Christmas
10 – What Are You Doing New Year’s Eve

Arranged & Conducted by Anita Kerr.
Recorded at RCA Victor Studios, Nashville.

Download:

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Jazz vocalist Lyn Stanley’s third studio release “Interludes” features 14 tracks including a duet with guitarist John Chiodini on “I’m A Fool To Want You”. This alum is her most adventurous and exciting recording yet. Her expressive and versatile vocals pay justice to the lyrics that she interprets, her voice is at various times quietly emotional, seductive, saucy and inviting, and she sounds comfortable no matter what the setting. The album has been a Top Seller for fine audio websites worldwide. Analog mixed and mastered by Grammy Award winning engineers Al Schmitt and Bernie Grundman.

As I introduce my third album, Interludes, I enter another chapter of my singing career with a new title: Producer. I did not take the task lightly for I wanted to create the best album yet by capturing the nuances of the sublimely complicated subject known as Love.

For Interludes I looked for songs that express the many facets of love’s entrances and exits, pieces that struck a chord with me. As the songs unfolded, they developed their own character and instrumentation. I chose all the musicians on this album for their personal styles and approaches to jazz. Initially, I wanted to perform duets with different instrumentalists but, as the songs unfolded, they developed their own character and instrumentation based on ideas generated by the musicians who formed the album’s demo team.

This album is dedicated to the father of audiophiles, Bernie Grundman, with sincere gratitude and thanks for his guidance in my singing career. – Lyn Stanley

Tracklist:
01 – How Long Has This Been Going On?
02 – Just One Of Those Things
03 – Black Velvet
04 – More Than You Know
05 – Blvd. of Broken Dreams
06 – Whole Lotta Love
07 – Last Tango In Paris
08 – Don’t Explain
09 – Nice n Easy
10 – The Island
11 – It’s Crazy
12 – In A Sentimental Mood
13 – I Was A Little Too Lonely
14 – I’m a Fool To Want You

Produced by Lyn Stanley. Engineered by Al Schmitt, Steve Genewick.
Recorded at United Recording Studio A and Capitol Recording Studio A, Hollywood.
Mastered by Bernie Grundman at Bernie Grundman Mastering.

Musicians:
Lyn Stanley – vocals
Mike Garson – piano
Bill Cunliffe – piano
Henrick Meurkens – harmonica
Rob McChesney – trombone
Cecelia Tsan – cello
John Ciodini – guitar
Chuck Berghofer – bass
Ray Brinker – drums
Paul Kreibich – drums
Brad Dutz – percussion
Steve Rawlins – finger snaps

DSD128

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FLAC

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Singer, dancer, ingenue, Lyn Stanley is a fully realized and mature talent exploding into her own. An award-winning ballroom dancer, Stanley melds that physical experience of movement with her performance of jazz standards, bringing the genre back to its dancing, kinetic roots. As executive producer on Lost In Romance, Stanley brings a Midas touch to the proceedings, producing in wholly urbane and sophisticated collection of the best the Great American Songbook has to offer. It takes a certain fortitude to record one more collection of jazz standards, but then again, this is the most appropriate starting place for Stanley. Standards are the proving ground for Stanley’s singing philosophy and that philosophy is a sound and entertaining one.

The songs include a smoldering ‘Fever,’ an island humid ‘That Old Black Magic’ and a late-night ‘The Nearness of You’ (featuring the inestimable Bob Sheppard on tenor saxophone) that set a relaxed mood, one that is sure of the talent to which it’s being devoted. There are no steep cliffs here, only straight and elegant byways to pass the time, with some exceptional ballad and mid-tempo vocal performances by the dense loam of talent that is Lyn Stanley. … This is singing and delivery that must wait for the proper word to come along to define it.

Tracklist:
01 – Change Partners
02 – Watch What Happens
03 – Fever
04 – That Old Black Magic
05 – The Nearness of You
06 – You Got To My Head
07 – I Just Want To Make Love To You
08 – My Foolish Heart
09 – What Am I Gonna Do With a Bad Boy Like You?
10 – Losing My Mind
11 – One For My Baby
12 – Sugar on the Floor
13 – Too Close For Comfort
14 – Something
15 – The Last Dance

This album was originally recorded at 24bit/192kHz.
DSD version was mastered from the PCM files by Bernie Grundman using an analog console.

DSD64

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FLAC

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Lynyrd Skynyrd – Last Of A Dyin’ Breed {Special Edition} (2012)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:00:20 minutes | 680 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © Roadrunner Records – Loud & Proud

“Last of a Dyin’ Breed” is the fourteenth studio album by American Southern rock band Lynyrd Skynyrd. Led by core members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Skynyrd has recorded an album that continues to build on the legacy that began over 35 years ago in Jacksonville, Florida. Joining them in the studio and on the road are new bassist Johnny Colt (Black Crowes, Train) guitarist Mark “Sparky” Matejka (a “Nashville cat, just a pickin’ fool,” according to Rossington), and keyboardist Peter Keys, who replaced Powell on the God & Guns tour. “Last Of A Dyin’ Breed” re-ignites the in-studio alchemy the band found with Guns producer Bob Marlette, and the sound is traditional Skynyrd blended to perfection with the edge of immediacy. In short, it’s rock n roll for the times.

Defiance runs deep in Lynyrd Skynyrd’s DNA but 2012’s Last of a Dyin’ Breed finds the veteran Southern rockers hunkering down, emphasizing their old-fashioned outlaw ways. All the recognizable redneck rebel sentiments are here – it’s all god, guns, Southern girls, and sweet tea – but Skynyrd’s signature sound is absent. In this, their third act, the kings of Southern rock have cut out the country and boogie, leaving behind a heavy-booted blues grind and churning hard rock – sounds that signify the modern South even if they’re not classically Southern rock. And that fits for this incarnation of Lynyrd Skynyrd. They may flirt with fleeting references to their past – the first verse of “Good Teacher” recalling “The Ballad of Curtis Loew,” the soaring soul-speckled ballad “Ready to Fly” a distant cousin of “Freebird” – but Johnny Van Zant, Gary Rossington, and Rickey Medlocke aren’t in this game just to revive past glories; they’re engaging with the modern world, co-opting the leaden stripper rock of Nickelback for “Homegrown,” once again bringing back former Marilyn Manson guitarist John 5 for a cameo, and writing a Tea Party anthem in “Nothing Comes Easy.” Certainly, Skynyrd are making sturdy, old-time rock & roll for an audience that’s likely peppered with Tea Partiers, the kind of Middle American worried that the world they knew is slipping away, and Last of a Dyin’ Breed provides a bit of a rallying point for them: it’s true to their roots but living in the moment. If Skynyrd sound a little less nimble than they used to, chalk it up not to age but to the conscious decision to play everything heavier than before; without elements of the backwoods, they’re dogged rockers, happy to carry the torch they lit nearly four decades ago even if it doesn’t burn as bright as it once did.

Tracklist:
01 – Last Of A Dyin’ Breed
02 – One Day At A Time
03 – Homegrown
04 – Ready To Fly
05 – Mississippi Blood
06 – Good Teacher
07 – Something To Live For
08 – Life’s Twisted
09 – Nothing Comes Easy
10 – Honey Hole
11 – Start Livin’ Life Again
12 – Poor Man’s Dream (Bonus Track)
13 – Do It Up Night (Bonus Track)
14 – Sad Songs (Bonus Track)
15 – Low Down Dirty (Bonus Track)

Musicians:
Johnny Van Zant – lead vocals
Gary Rossington – guitars
Rickey Medlocke – guitars
Mark Matejka – guitars
Peter Keys – keyboards
Greg Morrow – drums
Mike Brignardello – bass
John Lowery – additional guitar
Jerry Douglas – dobro

Download:

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Moloch emerged from the fertile blues scene of late 1960s Memphis, Tennessee, led by guitar hero Lee Baker. Their debut album, originally released in 1969, appears here in stunning high-definition, allowing their fiery guitar, fat organ and taut drumming to be enjoyed by a new generation of listeners.

Moloch was comprised of singer Gene Wilkins, guitarist Lee Baker, bassist Steve Spear, keyboardist Fred Nicholson, and drummer Phillip Durham. The band was a popular mainstay of the late ‘60s Memphis rock scene, their sound a high-octane blend of blues, rock, and soul filtered through psychedelic influences. The band’s lone album was produced by Memphis roots ‘n’ blues legend Don Nix, who wrote most of the material including his song “Going Down,” which would later become a blues-rock standard covered by artists like Freddie King, Gov’t Mule, and Stevie Ray Vaughan, among others – but Moloch put their stank on it first.

Moloch’s 1969 album is a bit of an anomaly for Stax, tucked in between releases by stone cold soul artists like Isaac Hayes and Sam & Dave. It was an important release, however, as influential on the development of the stateside blues-rock scene as Eric Clapton and Cream’s first album was on British blues. The band’s late guitarist, Lee Baker, was an underrated but imaginative player whose influence would spark the creative muse of a younger generation of Memphis pickers, including Luther Dickinson of the North Mississippi Allstars and Steve Selvidge of the Hold Steady. Produced by Don Nix (widely credited as a key architect of the “Memphis Sound”), this hard-hitting collection of bluesy Acid Rock first appeared on Stax subsidiary Enterprise in 1970. Featuring the outstanding guitar playing of the late Lee Baker (later to play with Alex Chilton) and the original version of “Going Down” (covered by Freddie King, Jeff Beck, JJ Cale and others), the album makes its album debut here, complete with two rare bonus tracks, and is an essential purchase for all fans of blues-influenced rock and roll. Fallout.

Tracklist:
01 – Helping Hand
02 – Maverick Woman Blues
03 – Outta Hand
04 – Same Old Blues
05 – Going Down
06 – She Looks Like An Angel
07 – Gone Too Long
08 – Dance Chaney Dance
10 – People Keep Talking
11 – I Can Think The Same Of You
12 – Night At The Possum

Digitally Remastered.

Musicians:
Gene Wilkins – vocals
Lee Baker – guitar, vocals
Fred Nicolson – organ
Steve Spear – bass
Phillip Durham – drums, vocals

Download:

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Josh Lawrence – Color Theory (2017) [Official Digital Download 24bit/96kHz]

Kane Brown – Chapter 1 – EP (2016) [Official Digital Download 24bit/96kHz]

Kari Bremnes – Det vi har (2017) [Official Digital Download 24bit/96kHz]

Kehlani – You Should Be Here (2015) [Official Digital Download 24bit/48kHz]

Various Artists – Black Panther: The Album – Music From And Inspired By (2018) [Official Digital Download 24bit/44,1kHz]

The Weeknd – Beauty Behind The Madness (2015) [Official Digital Download 24bit/44.1kHz]

The Weeknd – Starboy (2016) [Official Digital Download 24bit/44,1kHz]

Kendrick Lamar – To Pimp A Butterfly (2015) [Official Digital Download 24bit/44,1kHz]

SZA – Ctrl (2017) [Official Digital Download 24bit/44,1kHz]

King Gizzard & The Lizard Wizard – Sketches Of Brunswick East (2017) [Official Digital Download 24bit/44,1kHz]

Kip Moore – Slowheart (2017) [Official Digital Download 24bit/44,1kHz]

Lara Downes – For Lenny (2018) [Official Digital Download 24bit/44,1kHz]

Lilly Among Clouds – Aerial Perspective (2017) [Official Digital Download 24bit/44,1kHz]

Lilly Hiatt – Trinity Lane (2017) [Official Digital Download 24bit/44,1kHz]

Lionlimb – Tape Recorder (2018) [Official Digital Download 24bit/44,1kHz]

Living Voices – Sing Christmas Music + The Little Drummer Boy (1962+65/2016) [Official Digital Download 24bit/192kHz]

Lyn Stanley – Interludes (2015) [Official Digital Download DSF DSD128/5.64MHz + FLAC 24bit/88,2kHz]

Lyn Stanley – Lost In Romance (2013) [Official Digital Download DSF Stereo DSD64/2.82MHz + FLAC 24bit/88,2kHz]

Lynyrd Skynyrd – Last Of A Dyin’ Breed {Special Edition} (2012) [Official Digital Download 24bit/44,1kHz]

Moloch – Moloch (1969/2017) [Official Digital Download 24bit/192kHz]