Monday, February 27, 2012

Can't You Just Hear That Bacon Sizzling?

Robert Johnson & Punchdrunks

Fried On The Alter of Good Taste


With twanging guitars, Hawaiian shirts, and song titles like “Chop Suey Rock” and “Thrilla in Manila,” Robert Johnson & Punchdrunks are a formidable orgy in kitsch. Their main influence is naturally surf music in the style of Dick Dale and Wray Link, but the fiery stage performance holds more in common with Rev Horton Heat and definitely Screamin’ Jay Hawkins. Formed as a trio in 1992, they included drummer Ed Johnson, bassist Thorsell, and front figure and guitarist Robert Johnson, who had earlier played with the garage band the Bottle-Ups. Robert Johnson & Punchdrunks played live for the first time in Stockholm in 1993, and when the movie Pulp Fiction was released in 1994, the revival of surf rock that followed boosted the interest for the band considerably. In 1995 they released their debut album, Beavershot - Live at Studion, on their own label, Nilroy, and the next year saw the album Feels Like Buzz Aldrin getting great reviews by some of Sweden’s most influential critics. This probably meant more gigs the coming years, but building on kitsch and playing instrumental music effectively prevented Robert Johnson & Punchdrunks from getting a big audience. After the inclusion of bassist Ögren, the band released Aloha in Havana and went on tour with Bob Hund.


ROBERT JOHNSON AND PUNCHDRUNKS SRSCD4750 Fried On The Alter Of Good Taste ***** There's no shortage of coolness here. A great and inventive blend of genres, from Link Wray and surf to space age Star Trek tweakiness, this CD wanders the halls of danger with power and real freshness. The production is imaginative and very effective, and the ideas unique. If you're looking for trad, this isn't it. On the other hand, if you have your adventure hat on, and a bottle of courage in your backpack, this will surely make your day. Robert Johnson is the guitarist responsible for the excellent Swedish band the Bottle Ups. Picks: Sputnik Monroe, On Her Majesty's Secret Service, Ali Pang, Surf As Houdini, Arabesque, Sam Spade's Wedding, Something For Sophia Loren, Galveston Giant, Rope-A-Dope, Rocket True Temper 20 oz., Rubber Room, Escape From New York, Sham, New Interns Watusi


1. Sputnik Monroe
2. On Her Majesty's Secret Service
3. Ali Pang
4. Surf As Houdini
5. Arabesque
6. Sam Spade's Wedding
7. Something For Sophia Loren
8. Galveston Giant
9. Rope-A-Dope
10. Rocket True Temper 20 oz.
11. Rubber Room
12. Escape From New York
13. Sham14. New Interns Watusi

Get it HERE

Stockholm's Own ***ReUp***

Robert Johnson and Punchdrunks

Live Emmaboda 2000


For Brandonio

Robert Johnson And Punchdrunks formed in 1992 with influences from early sixties instrumental music and roots in the Swedish "garagerock" (where you can find bands like The Nomads and others). Robert, or Robban as we call him, used to play in the legendary The Bottle-Ups, a band that was linked together with the rest of the garagebands, but had considerably more in common with Link Wray and Dick "Pulp Fiction" Dale.

The first gig ever was at the Pet Sounds Bar in April 1993 and in 1995 they
recorded the debutalbum "Beavershot - Live at Studion2 and released it on their own label.
In 1996 the first studiorecorded record was released - "Feels like Buzz Aldrin". It was recorded in mono at Jo-Allan's Recording Service in Hallstahammar, Västmanland, Sweden. "Feels like Buzz Aldrin" got great reviews; 8 out of 10 in POP Magazine, happy figures and 4 out of 5s and 6 in Dagens Nyheter, SvD, Nöjesguiden etc. It was raised all up to the skies by Per Bjurman at Aftonbladet and Mats Olsson at Expressen.

The later also used Robert as one of the main characters as a rock heroe in his novel "The Lonely Boys2. Later in 1996 after "Feels like Buzz Aldrin" two vinyl 7" were released - "Thrilla in Manilla/Hoss" and in 1997 "Spy Vs Spy/Theme from the Persuaders". Both singles are now released also on CD alltough in other versions.

The third record from Swedens instrumental-trash-kings Robert Johnson And Punchdrunks was released in October 1997 "Aloha from Havana" described as a big step for mankind, a big step from last record "Feels like Buzz Aldrin" and a big step for rockmusic. Also "Aloha from Havana" is recorded at Jo-Allan's Recording Service and of course in mono.

In december 1997 the group played together with bob hund on their "Rock 'n' roll Is Killing Me" tour. bob hund are big admirers of Robert Johnson And Punchdrunks so there was a natural inventation which continued into the studio. Thomas Öberg and Jonas Jonasson did convinced Robert to record the new record in stereo. The two did not only produced the record, they also played bongos and synths. You can listen to the result on, "Fried On The Altar Of Good Taste", which is the groups most exciting record to date. It was released 15th of Mars.The record was then followed by intense touring, playing at festivals such as Hultsfred, Emmaboda, Storsjöyran and several tours in both Denmark and Norway. Punchdrunks toured also in Sweden together with Dipper and First Floor Power. In the fall of -00 Pelle Ögren left the band due to his new job. He was replaced by Kalle Sjöberg. He had already played a few gigs with Punchdrunks. However "Fried" was a big success. The critics loved it and it sold good. The year 2001 started out in the same manor with a tour in Denmark and a performance at the Nomads' 20:th anniversary. Besides this Punchdrunks recorded 2 songs in the Traxton studio. The songs "Groovin With Mr Bloe /Bladerunner" was meant as a single. It was then we got a call from Fredrik Lindström asking us to wright music for his movie "Känd från TV". The summer of 2001 was spent in the Traxton studio with Thomas Öberg and resulted in the album "Cinemascope-A-Dope" released Sept 21:st

1 Intro

2 Ali Baba and The Forty Rubbers Getaway

3 Galvaston Giant

4 Her Majestys Secret Service

5 Punchdrunks Drive A Dragster

6 Dragster

7 Rocket Tru Temper 20 oz

8 Surf As Houdini

9 Sputniak Monroe

10 Adventure Le Tintin

11 Something For Sophia Loren

12 Rope-A-Dope

13 Arabesque

14 Sham

15 Ali Pang

16 Ghost Train

17 Bird Bath 1

18 Bird Bath 2

19 Rumble

20 Thrilla In Manila

21 Hoss

22 Werewolf

Get it HERE

It's Spacy ***ReUp***

Ultra Lounge, Vol 3: Space Capades


by Richie Unterberger
In the late 1950s and early 1960s, this was the easy listening music that tried to anticipate the space age. Utilizing theremin or spooky organ figures helped, as did then-novel tricks like stereo separation and then-exotic instruments and hi-fi effects. It wasn't just novelty artists that got in on the act; bandleaders Les Baxter and David Rose, who perform some of the 18 tracks assembled here, also tried their hands. This compilation still falls closer to novelty than either innovation or period kitsch (although there's plenty of the latter). Some will complain that I'm not getting into the spirit of the thing, but there's more banality than entertainment here. As amusing as some of these gimmicky records sound upon first or second hearing, it lends itself even less to repeated plays than most of the space age bachelor pad reissues.

1 Gay Spirits David Rose & His Orchestra
2 Lover Richard Marino & His Orchestra
3 Moon Moods Les Baxter & His Orchestra
4 Powerhouse Bobby Hammack Combo
5 Drivin' Around the Block Dickie Harrell
6 Calcutta Les Baxter
7 Holiday for the Strings Voices of Walter Schumann
8 You're the Top Dean Elliott & His Big Band

9 Istanbul (Not Constantinople) Joe Carr, Eighty Drums Around the World
10 Stumbling Tak Shindo
11 Sabre Dance Les Baxter & His Orchestra
12 This Room Is My Castle of Quiet Billy May & His Or ...
13 I Get a Kick Out of You Felix Slatkin
14 Satan Takes a Holiday Jack Malmsten

15 Puttin' on the Ritz Terry Snyder
16 Blues in the Night Alvino Rey & His O ...
17 Saturday Night on Saturn Les Baxter His O ...
18 The Lonesome Road Dean Elliott & His ...

Get it HERE

How To Be Swav & De-Boner ***ReUp***

Ultra Lounge Vol 4

Bachelor Pad Royale


As the title implies, the songs on this 18-song compilation were intended for bachelors who wanted to create a suitably suave atmosphere between the mid-'50s and mid-'60s. So although the music draws from jazz (both big band and cool), lounge pop, and film/TV soundtracks, it's primarily designed to set a mood or background. That means that when it's pushed to the foreground, it really doesn't sound all that entertaining, even as it evokes archetypical (and oft-silly) vibes of a certain era. Martin Denny, Julie London, Nelson Riddle, and a host of no-names from the Capitol vaults bring you that sound here. When an occasional element of excitement, even danger, creeps in (Riddle's "Theme from Route 66," Elliott Fisher's "Theme from Our Man Flint," Jimmie Haskell's "A Shot in the Dark"), the interest level rises, as it does for any slice of good soundtrack music. Otherwise, these days it makes the ambience stuffier, not cooler.

Get it HERE

I'll Play With Mine, You Play With Your Own

The Mummies
Play Their Own Records

About this site:

"The Mummies were a stupid band.
This is their stupid Website.
You cared about them enough to get this far.
Now you are stupid too.
That's the Mummies' curse."
Side one:

That Girl
Test Drive
I'm Bigger Than You
Dirty Robber
Food, Sickles, And Girls
One By One
Out Of Our Tree
Tall Cool One
A Girl Like You
That's Mighty Childish
(Doin') The Kirk

Side two:
The Fly
The House On The Hill
Brought to you with a bullit today by dgrador.
Catch his great blog @
Get it HERE

Sunday, February 26, 2012


Harry Belafonte



Ripped @ 320


by Cary Ginell

This is the album that made Harry Belafonte's career. Up to this point, calypso had only been a part of Belafonte's focus in his recordings of folk music styles. But with this landmark album, calypso not only became tattooed to Belafonte permanently; it had a revolutionary effect on folk music in the 1950s and '60s. The album consists of songs from Trinidad, mostly written by West Indian songwriter Irving Burgie (aka Lord Burgess). Burgie's two most successful songs are included -- "Day O" and "Jamaica Farewell" (which were both hit singles for Belafonte) -- as are the evocative ballads "I Do Adore Her" and "Come Back Liza" and what could be the first feminist folk song, "Man Smart (Woman Smarter)." Calypso became the first million-selling album by a single artist, spending an incredible 31 weeks at the top of the Billboard album charts, remaining on the charts for 99 weeks. It triggered a veritable tidal wave of imitators, parodists, and artists wishing to capitalize on its success. Years later, it remains a record of inestimable influence, inspiring many folksingers and groups to perform, most notably the Kingston Trio, which was named for the Jamaican capital. For a decade, just about every folksinger and folk group featured in their repertoire at least one song that was of West Indian origin or one that had a calypso beat. They all can be attributed to this one remarkable album. Despite the success of Calypso, Belafonte refused to be typecast. Resisting the impulse to record an immediate follow-up album, Belafonte instead spaced his calypso albums apart, releasing them at five-year intervals in 1961, 1966, and 1971.


Saturday, February 25, 2012

My Aim Is Tru

Elvis Costello

The Very Best of Elvis Costello

2001 Rhino Records

Ripped in both FLAC and 320 MP3


by Stephen Thomas Erlewine

When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. A cursory listen to My Aim Is True proves that the main connection that Costello had with the punks was his unbridled passion; he tore through rock's back pages taking whatever he wanted, as well as borrowing from country, Tin Pan Alley pop, reggae, and many other musical genres. Over his career, that musical eclecticism distinguished Costello's records as much as his fiercely literate lyrics. Because he supported his lyrics with his richly diverse music, Costello emerged as one of the most innovative, influential, and best songwriters since Bob Dylan.

The son of British bandleader Ross McManus, Costello (born Declan McManus) worked as a computer programmer during the early '70s, performing under the name D.P. Costello in various folk clubs. In 1976, he became the leader of country-rock group Flip City. During this time, he recorded several demo tapes of his original material with the intention of landing a record contract. A copy of these tapes made its way to Jake Riviera, one of the heads of the fledgling independent record label Stiff. Riviera signed Costello to Stiff as a solo artist in 1977; the singer/songwriter adopted the name Elvis Costello at this time, taking his first name from Elvis Presley and his last name from his mother's maiden name.

With former Brinsley Schwarz bassist Nick Lowe producing, Costello began recording his debut album with the American band Clover providing support. "Less Than Zero," the first single released from these sessions, appeared in April of 1977. The single failed to chart, as did its follow-up, "Alison," which was released the following month. By the summer of 1977, Costello's permanent backing band had been assembled. Featuring bassist Bruce Thomas, keyboardist Steve Nieve, and drummer Pete Thomas (no relation to Bruce), the group was named the Attractions; they made their live debut in July of 1977.

My Aim Is True, his debut album, was released in the summer of 1977 to positive reviews; the album climbed to number 14 on the British charts but it wasn't released on his American label, Columbia Records, until later in the year. Along with Nick Lowe, Ian Dury, and Wreckless Eric, Costello participated in the Stiffs Live package tour in the fall. At the end of the year, Jake Riviera split from Stiff Records to form Radar Records, taking Costello and Lowe with him. Costello's last single for Stiff, the reggae-inflected "Watching the Detectives," became his first hit, climbing to number 15 at the end of the year.

This Year's Model, Costello's first album recorded with the Attractions, was released in the spring of 1978. A rawer, harder-rocking record than My Aim Is True, This Year's Model was also a bigger hit, reaching number four in Britain and number 30 in America. Released the following year, Armed Forces was a more ambitious and musically diverse album than either of his previous records. It was another hit, reaching number two in the U.K. and cracking the Top Ten in the U.S. "Oliver's Army," the first single from the album, also peaked at number two in Britain; none of the singles from Armed Forces charted in America. In the summer of 1979, he produced the self-titled debut album by the Specials, the leaders of the ska revival movement.

In February of 1980, the soul-influenced Get Happy!! was released; it was the first record on Riviera's new record label, F-Beat. Get Happy!! was another hit, peaking at number two in Britain and number 11 in America. Later that year, a collection of B-sides, singles, and outtakes called Taking Liberties was released in America; in Britain, a similar album called Ten Bloody Marys & Ten How's Your Fathers appeared as a cassette-only release, complete with different tracks than the American version.

Costello and the Attractions released Trust in early 1981; it was his fifth album in a row produced by Nick Lowe. Trust debuted at number nine in the British charts and worked its way into the Top 30 in the U.S. During the spring of 1981, Costello and the Attractions began recording an album of country covers with famed Nashville producer Billy Sherrill, who recorded hit records for George Jones and Charlie Rich, among others. The resulting album, Almost Blue, was released at the end of the year to mixed reviews, although the single "A Good Year for the Roses" was a British Top Ten hit.

Costello's next album, Imperial Bedroom (1982), was an ambitious set of lushly arranged pop produced by Geoff Emerick, who engineered several of the Beatles' most acclaimed albums. Imperial Bedroom received some of his best reviews, yet it failed to yield a Top 40 hit in either England or America; the album did debut at number six in the U.K. For 1983's Punch the Clock, Costello worked with Clive Langer and Alan Winstanley, who were responsible for several of the biggest British hits in the early '80s. The collaboration proved commercially successful, as the album peaked at number three in the U.K. (number 24 in the U.S.) and the single "Everyday I Write the Book" cracked the Top 40 in both Britain and America. Costello tried to replicate the success of Punch the Clock with his next record, 1984's Goodbye Cruel World, but the album was a commercial and critical failure.

After the release of Goodbye Cruel World, Costello embarked on his first solo tour in the summer of 1984. Costello was relatively inactive during 1985, releasing only one new single ("The People's Limousine," a collaboration with singer/songwriter T-Bone Burnett released under the name the Coward Brothers) and producing Rum Sodomy and the Lash, the second album by the punk-folk band the Pogues. Both projects were indications that he was moving toward a stripped-down, folky approach, and 1986's King of America confirmed that suspicion. Recorded without the Attractions and released under the name the Costello Show, King of America was essentially a country-folk album and it received the best reviews of any album he had recorded since Imperial Bedroom. It was followed at the end of the year by the edgy Blood and Chocolate, a reunion with the Attractions and producer Nick Lowe. Costello would not record another album with the Attractions until 1994.

During 1987, Costello negotiated a new worldwide record contract with Warner Bros. Records and began a songwriting collaboration with Paul McCartney. Two years later, he released Spike, the most musically diverse collection he had ever recorded. Spike featured the first appearance of songs written by Costello and McCartney, including the single "Veronica." "Veronica" became his biggest American hit, peaking at number 19. Two years later, he released Mighty Like a Rose, which echoed Spike in its diversity, yet it was a darker, more challenging record. In 1993, Costello collaborated with the Brodsky Quartet on The Juliet Letters, a song cycle that was the songwriter's first attempt at classical music; he also wrote an entire album for former Transvision Vamp singer Wendy James called Now Ain't the Time for Your Tears. That same year, Costello licensed the rights to his pre-1987 catalog (My Aim Is True to Blood and Chocolate) to Rykodisc in America.

Costello reunited with the Attractions to record the majority of 1994's Brutal Youth, the most straightforward and pop-oriented album he had recorded since Goodbye Cruel World. The Attractions backed Costello on a worldwide tour in 1994 and played concerts with him throughout 1995. In 1995, he released his long-shelved collection of covers, Kojak Variety. In the spring of 1996, Costello released All This Useless Beauty, which featured a number of original songs he had given to other artists, but never recorded himself. Painted from Memory, a collaboration with the legendary Burt Bacharach, followed in 1998.

The album was a success critically, but it only succeeded in foreign markets, outside of their home countries of the United States and Britain. A jazz version of the record made with Bill Frisell was put on hold when Costello's label began to freeze up due to political maneuvering. Undaunted, Costello and Bacharach hit the road and performed in the States and Europe. Then, after Bacharach left, Costello added Steve Nieve to the tour and traveled around the world on what they dubbed the Lonely World Tour. This took them into 1999, when both Notting Hill and Austin Powers: The Spy Who Shagged Me featured significant contributions from Costello. In fact, he appeared with Bacharach in the latter as a pair of Carnaby Street musicians, albeit street musicians with a gorgeous grand piano at their disposal.

Continuing his tour with Nieve, he began singing the last song without a microphone, forcing the audience to sit in complete silence as he usually performed "Couldn't Call It Unexpected, No. 4" with nothing but his dulcet baritone filling the auditorium. After the record company's various mergers ended, Costello found himself on Universal Records and tested their promotional abilities with a second greatest-hits record (The Very Best of Elvis Costello). The label promoted the album strongly, making it a hit in his native Britain. Unfortunately, they also made it clear that they had no intention of giving a new album the same promotional push, leaving him to venture into other fields as he awaited the end of his record contract. His first project was an album of pop standards performed with Anne Sofie Von Otter, which included a few songs originally written by Costello. The album was released in March 2001 on the Deutsche Grammophon label, neatly coinciding with the extensive re-release of his entire catalog up to 1996 under Rhino Records. Each disc included an extra CD of rare material and liner notes written by Costello himself, making them incredible treats for fans.

In 2001, he found himself with a residency at UCLA, where he performed several concerts and was instrumental in teaching music during the year. He also began work on a self-produced album that featured Pete Thomas and Nieve -- now billed as a band called the Imposters -- entitled When I Was Cruel, and the album finally found release via Island Records in the spring of 2002; at the end of the year, he released a collection of B-sides and leftovers from the album's sessions entitled Cruel Smile.

When I Was Cruel kicked off another productive era for the ever prolific Costello. In 2003, he returned with North, a collection of classically styled pop songs pitched halfway between Gershwin and Sondheim. The next year, he collaborated with his new wife, Diana Krall, on her first collection of original material, The Girl in the Other Room. That fall, Costello released two albums of his own original material: a classical work entitled Il Sogno and the concept album The Delivery Man, a rock & roll record cut with the Imposters. Issued in 2006, My Flame Burns Blue was a live album with Costello fronting the 52-piece jazz orchestra the Metropole Orkest; the release featured classic Costello songs (with new orchestral arrangements) alongside new compositions and a performance of the entire Il Sogno.

The River in Reverse, a collaboration with R&B legend Allen Toussaint, arrived in 2006, followed by Momofuku, another effort credited to Elvis Costello & the Imposters, in 2008. That same year, Costello teamed up with veteran producer T-Bone Burnett for a series of recording sessions, the results of which were compiled into Secret, Profane & Sugar Cane and readied for release in early 2009. The pair also recorded a second album, National Ransom, which appeared the following year. In 2011 Costello & the Imposters released The Return of the Spectacular Spinning Songbook!!!, which was recorded live over a two-day stint at the Wiltern in Los Angeles.


Disc One

  1. "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe) (single, 1978) – 3:31
  2. "Oliver's Army" (from Armed Forces, 1979) – 2:57
  3. "Watching the Detectives" (single, 1977) – 3:43
  4. "Alison" (from My Aim Is True, 1977) – 3:21
  5. "(I Don't Want to Go To) Chelsea" (from This Year's Model, 1978) – 3:07
  6. "Accidents Will Happen" (from Armed Forces, 1979) – 3:01
  7. "Pump It Up" (from This Year's Model, 1978)– 3:13
  8. "I Can't Stand Up for Falling Down" (Homer Banks, Alan Jones) (from Get Happy!!, 1980)– 2:05
  9. "Radio Radio" (single, 1978) – 3:06
  10. "Clubland" (from Trust, 1981) – 3:43
  11. "Good Year for the Roses" (Jerry Chesnut) (from Almost Blue, 1981) – 3:35
  12. "Man Out of Time" (from Imperial Bedroom, 1982) – 5:25
  13. "I Wanna Be Loved" (Farnell Jenkins) (from Goodbye Cruel World, 1984) – 4:46
  14. "Everyday I Write the Book" (from Punch the Clock, 1983) – 3:52
  15. "Brilliant Mistake" (Declan MacManus) (from King of America, 1986) – 3:41
  16. "The Other Side of Summer" (MacManus) (from Mighty Like a Rose, 1991) – 3:53
  17. "Tokyo Storm Warning" (MacManus) (from Blood and Chocolate, 1986) – 6:23
  18. "Sulky Girl" (MacManus) (from Brutal Youth), 1994) – 5:04
  19. "So Like Candy" (MacManus, McCartney) (from Mighty Like a Rose, 1991) – 4:35
  20. "Veronica" (MacManus, McCartney) (from Spike, 1989) – 3:07
  21. "She" (Charles Aznavour, Herbert Kretzmer) (from Soundtrack to Notting Hill, 1999) – 3:05
Disc two
  1. "Big Tears" (from This Year's Model, 1978) – 3:10
  2. "Beyond Belief" (from Imperial Bedroom, 1982) – 2:33
  3. "Lipstick Vogue" (from This Year's Model, 1978) – 3:31
  4. "Green Shirt" (from Armed Forces, 1979) – 2:44
  5. "Pills and Soap" (from Punch the Clock, 1983) – 3:43
  6. "Tramp the Dirt Down" (MacManus) (from Spike), 1989)– 5:41
  7. "Shipbuilding" (Costello, Clive Langer) (from Punch the Clock, 1983)– 4:51
  8. "High Fidelity" (from Get Happy!!, 1980) – 2:28
  9. "New Lace Sleeves" (from Trust, 1981) – 3:47
  10. "(The Angels Wanna Wear My) Red Shoes" (from My Aim Is True, 1977) – 2:46
  11. "Talking in the Dark" (single, 1979) – 1:57
  12. "New Amsterdam" (from Get Happy!!, 1980) – 2:13
  13. "I Hope You're Happy Now" (from Blood and Chocolate, 1986) – 3:07
  14. "Riot Act" (from Get Happy!!, 1980) – 3:34
  15. "My Funny Valentine" (Lorenz Hart, Richard Rodgers) (B-side from "Oliver's Army" single, 1979) – 1:29
  16. "Indoor Fireworks" (from King of America, 1986) – 4:09
  17. "Almost Blue" (from Imperial Bedroom, 1982) – 2:49
  18. "I Want You" (from Blood and Chocolate, 1986) – 6:43
  19. "God Give Me Strength" (Burt Bacharach, Costello) (from Painted from Memory, 1998) – 6:10
  20. "That Day Is Done" (MacManus, McCartney) (I Couldn't Hear Nobody Pray, 1997) – 5:10
  21. "I Want to Vanish" (from All This Useless Beauty, 1996) – 3:14

Served in both FLAC and 320MP3

Get it HERE FLAC Disc 1

Get it HERE FLAC Disc 2

Get it HERE MP3 Disc 1

Get it HERE MP3 Disc 2

Did not hear anything +/- regarding the inclusion of the FLAC files on the last post.

Is it worth the extra effort???


Friday, February 24, 2012

One Of My All-Time Favorites

Neil Young

Everybody Knows This Is Nowhere


Ripped in FLAC and 320 MP3

W/ 3% Recovery


by William Ruhlmann

Neil Young's second solo album, released only four months after his first, was nearly a total rejection of that polished effort. Though a couple of songs, "Round Round (It Won't Be Long)" and "The Losing End (When You're On)," shared that album's country-folk style, they were altogether livelier and more assured. The difference was that, while Neil Young was a solo effort, Everybody Knows This Is Nowhere marked the beginning of Young's recording association with Crazy Horse, the trio of Danny Whitten (guitar), Ralph Molina (drums), and Billy Talbot (bass) that Young had drawn from the struggling local Los Angeles group the Rockets. With them, Young quickly cut a set of loose, guitar-heavy rock songs -- "Cinnamon Girl," "Down by the River," and "Cowgirl in the Sand" -- that redefined him as a rock & roll artist. The songs were deliberately underwritten and sketchy as compositions, their lyrics more suggestive than complete, but that made them useful as frames on which to hang the extended improvisations ("River" and "Cowgirl" were each in the nine-to-ten-minute range) Young played with Crazy Horse and to reflect the ominous tone of his singing. Young lowered his voice from the near-falsetto employed on his debut to a more expressive range, and he sang with greater confidence, accompanied by Whitten and, on "Round Round," by Robin Lane. Everybody Knows This Is Nowhere was breathtakingly different when it appeared in May 1969, both for Young and for rock in general, and it reversed his commercial fortunes, becoming a moderate hit. (Young's joining Crosby, Stills & Nash the month after its release didn't hurt his profile, of course.) A year and a half after its release, it became a gold album, and it has since gone platinum. And it set a musical pattern Young and his many musical descendants have followed ever since; almost 30 years later, he was still playing this sort of music with Crazy Horse, and a lot of contemporary bands were playing music clearly influenced by it.


  1. Cinnamon Girl
  2. Everybody Knows This Is Nowhere
  3. Round & Round (It Won't Be Long)
  4. Down by the River
  5. The Losing End (When You're On)
  6. Running Dry (Requiem for the Rockets)
  7. Cowgirl In The Sand

As this is one of my favorite albums I'm posting it in both FLAC and 320 MP3 versions. This is my first try at offering FLAC recordings, generated using the highest settings possible.

Please let me know how you like it.

Get it HERE in FLAC

Get it HERE in 320 MP3

Sunday, February 19, 2012

I Like My Reverburritos Wet & Hot! ***ReUp***

The Reverburritos

Ripped @ 320 w/ 3% Recovery

From Little Rock, Arkansas!

Originally formed in the summer of '02, the Reverburritos immediately set out to master a wide variety of classic as well as modern "surf/instro" tunes. Steeping themselves in the music of (among others) The Ventures, The Sandblasters, Satan's Pilgrims, Slacktone, Los Straitjackets, Pollo Del Mar, Link Wray, Dick Dale, Herb Alpert, the Aqua Velvets and Man or Astroman?, the band began to develop it's own brand of reverb-soaked instrumental surf madness. The writing of original material soon followed as the band began to hone new "chops" and gain confidence in their own material. The uniqueness of the Reverburritos sound and choice of material sets them apart from the rap/metal, pop/punk and alt country bands that abound in the local Little Rock music scene.Tim Moritz (guitar) has played in and/or been associated with a variety of musical acts including: the Dirt Clods, Groove Handle, Dr. Demento, G.G. Allin and as a solo singer/songwriter. Bruce Hulsey (bass guitar) has played in such local Arkansas legends as: the Caterwaulers and the Gun Bunnies. Last but not least...Paul Shell (drums) has played with the Dirt Clods, the Meanderthals, Kat Hood and Deja Voodoo locally.The indvidual band member's experiences and cohesiveness as musicians give the Reverburritos!! a clearly singular sound. Dubbed by the Little Rock Free Press as "the tightest 3 piece instumental surf band around", the Reverburritos!! are an enjoyable and fun band to experience. Plus... they rock like a mofo! Hope to see you at a show or party near you!

1 Go Pills !
2 Drive By
3 Magic Carpet Shop (Of Horrors)
4 Durn the Torpedoes
5 Hawg Leg
6 Martini Sunset
7 Hammerhead
8 Eleki Gitaa
9 Das Boot
10 County Line Burnout
11 Fistful of Wistful
12 Jumping Bean
13 Tin Star

Get it HERE