Tom Waits – Orphans: Brawlers, Bawlers & Bastards (2006/2017)
FLAC (tracks) 24 bit/48 kHz | Time – 03:09:15 minutes | 2,01 GB | Genre: Alternative
Studio Master, Official Digital Download  | Source: Qobuz | Front cover | © Anti – Epitaph

“Orphans: Brawlers, Bawlers & Bastards” is a limited edition three CD set by Tom Waits, originally released in November 2006. The album is divided into three sections, with each disc being a separate collection in its own. It borrows from Tom Waits’ rock sound, with the first disc being blues and rock-based, the second centred on slow-tempo, melancholic ballads, and the third on more experimental compositions. Additionally, the record contains influences of other genres, including folk, gospel, jazz and roots music. Orphans: Brawlers, Bawlers and Bastards received universal acclaim from critics, who lauded its experimentation and composition, as well as Waits’ vocals. It was listed as one of the highest-scoring albums of the year in Metacritic, and was nominated for a Grammy Award for Best Contemporary Folk Album. Furthermore, it was a fair commercial success, charting in the United States Billboard 200, as well as in Australia, Switzerland and Austria, reaching the top twenty in the latter.

Orphans is the most unwieldy Tom Waits collection yet. Packaged in a Cibachrome-tinted box are three discs containing 56 songs total. It claims 30 new tunes, but a mere 14 can be found on other records – six othersd have to be hunted for while the remainder have shown up in various incarnationson soundtracks, compilations, etc. This crazy thing began as a collection of outtakes, rarities, soundtrack tunes, and compilation-only cuts – some of which survive here in new form, including tracks from the Ramblin’ Jack Elliot tribute, the Bridge benefit, and two Ramones covers, to name a few. In other words, the first conception for this mess was as a hodgepodge collection of attic material. Waits checked out the tune selection as it was and said something like “nah, bad idea; this would suck.” So, he did what any self-respecting artist with a head full of ideas, two stomping, shuffling feet, and itchy fingers – and time on his hands – would do: he recorded new songs and re-recorded others, so the thing would have some kind of elasticity yet hold its rickety bone and far-reaching sources together by means of cheap glue, chewed gum, solder, and a visionary recording engineer named Karl Derfler.

The end result is this daunting triple disc divided by title and theme: disc one is “Brawlers,” Waits’ rock and blues record, evoking everyone from T. Rex and Johnny Burnette to Sonny Curtis and Howlin’ Wolf. It’s a grand thing, since he hasn’t released one like this before – the closest were Heartattack and Vine on one side and Mule Variations on the other. Travel, regret, murder, salvation, guttersnipe meditations on sorrow, and nefarious and broken-down innocent – and nefarious – amorous intentions are a few of the themes that run through these tunes like oil and sand. Disc two is “Bawlers,” a collection of ballads, raw love songs, weepy wine tunes, wistful yet tentative hope – in the form of floppy prayers – and an under-the-table and wishing, bewildered, yet dead-on topical tome on the world’s political situation. Disc three, entitled “Bastards,” is even edgier; it’s Waits hanging out there with his music and muse on the lunatic fringe of experimentation. Think Bone Machine’s wilder moments and Waits’ loopy standup comedy in the form of six spoken word pieces included here. Thank goodness he finally did this. If you’ve ever seen the man on a stage, you’ll get why these are so important immediately.

“Brawler” digs deep into the American roots music that has obsessed Waits since the beginning of his long labyrinthine haul. There’s the frenetic rockabilly swagger that probably makes Carl Perkins and Gene Vincent shake and shimmy in their graves. One of the movie tunes, a cover of “Sea of Love,” recalls its place in the film for those who’ve seen it. If you haven’t, it’s a slanted, tarnished jewel freshly liberated from antiquity. The hobo ballad “Bottom of the World” recalls old country gospel, and “Lucinda” can only be described as a gallows dance tune. The slippery hoodoo blues “Road to Peace” is the season’s most timely and topical political song.

“Bawlers” is the set’s bridge, and it’s easy to see why: it’s the most accessible disc in the box. There are some of the movie tunes here, from flicks like Pollock, Big Bad Love, and Shrek 2. Other cuts, such as “Goodnight Irene,” recall “Tom Traubert’s Blues (Four Sheets to the Wind in Copenhagen)” from the Small Change album; the singing protagonist here is older and more desperate, almost suicidal. Resignation displaces hope; it’s a long reach into the past and expresses the void of the present. The cover of the Ramones’ “Danny Says” is completely reinvented; it’s one of the loneliest, most sweetly desolate of Waits’ many sides. It’s not all darkness, however; there are gorgeous songs here too, such as “Never Let Go” and “You Can Never Hold Back Spring,” where an indomitable human spirit reins and rings true.

Finally, it comes down to “Bastards.” The eerie, strange, cabaret-in-a-carnival music that is Weill and Brecht’s “What Keeps Mankind Alive” enlists banjos, accordion, tuba, and big bass drum as simply the means to let these twisted words out of the box. Thankfully the cover of “Books of Moses,” originally by Skip Spence, is here, as is Daniel Johnston’s “King Kong.” Neither of these cuts resembles their original version, and Waits brings out the dark underbelly inherent in each. “Bedtime Story” is the first of the Waits monologues here. It is the repressed wish of every parent (with a sense of humor) to have the temerity to tell this kind of tale to their children when they retire. Others include a reading of Charles Bukowski’s “Nirvana,” the hilarious monologue “The Pontiac,” and the live routine “Dog Door.” Perhaps the most inviting cut here is the piano-and-horn ballad “Altar Boy,” a postmodern saloon song that would make Bobby Short turn red with rage. This disc is the true mixed bag in the set: unruly, uneven, and full of feints and free-for-alls.

Ultimately, the epicenter of Orphans is Waits’ voice. It’s many expressions, nuances, bellows, barks, hollers, open wails, roughshod croons, and midnight whispers carry these songs and monologues to the listener with authority as an open invitation into his sound world, his view of tradition, and his manner of shaping that world as something not ephemeral, but as an extension of musical time itself. As a vocalist, Waits, like Bob Dylan, embodies the entire genealogical line of the blues, jazz, local barroom bards, and traveling minstrels in the very grain of his songs. That wily throat carries not only the songs he and his songwriting partner and wife, Kathleen Brennan, pen, but also the magnet for the sonic atmospheres that frame it. There is adventure, danger, and the sound of the previous, the forgotten, and the wished for in it. And it is that voice that links all three of these discs together and makes them partners. One cannot dismiss that even though some of these songs have appeared elsewhere, Orphans is a major work that goes beyond the origins of the material and drags everything past and present with sound and texture into a present to be presented as something utterly new, beyond anything he has previously issued. To paraphrase Ezra Pound in response to Allen Ginsberg’s inquiry about what his poem “The Cantos” meant, these orphans speak for themselves.

Tracklist

DISC 1 – Brawlers:
01 – Lie To Me
02 – LowDown
03 – 2:19
04 – Fish In The Jailhouse
05 – Bottom Of The World
06 – Lucinda
07 – Ain’t Goin’ Down To The Well
08 – Lord I’ve Been Changed
09 – Puttin’ On The Dog
10 – Road To Peace
11 – All The Time
12 – The Return Of Jackie And Judy
13 – Walk Away
14 – Sea Of Love
15 – Buzz Fledderjohn
16 – Rains On Me

DISC 2 – Bawlers:
01 – Bend Down The Branches
02 – You Can Never Hold Back Spring
03 – Long Way Home
04 – Widow’s Grove
05 – Little Drop Of Poison
06 – Shiny Things
07 – World Keeps Turning
08 – Tell It To Me
09 – Never Let Go
10 – Fannin Street
11 – Little Man
12 – It’s Over
13 – If I Have To Go
14 – Goodnight Irene
15 – The Fall Of Troy
16 – Take Care Of All My Children
17 – Down There By The Train
18 – Danny Says
19 – Jayne’s Blue Wish
20 – Young At Heart

DISC 3 – Bastards:
01 – What Keeps Mankind Alive
02 – Children’s Story
03 – Heigh Ho
04 – Army Ants
05 – Book Of Moses
06 – Bone Chain
07 – Two Sisters
08 – First Kiss
09 – Dog Door
10 – Redrum
11 – Nirvana
12 – Home I’ll Never Be
13 – Poor Little Lamb
14 – Altar Boy
15 – The Pontiac
16 – Spidey’s Wild Ride
17 – King Kong
18 – On The Road
19 – Dog Treat
20 – Missing My Son

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Tom Waits – Real Gone (2004/2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:08:56 minutes | 1,35 GB | Genre: Alternative, Indie
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Anti – Epitaph

Tom Waits is one of the most influential musicians in the world today, an artist who never rests on his laurels. He continues to re-invent music, push boundaries and create new sounds. On Real Gone, the up tempo tracks are some of the rawest and most kinetic he’s ever laid down…He’s never sounded like he’s had this much fun…while the ballads are among his most beautiful and even chilling at times. Real Gone also contains his first overtly political song, “The Day After Tomorrow”, a plaintive letter home from a young soldier in the middle of a war. Taken as a whole, the experience is breathtaking.

On Real Gone, Tom Waits walks a fraying tightrope. By utterly eliminating one of the cornerstone elements of his sound – keyboards – he has also removed his safety net. With songwriting and production partner Kathleen Brennan, he strips away almost everything conventional from these songs, taking them down to the essences of skeletal rhythms, blasted and guttural blues, razor-cut rural folk music, and the rusty-edge poetry and craft of songwriting itself. His cast includes guitarists Marc Ribot and Harry Cody, bassist/guitarist Larry Taylor, bassist Les Claypool, and percussionists Brain and Casey Waits (Tom’s son), the latter of whom also doubles on turntables. This does present problems, such as on the confrontational opener, “Top of the Hill.” Waits uses his growling, grunting vocal atop Ribot’s monotonously funky single-line riff and Casey’s turntables to become a human beatbox offering ridiculously nonsensical lyrics. It’s a throwaway, and the album would have been better had it been left off entirely. But it’s also a canard, a sleight-of-hand strategy he’s employed before. The jewels shine from the mud immediately after. The mutated swamp tango of “Hoist That Rag” has stuttered clangs and quakes for drums, decorated by distorted Latin power chords and riffs from Ribot, along with thundering deep bass from Claypool. On the ten-plus minute “Sins of My Father,” Cody’s spooky banjo walks with Taylor’s low-strung bass and Waits’ shimmering reverbed guitar as he ominously croons, revealing a rigged game of “star-spangled glitter” where “justice wears suspenders and a powdered wig.” It’s part revelation, part East of Eden, and part backroom political culture framed by the eve of the apocalypse. It’s hunted, hypnotic, and spooky.

In stripping away convention, Waits occasionally lets his songs go to extremes with absurd simplicity, such as on “Don’t Go into That Barn,” a musical cousin to his spoken “What’s He Building?” from Mule Variations. But there’s also the downright riotous squall of “Shake It,” which sounds like an insane carny barker jamming with R.L. Burnside, or the riotous raging blues of “Baby Gonna Leave Me.” There are “straight” narratives such as “How’s It Gonna End,” with its slow and brooding beat storyline, and the moving murder ballad “Dead and Lovely,” with its drooping, shambolic elegance. There’s the spoken word “Circus,” with its wispy spindly frame that features Waits on chamberlain. And “Metropolitan Glide” feels like a hell-bent duet between James Brown and Captain Beefheart’s Magic Band, followed by the fractured, busted-love, ranting-at-God pain that rips through “Make It Rain.” The tender “Green Grass” is among Waits’ finest broken love songs; it’s movingly rendered by a character who could have resided in one of William Kennedy’s novels. The set closes with “Day After Tomorrow,” featured on MoveOn.org’s Future Soundtrack for America. It is one of the most insightful and understated antiwar songs to have been written in decades. It contains not a hint of banality or sentiment in its folksy articulation. Real Gone is another provocative moment for Waits, one that has problems, but then, all his records do. His excesses, however, do nothing to cloud the stellar achievements of his risk-taking vision and often brilliant execution.

Tracklist:
01 – Top of the Hill
02 – Hoist That Rag
03 – Sins of My Father
04 – Shake It
05 – Don’t Go Into That Barn
06 – How’s It Gonna End
07 – Metropolitan Glide
08 – Dead and Lovely
09 – Circus
10 – Trampled Rose
11 – Green Grass
12 – Baby Gonna Leave Me
13 – Clang Boom Steam
14 – Make It Rain
15 – Day After Tomorrow
16 – Chick A Boom

Produced by Kathleen Brennan, Tom Waits.
Newly Remixed by Karl Derfler and Remastered with Kathleen Brennan, Tom Waits

Musicians:
Tom Waits – vocals
Marc Ribot – guitar
Larry Taylor – bass
Casey Waits – drums

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Tom Waits – Foreign Affairs (Remastered) (1977/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 42:03 minutes | 702 MB | Genre: Blues, Rock, Jazz, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Absolutely essential. ANTI- are releasing mastered reissues of Tom Waits first seven albums, originally released through Elektra Asylum Records in the 1970’s. 1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental Cinny’s Waltz and featuring some new standards like Muriel and I Never Talk To Strangers, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colourful Jack and Neil and the sweeping, dramatic Potters Field as well as classic Waits ballads Burma Shave and Sight for Sore Eyes.

Foreign Affairs is possibly Waits’ most consistently “Chandlerian” album, a series of vignettes from “dimestore novels” and “penny arcades” that could all take place in the same seedy block of skid row Los Angeles (or New York, in the case of “Potter’s Field”). Features Waits’ duet with Bette Midler on the singles-bar dialogue “I Never Talk to Strangers” and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on “Jack & Neal.”

Tom Waits gives one side of his fifth album, Foreign Affairs, to his more structured, bluesy ballads and the other to his jazz raps. On side one, you get his duet with Bette Midler on the singles-bar dialogue “I Never Talk to Strangers” and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on “Jack & Neal.” On side two, you find the extended observations of “Potter’s Field” and “Burma-shave.” Waits’ voice is becoming ever more gravelly, but his basic musical approach remaines the same, and by this point he’d attracted a steady cult audience that enjoyed his verbal flights and boozy philosopher persona, even as critics began to complain that he was repeating himself.

Tracklist:
01. Cinny’s Waltz
02. Muriel
03. I Never Talk To Strangers
04. Medley: Jack & Neal / California, Here I Come
05. A Sight For Sore Eyes
06. Potter’s Field
07. Burma-Shave
08. Barber Shop
09. Foreign Affair

Personnel:
Tom Waits, piano, vocals
Gene Cipriano, clarinet solos on “Potter’s Field”
Jim Hughart, bass
Shelly Manne, drums
Bette Midler, vocals on “I Never Talk to Strangers”
Jack Sheldon, trumpet solos
Frank Vicari, tenor saxophone solos

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Tom Waits – Heartattack And Vine (Remastered) (1980/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 44:24 minutes | 782 MB | Genre: Blues, Jazz, Rock, Alternative
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The final Asylum album from 1980 couldn’t be more different than Waits’ ’73 debut – his voice sounds like the marvellous ruin that we know and love today, the ballads remain (On the Nickel is beautiful and even Springsteen took a crack at Jersey Girl) but it’s the twisted warped blues of the title track that points the way to the extraordinary world of Swordfishtrombones.

Heartattack and Vine, Tom Waits’ first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm-heavy title song and “‘Til the Money Runs Out” foreshadowing the sonic experiments of the Island albums, while piano-with-orchestra tracks like “Saving All My Love for You” and “On the Nickel” (written as a motion-picture title tune) hark back to Waits’ Randy Newman-influenced early days. It is just as well that Waits never entirely gave up on the ballad material; “Jersey Girl,” a Drifters-style song, is a winner, and it was appropriated by Bruce Springsteen on his 1981 tour. Also, at least at this point, the rougher tunes all tended to sound the same.

Tracklist:
01. Heartattack And Vine
02. In Shades
03. Saving All My Love For You
04. Downtown
05. Jersey Girl
06. ‘Til The Money Runs Out
07. On The Nickel
08. Mr. Siegal
09. Ruby’s Arms

Personnel:
Tom Waits, vocals, electric guitar, piano
Ronnie Barron, Hammond organ, piano
Roland Bautista, guitar, twelve-string guitar
Plas Johnson, tenor saxophone, baritone saxophone
Michael Lang, piano
Larry Taylor, bass
Greg Cohen, bass
Jim Hughart, bass
“Big John” Thomassie, drums
Victor Feldman, percussion, chimes, glockenspiel
Bob Alcivar, string arrangement, orchestral arrangement, conductor
Jerry Yester, orchestral arrangement, conductor

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Tom Waits – Nighthawks At The Diner (Remastered Live) (1975/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:13:33 minutes | 1,4 GB | Genre: Blues, Rock, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

A major part of Tom Waits’s mystique has always been his complex, intriguing persona; part Bukowski-esque barfly poet, part Kerouac-inspired hipster, part Hoagy Carmichael troubadour. Nowhere has that persona been more fully utilized than on “Nighthawks At The Diner”. Throughout the album waits unfurls his colorful, charismatic, artfully amplified personality. It’s like spending the evening with a lounge lizard/raconteur/beatnik standup comic who also happens to compose strikingly beautiful tunes that could have come from the Great American Songbook if not for their lyrical quirkiness. Though it would be a few more years before Waits would reinvent himself on “Swordfishtrombones”, the character who stomps through your brain on “Nighthawks At The Diner” with both guns blazing is as original and impressive a character as you could want.

Recorded in front of a live audience at the Record Plant recording studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits greatest classics like Warm Beer, Cold Women and Eggs and Sausage with a crack Jazz ensemble backing him up and some of the greatest stage patter ever committed to record.

For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It’s an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits’ late-night world of bars and diners. The love lyrics of his debut album had long since given way to a comic lonely-guy stance glimpsed in “Emotional Weather Report” and “Better Off Without a Wife.” But what really matters is the elaborate scene-setting of songs like the six-and-a-half-minute “Spare Parts,” the seven-and-a-half-minute “Putnam County,” and especially the 11-and-a-half-minute “Nighthawk Postcards” that are essentially poetry recitations with jazz backing. Waits is a colorful tour guide of midnight L.A., raving over a swinging rhythm section of Jim Hughart (bass) and Bill Goodwin (drums), with Pete Christlieb wailing away on tenor sax between paragraphs and Mike Melvoin trading off with Waits on piano runs. You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who’s to say how much is too much?

Tracklist:
01. Opening Intro (Live)
02. Emotional Weather Report (Live)
03. Intro To On A Foggy Night (Live)
04. On A Foggy Night (Live)
05. Intro To Eggs And Sausage (In A Cadillac With Susan Michelson) (Live)
06. Eggs And Sausage (In A Cadillac With Susan Michelson) (Live)
07. Intro To Better Off Without A Wife (Live)
08. Better Off Without A Wife (Live)
09. Nighthawk Postcards (From Easy Street) (Live)
10. Intro To Warm Beer And Cold Women (Live)
11. Warm Beer And Cold Women (Live)
12. Intro To Putnam County (Live)
13. Putnam County (Live)
14. Spare Parts I (A Nocturnal Emission) (Live)
15. Nobody (Live)
16. Intro To Big Joe And Phantom 309 (Live)
17. Big Joe And Phantom 309 (Live)
18. Spare Parts II And Closing (Live)

Personnel:
Tom Waits, vocals, guitar, piano
Pete Christlieb, tenor saxophone
Mike Melvoin, piano
Jim Hughart, bass
Bill Goodwin, drums

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Tom Waits – Small Change (Remastered) (1976/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 49:53 minutes | 880 MB | Genre: Blues, Rock, Jazz, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Backed by a jazz trio comprising of tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, Waits finds the most sympathetic backing of his career to that point and creates his early masterpiece. Small Change is the home of Waits’ favorites like “The Piano Has Been Drinking (Not Me),” the moving soldier’s ballad “Tom Traubert’s Blues,” and the manic slide-show of “Step Right Up.”

After signing with Asylum in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humour and profound longing. Nearly 40 years and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans.

Released in 1976, Waits recorded Small Change at Wally Heider’s studio in Hollywood. The album opens with ‘Tom Traubert’s Blues’, one of the singer’s most enduring songs, and features memorable cuts such as ‘I Wish I Was In New Orleans’, ‘Bad Liver And A Broken Heart’ and ‘The Piano Has Been Drinking (Not Me)’.

Tracklist:
01. Tom Traubert’s Blues (Four Sheets To The Wind In Copenhagen)
02. Step Right Up
03. Jitterbug Boy (Sharing A Curbstone With Chuck E. Weiss, Robert Marchese, Paul Body and The Mug and Artie)
04. I Wish I Was In New Orleans (In The Ninth Ward)
05. The Piano Has Been Drinking (Not Me) (An Evening With Pete King)
06. Invitation To The Blues
07. Pasties And A G-String (At The Two O’Clock Club)
08. Bad Liver And A Broken Heart (In Lowell)
09. The One That Got Away
10. Small Change (Got Rained On With His Own .38)
11. I Can’t Wait To Get Off Work (And See My Baby On Montgomery Avenue)

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Tom Waits – The Heart Of Saturday Night (Remastered) (1974/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 41:28 minutes | 839 MB | Genre: Blues, Rock, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. The album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies.

On his second album, Waits moved beyond the simple folk-rock arrangements of his debut to explore jazzier realms. Though artistically Waits was still in his infancy, it was here that he began to develop the bedraggled, chain-smoking, whiskey-swilling, beat poetry-spouting street character image that he expanded on throughout the ’70s. The arrangements are based around Waits’ voice (beginning to develop that famous rasp) and piano, supported ’50s-style West Coast jazz touches. Since Waits was still struggling through the imitation phase of his fascination with the writing of Kerouac, Bukowski, etc., some of the lyrics seem callow, but even at this early stage he could still produce gems. “The Heart of Saturday Night” (sort of a low-key sequel to “Ol’ ’55”) and the late-night lonesome blues of “Please Call Me Baby” are worth the price of entry in and of themselves.

If Closing Time, Tom Waits’ debut album, consisted of love songs set in a late-night world of bars and neon signs, its follow-up, The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. On “Diamonds on My Windshield” and “The Ghosts of Saturday Night,” Waits doesn’t even sing, instead reciting his verse rhythmically against bass and drums like a Beat hipster. Musically, the album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies. Waits’ songs are sometimes sketchier in addition to being more impersonal, but “(Looking For) The Heart of Saturday Night” and “Semi Suite” are the equal of anything on Closing Time. Still, with lines such as “…the clouds are like headlines/Upon a new front page sky” and references to “a 24-hour moon” and “champagne stars,” Waits’ imagery is beginning to get florid, and in material this stylized, the danger of self-parody is always present.

Tracklist:
01. New Coat Of Paint
02. San Diego Serenade
03. Semi Suite
04. Shiver Me Timbers
05. Diamonds On My Windshield
06. (Looking For) The Heart Of Saturday Night
07. Fumblin’ With The Blues
08. Please Call Me, Baby
09. Depot, Depot
10. Drunk On The Moon
11. The Ghosts Of Saturday Night (After Hours At Napoleone’s Pizza House)

Personnel:
Tom Waits, vocals, guitar, piano
Gene Cipriano, clarinet
Frank Vicari, tenor saxophone
Jack Sheldon, trumpet
Shelly Manne, drums
Bones Howe, percussion

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Tom Waits – Blue Valentine (Remastered) (1978/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 49:32 minutes | 877 MB | Genre: Blues, Rock, Jazz
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

After perfecting his seedy beatnik image on albums like “Small Charge” and “Nighthawks At The Diner”, Waits refined and expanded on it until the 1983 breakthrough of “Swordfishtrombones”. “Blue Valentine” is full of low-rent nightlife imagery and arrangements that leave Waits’ jazz leanings behind in favor of a more direct, blues-oriented approach. Lyrically, he’s at his most straightforward and narrative, with tunes like “$29.00” and “Christmas Card From a Hooker in Minneapolis” reading like dimestore detective novels. In a customary nod to tradition, he delivers a marvelously stentorian version of Bernstein’s “Somewhere.” Blue Valentine songs. Things close in a low-key fashion with the spare, heart-rending title song, a ballad of shattered love.

“Two welcome changes in style made Blue Valentine a fresh listening experience for Tom Waits fans. First, Waits alters the instrumentation, bringing in electric guitar and keyboards and largely dispensing with the strings for a more blues-oriented, hard-edged sound. Second, though his world view remains fixed on the lowlifes of the late night, he expands beyond the musings of the barstool philosopher who previously had acted as the first-person character of most of his songs. When Waits does use the first-person, it’s to write a “Christmas Card From a Hooker in Minneapolis,” not the figure most listeners had associated with the singer himself. The result is a broadening of subject matter, a narrative discipline that makes most of the tunes story songs, and a coherent framing for Waits’ typically colorful and intriguing imagery. These are not radical reinventions, but Waits had followed such a rigidly stylized approach on his previous albums that for anyone who had followed him so far, the course correction was big news.”(William Ruhlmann, AMG)

Tracklist:
01. Somewhere (From “West Side Story”) 03:53
02. Red Shoes By The Drugstore 03:14
03. Christmas Card From A Hooker In Minneapolis 04:33
04. Romeo Is Bleeding 04:52
05. $29.00 08:15
06. Wrong Side Of The Road 05:14
07. Whistlin’ Past The Graveyard 03:17
08. Kentucky Avenue 04:49
09. A Sweet Little Bullet From A Pretty Blue Gun 05:36
10. Blue Valentine 05:50

Personnel:
Tom Waits, vocals, electric guitar, piano
Ray Crawford, guitar
Roland Bautista, guitar
Alvin “Shine” Robinson, guitar
Scott Edwards, bass
Jim Hughart, bass
Byron Miller, bass
Da Willie Gonga (George Duke), piano
Harold Battiste, piano
Charles Kynard, organ
Herbert Hardesty, tenor saxophone
Frank Vicari, tenor saxophone
Rick Lawson, drums
Earl Palmer, drums
Chip White, drums
congas on (“Romeo Is Bleeding”)
Bob Alcivar, orchestra

Recorded July 24 until August 26, 1978 at Filmways/Heider Recording, San Francisco, California
Produced by Bones Howe

Digitally remastered

Download:

https://subyshare.com/me95z3u0suih/T0mWaitsBlueValentineRemastered197820182496.rar.html

Tom Waits – Closing Time (Remastered) (1973/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 45:33 minutes | 794 MB | Genre: Blues, Rock, Jazz,
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The 1973 album that introduced a young singer-songwriter to the world at large is a far cry from the wonderfully twisted sonic landscape that would define “Swordfishtrombones” a decade later. The Waits of “Closing Time” was a barroom balladeer too, but one who fit neatly into the early-’70s folk-rock, singer-songwriter paradigm (“Closing Time’s opener “Ol’ ’55,” in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairs that present the songs with a minimum of fuss.

Waits’s voice isn’t the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best (“Martha,” “I Hope That I Don’t Fall in Love With You”) attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the ’40s than any ’70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits’s work from the ’80s and ’90s will be surprised by the relative straightforwardness of “Closing Time”, yet the album announces an important talent.

“Tom Waits’ debut album is a minor-key masterpiece filled with songs of late-night loneliness. Within the apparently narrow range of the cocktail bar pianistics and muttered vocals, Waits and producer Jerry Yester manage a surprisingly broad collection of styles, from the jazzy “Virginia Avenue” to the up-tempo funk of “Ice Cream Man” and from the acoustic guitar folkiness of “I Hope That I Don’t Fall in Love With You” to the saloon song “Midnight Lullaby,” which would have been a perfect addition to the repertoires of Frank Sinatra or Tony Bennett. Waits’ entire musical approach is stylized, of course, and at times derivative – “Lonely” borrows a little too much from Randy Newman’s “I Think It’s Going to Rain Today” – and his lovelorn lyrics can be sentimental without being penetrating. But he also has a gift for gently rolling pop melodies, and he can come up with striking, original scenarios, as on the best songs, “Ol’ 55” and “Martha,” which Yester discreetly augments with strings. Closing Time announces the arrival of a talented songwriter whose self-conscious melancholy can be surprisingly moving.” (William Ruhlmann, AMG)

Tracklist:
01. Ol’ 55 03:56
02. I Hope That I Don’t Fall In Love With You 03:53
03. Virginia Avenue 03:09
04. Old Shoes (& Picture Postcards) 03:39
05. Midnight Lullaby 03:25
06. Martha 04:28
07. Rosie 04:02
08. Lonely 03:12
09. Ice Cream Man 03:04
10. Little Trip To Heaven (On The Wings Of Your Love) 03:40
11. Grapefruit Moon 04:45
12. Closing Time 04:20

Personnel:
Tom Waits, vocals, piano, guitar, harmonium, harpsichord, celeste
Delbert Bennett, trumpet
Shep Cooke, guitar, backing vocals on “Old Shoes (& Picture Postcards)”
Peter Klimes, guitar, pedal steel guitar on “Rosie”
Bill Plummer, double bass
John Seiter, drums, backing vocals on “Ol’ 55” and “Rosie”
Additional musicians:
Arni Egilsson, bass guitar on “Closing Time” (Instrumental)
Jesse Ehrlich, cello on “Martha”
Tony Terran, trumpet on “Closing Time” (Instrumental)

Recorded Early 1972 at Sunset Sound Recorders and United Western Recorders, Hollywood, California
Produced by Jerry Yester

Digitally remastered

Download:

https://subyshare.com/d88gkqtkmjaq/T0mWaitsCl0singTimeRemastered197320182496.rar.html

Valerie June – Pushin’ Against a Stone (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:03 minutes | 464 MB | Genre: Soul, Folk, Country, Blues
Studio Masters, Official Digital Download  | Front Cover | © Sunday Best

Pushin’ Against a Stone, Valerie June’s Concord debut, is the fruit of over a decade of dues paying by the native Tennessean after three self-released “bootleg” recordings. While her music is steeped in various musical traditions of the South blues, black and country gospel, soul, and Appalachian folk she combines them so idiosyncratically, with canny production from Kevin Agunas and Dan Auerbach, that they openly embrace the possibilities of pop. June’s instantly recognizable voice is big and reedy; standing firmly out front here, it falls in a lineage line between Eartha Kitt and Erykah Badu, with hints of the young Esther Phillips and even Dolly Parton. (For examples of the latter, check the string band waltz “Tennessee Time” or the world-weary folk narrative “Twined & Twisted.”) While tradition is paramount in June’s songs, it includes the present, making her the antithesis of a purist. Check opener “Workin’ Woman Blues,” where a skittering drumkit underscores urgent acoustic guitars, a funky bassline, and a jazzy, bumping, funky trumpet (reminiscent of Blue Mitchell) in a droning, griot-like blues. “The Hour” borrows the intro and outro from “I Put a Spell on You,” and points to the darkness in the lyrics of the second verse. Yet the rest of the tune is a hybrid of early-’60s girl group pop and soul, complete with three-part harmony and a swelling B-3. That intro also makes its presence felt on the title track, adorned with wailing, fuzzed-out electric guitar atop a B-3 pulse, and June’s delivery moves through Ray Charles’ informed soul and Thomas A. Dorsey-infused gospel in the backing chorus. The only cover here is Estil C. Ball’s “Trials, Troubles, Tribulations.” It’s an acoustic guitar and vocal duet (with Auerbach) that comes right out of the Carter Family but sounds contemporary. “Wanna Be on Your Mind,” with its Rhodes piano and June’s emphatic phrasing, references Phillips’ early-’70s jazz-blues style. “Somebody to Love” is a ukulele and fiddle waltz, but it is soul, treated and gospelized by June’s vocal and Booker T. Jones’ organ. The single “You Can’t Be Told” is a swampy blues with Jimbo Mathus on lead guitar that recalls R.L. Burnside in instrumentation, but June’s delivery and her four-part call-and-response backing chorus make it a hypnotic, swaying groover. “Shotgun” features the songwriter accompanied only by her own bottleneck guitar offering a murder ballad. Its presentation is so subtle and smooth, it becomes jarring when the listener takes in the lyric. Despite her slippery blend of styles, June’s songs on Pushin’ Against a Stone reveal there is one historical place she doesn’t deviate from: the storyteller’s, a Southern hallmark. Despite being a shade too long, this is a solid endeavor that asks many questions even as spins its tales.

Tracklist:
01. Workin’ Woman Blues
02. Somebody To Love
03. The Hour
04. Twined & Twisted
05. Wanna Be On Your Mind
06. Tennessee Time
07. Pushin’ Against a Stone
08. Trials, Troubles, Tribulations
09. You Can’t Be Told
10. Shotgun
11. On My Way
12. Somebody To Love (Acoustic Version)

Download:

https://subyshare.com/l6fyv9zto4ad/ValerieJunePushinAgainstaSt0ne20132444.1.rar.html

Valerie June – The Order Of Time (2017)
FLAC (tracks) 24 bit/88,2 kHz | Time – 43:34 minutes | 867 MB | Genre: Singer/Songwriter
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Concord Records

Valerie June’s eagerly awaited second album, The Order of Time, set for release in January 2017, justifies the immense promise she exhibited on her acclaimed debut, Pushin’ Against A Stone. Unfolding like a novella, June sketches detailed, three-dimensional portraits of real people struggling with dreams, defeat, hope and life, in this 12-track song cycle. Musically, the genre-defying singer, songwriter and multi-instrumentalist has redefined herself again, infusing inspirations like Tom Waits, Nina Simone, Leonard Cohen and Fela Kuti into her unique blend of folk, blues, gospel and soul. As in life, a harrowing bite of bitterness can surely be felt in many of these songs and on others; June’s ethereal soundscapes prove the perfect setting for her honeyed, childlike voice as she pleas for simplicity and a better world

Tracklist
01. Long Lonely Road 03:56
02. Love You Once Made 03:37
03. Shakedown 02:46
04. If And 03:30
05. Man Done Wrong 03:06
06. The Front Door 04:14
07. Astral Plane 03:38
08. Just In Time 03:50
09. With You 02:43
10. Slip Slide On By 04:04
11. Two Hearts 03:53
12. Got Soul 04:12

Download:

https://subyshare.com/4qppd2ea9g4m/ValerieJuneThe0rder0fTime201724bitFLAC.rar.html

Vanja Sky – Bad Penny (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:45 minutes | 509 MB | Genre: Blues Rock
Studio Masters, Official Digital Download  | Front Cover | © Ruf Records GmbH

Introducing Vanja Sky – the newest discovery by Ruf Records. For over 20 years, the label has been a fertile breeding ground for young blues talent, having already helped exceptional female artists such as Samantha Fish, Erja Lyytinen, Ana Popovic and Joanne Shaw Taylor achieve international success. Hailing from the Croatian capital of Zagreb, the singer/guitarist is part of the next wave of hungry, up-and-coming musicians from all corners of the globe who are diving into the blues with passion and energy. Sky picked up the guitar just five years ago, inspired by an evening visit to a live music venue near her hometown of Buzet. “It was crazy,” she laughs. “There was a special energy in the air. I can’t even describe it. I decided I wanted to play guitar right then and there and when I decide something, I just have to do it.” She ordered a cheap guitar on the internet, began taking lessons from the guitar player whose performance had inspired her and eventually quit her job as a pastry chef to dedicate herself to music. Roughly two years later, she left home to join a band in Croatia’s capital. Concerts in Serbia, Slovenia, Germany and her native Croatia allowed her to hone her skills as both a singer and guitarist. Jump ahead to the year 2017. Faster than she could ever have imagined, Sky is now making a record with some of the biggest names in the blues business. Her first stop is Bessie Blues Studios in Stantonville, Tennessee, the home base of Grammy-winning producer Jim Gaines. There, she records the sizzling, Luther Allison-penned roadhouse blues “Low Down and Dirty” together with fellow guitarists Mike Zito and Bernard Allison. A short time later, she reconvenes with Zito and a cast of experienced session players to record another eleven tunes. The result is her debut Bad Penny – an album of modern electric blues with a straightforward, rock’n’roll attitude. “We named it after the Rory Gallagher song, which I also cover on the album. Rory is one of my favorite players. He has a special place in my heart.” Besides the Irish blues-rock legend, Sky cites Stevie Ray Vaughan and Albert King as key guitar influences. At times, her tasteful playing on Bad Penny also recalls that of Dire Straits founder Mark Knopfler. Vocally, there’s an edge and aggressiveness that wouldn’t feel out of place on a late-70s recording by L.A. rockers The Runaways. “Vanja is a passionate songwriter who writes from her feelings. But she also enjoys having fun and cutting loose,” says Mike Zito, who oversaw the production in Berlin. “She has a very strong voice and her love for blues guitar will be her strong suit.” Besides Zito, Sky is joined on Bad Penny by drummer Matt Johnson and bassist Terry Dry, a potent rhythm combo with credits including Trudy Lynn and The Mighty Orq, as well as fellow Texan Lewis Stephens, a standout keyboarder who has accompanied Freddie King, Delbert McClinton and Gary Clark Jr. “We worked very hard and also had a lot of fun,” says Vanja Sky with a smile. “The band did an amazing job and helped me feel comfortable, since this was my first album. Mike helped me arrange the songs, shared a lot of good advice and showed me some great licks on the guitar.” “Low Down and Dirty,” her triple-threat performance alongside Zito and Bernard Allison, is not just one of the album’s highlights. It also signals what’s ahead for Sky in 2018. Starting in January, she’ll be featured together with Allison and Zito on the 14th edition of the Ruf Records Blues Caravan. The tour will take her across Europe and North America, allowing her to fulfill the ambition that was born on that night five years ago when her old life stopped and the guitar became the center of her universe. “Music is the most wonderful gift on the planet. It’s my aim to bring happiness through music to as many people as possible.”

Tracklist:
01. Bad Penny
02. Hard Working Woman
03. Hit Me With the Blues
04. Low Down and Dirty
05. All Night
06. Inside Pain
07. Give Me Back My Soul
08. Lost Love
09. Do You Wanna?
10. Married Man
11. Don’t Forget to Rock N Roll
12. Crossroads of Life

Download:

https://subyshare.com/ycwdrwkhd5wi/VanjaSkyBadPenny20182444.1.rar.html

Visions of Atlantis – The Deep and the Dark (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:56 minutes | 488 MB | Genre: Metal
Studio Masters, Official Digital Download  | Front Cover | © Napalm Records

Symphonic metal masters Visions of Atlantis once more set sail to oceanic myths and the eternal dream of the sunken continent: Titled ‘The Deep & The Dark’ and set for a release on February 16th 2018 on Napalm Records, with their upcoming seventh studio album Visions of Atlantis showcase all musical facettes of the genre with a breathtaking classic Symphonic Metal album.

Says the band: “This is the album we have always dreamed of making. It is everything fans of this genre love and Visions Of Atlantis was founded for. This is the heart & soul of this band and Symphonic Metal. We are proud and excited that after over 4 years we put out the best 10 tracks the band has to offer. This is Visions Of Atlantis – this is Symphonic Metal!”

Tracklist:
01. The Deep & the Dark
02. Return to Lemuria
03. Ritual Night
04. The Silent Mutiny
05. Book of Nature
06. The Last Home
07. The Grand Illusion
08. Dead Reckoning
09. Words of War
10. Prayer to the Lost

Download:

https://subyshare.com/6vhzhzv0sikp/Visi0ns0fAtlantisTheDeepandtheDark20182444.1.rar.html

Wade Bowen – Solid Ground (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 53:33 minutes | 653 MB | Genre: Country
Studio Masters, Official Digital Download  | Front Cover | © Bowen Sounds

Produced by songwriter and guitar player Keith Gattis, it will be Bowen’s first proper full-blown release of original music since his 2014 self-titled record. “Saying ‘this is my Texas album’ seems like an obvious statement from a guy who’s sweated it out in as many beer halls as I have…but Gattis pushed me harder on my writing than I’d ever been challenged before,” says Bowen. “Each morning, he and I got to the studio hours before the band to write, so the album’s sound was unfolding organically as we were recording it which unified the mood and grit of the whole thing.”

The cover of the record shows the imprint of the State of Texas impacting into a bigger map of Texas in the background. Like many Texas music artists, Wade Bowen once tried his hand at Nashville and recorded for BNA Records, but since has embraced his place as one of Texas music’s mainstays.

Bowen released the first single from the album back in October called “Acuña.” A lamenting tune about the disappearance of places from his past like Texas dance halls and cool Mexican border spots, “Acuña” is quintessential Wade Bowen Texas country rock.

“I went to college in Lubbock, TX, and every September we used to drive all the way from Lubbock down to south Texas … to the Frio River, down to Del Rio and cross the border to Acuña,” Wade says. “This is kind where all that came from, talking about my roots. This is my glory days song I guess, with a different twist.”

Wade will be playing select dates with Randy Rogers and Kip Moore on the “Tall Tales and the Truth” tour in December, and then will be making his annual appearances at The Music Fest in Steamboat Springs, CO in early January, 2018.

Tracklist:
01. Couldn’t Make You Love Me (44.1 Hz)
02. Day of the Dead
03. So Long 6th Street
04. Broken Glass
05. Death, Dyin’ and Deviled Eggs
06. 7: 30
07. Acuna
08. Compass Rose
09. Anchor
10. Fell in Love on Whiskey
11. Calling All Demons

Download:

https://subyshare.com/f75mjbl8hp9q/WadeB0wenS0lidGr0und20182448.rar.html

Warhaus – We Fucked A Flame Into Being (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 36:11 minutes | 420 MB | Genre: Indie Rock, Alternative
Studio Masters, Official Digital Download  | Front Cover | © Play It Again Sam

Warhaus is the artistic alter ego and solo recording project of Maarten Devoldere who (along with Jinte Deprez) fronts the urbanely soulful Belgian rock band Balthazar. The title of Warhaus’ new album, We Fucked A Flame Into Being (a direct quote from Lady Chatterley’s Lover by DH Lawrence), was “too good to pass on!” declares Devoldere. It is indeed a fitting title for an album where every song celebrates the inscrutability of encounters and pays tribute to the decadence and intensity that life can offer.

Tracklist:
01. I’m Not Him
02. The Good Lie
03. Against The Rich
04. Leave With Me
05. Beaches
06. Machinery
07. Memory
08. Wanda
09. Bruxelles
10. Time And Again

Download:

https://subyshare.com/i1sygigetu2q/WarhausWeFuckedAFlameInt0Being20162444.1.rar.html

Wax Tailor – By Any Beats Necessary (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:14 minutes | 456 MB | Genre: Trip-Hop, Downtempo
Studio Masters, Official Digital Download  | Front Cover | © Lab’oratoire

Wax Tailor announces his return this coming fall with a 5th album, conceptualized during his last US tour. Designed like a road trip, this “call of the wild” musical rewrite, leads us on a fabled road where blues, psychedelic rock, soul funk and hip-hop collide. Many guests (including Tricky & Ghostface Killah) will take part in this album, to be released on October 14th, the prelude to a worldwide tour which will begin in November in France.

For over 10 years, Wax Tailor move forward on the side roads, with 4 studio albums, 2 double live albums, more than 600 shows in about 50 countries. independently, this sound couturier became one of the leaders of the international alternative scene. Looking for the chemistry between modernity & sounds of the past, between sharp rhythms & soft.

Tracklist:
01. Hit the Road (Intro)
02. I Had a Woman
03. For the Worst feat. Idil
04. Back on Wax feat. Token, A-F-R-O, R.A The Rugged Man
05. My Burn feat. Sara Genn
06. Ecstasy
07. The Chase feat. Raashan Ahmad, Mattic
08. Clock Tick
09. The Road Is Ruff feat. Lee Fields
10. Bleed Away feat. Tricky, Charlotte Savary
11. Diggin’ Saloon
12. Buckwild feat. Idil
13. Worldwide feat. Ghostface Killah
14. The Phonograph

Download:

https://subyshare.com/bb6mawie3rja/WaxTail0rByAnyBeatsNecessary20162444.1.rar.html

Waxahatchee – Ivy Tripp (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 38:04 minutes | 414 MB | Genre: Indie Rock, Singer/Sonswriter
Studio Masters, Official Digital Download  | Front Cover | © Wichita Recordings

The follow up to 2013’s critically lauded ‘Cerulean Salt’, ‘Ivy Tripp’ drifts confidently from its predecessor and displays a more informed and powerful recognition of where Katie Crutchfield (Waxahatchee) currently finds herself. The previous themes of loss of youth and coming of age have been replaced with self control and sheer honesty; “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming.”

Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island – with drums recorded in the gym of a local elementary school – Ivy Tripp presents a more developed and grown up version of Waxahatchee; “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: Cerulean Salt is a solid and Ivy Tripp is a gas.

With her 2013 sophomore album Cerulean Salt, singer/songwriter Katie Crutchfield’s solo vehicle Waxahatchee came into its own, filtering her roots in energetic punk into a set of immediately resonating songs that were equally introspective and nakedly honest. The album caught on in a huge way, with the full-band version of Waxahatchee touring internationally for the next year or so, meeting a new and growing fan base with dozens of performances. Third album Ivy Tripp sounds like the reflections of an artist coming fresh from the extreme highs and lows of accelerated personal and musical growth, with tighter performances, more direct sentiments, and an undeniable confidence that comes through even when Crutchfield is addressing aimlessness and floundering uncertainty. The album title itself a phrase Crutchfield created and referred to in interviews as “a term I made up for directionless-ness, specifically of the twenty-something, thirty-something, forty-something of today, lacking regard for the complaisant life path of our parents and grandparents.” The lost, adrift feeling that gave Ivy Tripp its name clashes with the striding boldness of the songs within. Early on, Waxahatchee was pegged as ’90s revivalism by many critics, and while that critique is reductive overall of Crutchfield’s nuanced songs, there are glimpses of hazy ’90s alt-rock glory on jangly rockers like “Under a Rock” or the loping pop harmonies of “Poison.” On these punky tracks the band evokes the same distorted guitar hookiness as the Lemonheads, Belly, or Throwing Muses did in their prime. When things get less furious, as on the electric piano-driven “Stale by Noon,” Crutchfield’s lyrical core gets more space to shine from her always honest and sometimes dark-hearted musings. Ivy Tripp accomplishes the rare feat of communicating feelings that are searching and gentle without being the least bit fragile. Born of D.I.Y. punk culture, Waxahatchee’s fuzzy, introspective pop stands out due to the fearless honesty of the songs, and Crutchfield’s refusal to dumb down her emotional currents or underestimate her audience. Ivy Tripp is another excellent and remarkably bold chapter of this exciting, unflinching sound. ~ Fred Thomas

Tracklist:
01. Breathless
02. Under A Rock
03. Poison
04. La Loose
05. Stale By Noon
06. The Dirt
07. Blue
08. Air
09. <
10. Grey Hair
11. Summer Of Love
12. Half Moon
13. Bonfire

Download:

https://subyshare.com/e8b3lkjn14p6/WaxahatcheeIvyTripp20152444.1.rar.html

Wire – Silver / Lead (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 36:08 minutes | 416 MB | Genre: Alternative
Studio Masters, Official Digital Download  | Front Cover | © pinkflag

On Silver/Lead, Wire celebrate their 40th anniversary by throwing some intentional kinks into their well-oiled machinery. Much of their music in the 2010s was as fast-paced as their release schedule, but on their 15th album, they’re slower and stranger than they’ve been in years. Aside from the swift guitar pop of “In a Short Elevated Period,” this album doesn’t blaze like Change Becomes Us or Nocturnal Koreans; instead, it turns the energy of those albums inward on songs that shimmer like silver and have the heft of lead. Wire are just as keenly observant when they’re introspective as when they take aim at the outside world, and when Colin Newman sings “be a good witness of all that you’ve seen” on the minor-key T. Rex riffage of “Diamonds in Cups,” it’s an apt description of their modus operandi. Meanwhile, the grinding opener “Playing Harp for the Fishes,” which features bassist Graham Lewis on vocals, revives the darkly surreal ruminations that this incarnation of the band seemed to have left behind. The feeling that Silver/Lead’s songs should be faster creates a different kind of tension that’s arguably more provocative, and interesting, than a barrage of rapid-fire tempos. “An Alibi” is an uneasy post-punk lullaby, while the ironically named “Brio” evokes the languid spaciness of Pink Floyd as well as the desolation Wire mastered decades ago. Slowing things down also lets the melancholy that bubbled under on Wire come to the surface, and Silver/Lead delivers some of the band’s prettiest, and saddest, music in some time. Newman imbues “Sleep on the Wing” with a highly literate, ever so slightly ominous sorrow, while Lewis’ weary baritone is used perfectly on “This Time,” where he sings “this time is gonna be better” to a melody that sounds like a lie the moment it leaves his lips. And when he sings “Ooh darling/I want you to stay” on “Forever & a Day,” it shows just how much power naked emotion can have in the hands of a band as famously cerebral and aloof as this one. As precise as ever yet oddly moving, Silver/Lead reaffirms that Wire are more like mercury, shape-shifting effortlessly while remaining true to the things that have always made them great. ~ Heather Phares

Tracklist:
01. Playing Harp For The Fishes
02. Short Elevated Period
03. Diamonds in Cups
04. Forever & A Day
05. An Alibi
06. Sonic Lens
07. This Time
08. Brio
09. Sleep On The Wing
10. Silver/Lead

Download:

https://subyshare.com/dxe9mqygwqrq/WireSilverLead20172444.1.rar.html

Woodkid – The Golden Age (2013/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 48:10 minutes | 988 MB | Genre: Alternative Rock, Indie, Baroque Pop
Studio Masters, Official Digital Download  | Front Cover | © Island Records

It would be an understatement to say that Yoann Lemoine’s latest album was as eagerly-awaited as the name of the new Pope… And so here is Golden Age, bathed in a startling aura of musical luxury. It rather gives the listener the feeling that they’ve been plunged headlong into the soundtrack for a mad film, written by a Woodkid bristling with inspiration from all genres. Somewhere between futuristic electro and warm string sounds, the film-making musician has created an epic, never impersonal (on the contrary!) and musically excellent.

Tracklist:
01. The Golden Age
02. Run Boy Run
03. The Great Escape
04. Boat Song
05. I Love You
06. The Shore
07. Ghost Lights
08. Shadows
09. Stabat Mater
10. Conquest Of Spaces
11. Falling
12. Where I Live
13. Iron
14. The Other Side

Download:

https://subyshare.com/srkry8sr7bkb/W00dkidTheG0ldenAge20172496.rar.html

Ryu Goto & Michael Dussek – Beethoven, Franck, Wieniawski, Massenet (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:25:48 minutes | 1,44 GB | Genre: Classical
Studio Masters, Official Digital Download  | Front Cover | © Deutsche Grammophon (DG)

22-year old Japanese-American violinist Ryu Goto is an international classical music superstar and one of the most successful artists of his generation, with a large and growing fan base in Asia, North America and Europe. Through his technique, dedication to his art and personal charisma, Ryu is changing the way people think about- and listen to classical music.

Tracklist:
01. Sonata for Violin and Piano No.9 in A, Op.47-“Kreutzer”: 1. Adagio sostenuto-Presto-Adagio
02. Sonata for Violin and Piano No.9 in A, Op.47-“Kreutzer”: 2. Andante con Variazioni
03. Sonata for Violin and Piano No.9 in A, Op.47-“Kreutzer”: 3.Presto
04. Sonata for Violin and Piano in A: 1. Allegro Ben Moderato
05. Sonata for Violin and Piano in A: 2. Allegro
06. Sonata for Violin and Piano in A: 3. Recitativo-Fantasia
07. Sonata for Violin and Piano in A: 4. Allegretto Poco Mosso
08. Wieniawski: “Thème original varié, op.15”
09. Massenet: Méditation de Thais

Personnel:
Ryu Goto, violin
Michael Dussek, piano

Download:

https://subyshare.com/y36esz98bt1t/RyuG0t0MichaelDussekBeeth0venFranckS0natasf0rVi0linPian020152496.part1.rar.html
https://subyshare.com/w9i96br9c5i2/RyuG0t0MichaelDussekBeeth0venFranckS0natasf0rVi0linPian020152496.part2.rar.html