Linda Thompson - Discography Yes, yes, Richard Thompson is a musical genius and one of the best songwriters of the entire folk-rock genre and a guitarist of (justifiably) legendary abilities, but what initially drew me to his work was the vocals of his former wife, the incomparable Linda Thompson. This is an almost complete discography of her solo releases. If anyone has a copy of her 1985 album, One Clear Moment (especially the Rhino remastered edition, with a plethora of bonus tracks), please please please post it. I have it on vinyl--but no way to mp3 it. From allmusic: Born Linda Pettifer, Linda Thompson, then known as Linda Peters, made an inauspicious debut as half of Paul & Linda in 1968. The duo, which included singer Paul McNeill, recorded two singles, the first being a cover of Bob Dylan's "You Ain't Goin' Nowhere" for MGM in the U.K. In 1972, following a couple of years of session work, singing commercial jingles, and working the folk clubs around Lon! don, she teamed with friend Sandy Denny and other assorted members of the British folk-rock scene to record Rock On, a collection of early rock & roll favorites, under the name of the Bunch. She was featured on the King-Goffin classic "The Loco-Motion" and a beautiful duet with Denny on Phil Everly's "When Will I Be Loved." Peters met Fairport Convention guitarist and songwriter Richard Thompson in 1969, but did not work with him until 1972 when they performed together on the Rock On record and later that year on Richard's solo debut, Henry the Human Fly. That same year, Richard and Linda were married, and in 1974, with the now classic I Want to See the Bright Lights Tonight, began a musical partnership that would span nearly ten years and six critically acclaimed, yet commercially unsuccessful, albums. During this time Linda would also make her mark as one of the finest female voices in pop music. The Thompsons' musical, as well as personal, relationship came t! o an end just as they were gaining some long overdue notoriety! , especi ally in the U.S., with their brilliant and moving 1982 release Shoot Out the Lights. The record, recorded on a shoestring budget for tiny Hannibal Records, has been widely heralded as one of the true masterpieces of the rock & roll era and garnered Linda Thompson honors as Female Vocalist of the Year in many year-end critics polls. 1982 also saw the couple embark on their first and only U.S. tour. Following the breakup, Linda performed in the English theater, touring with The Mysteries and appearing in the National Theatre's production of Don Quixote, before signing with Warner Bros. Records in 1985. The subsequent record, One Clear Moment, produced by Hugh Murphy (Gerry Rafferty), turned out to be her only post-Richard album. Hysterical dysphonia, a psychological inability to produce speech sounds which had plagued Thompson on and off throughout her career, eventually ended it. A project for CBS in the late '80s was aborted because of her vocal difficulties, althoug! h one track from those sessions, a reworking of Richard and Linda's classic "Dimming of the Day," eventually surfaced on the 1996 compilation Dreams Fly Away. Thompson, having retired from music and running an antique jewelry shop in London, had some success as a songwriter, mostly in collaboration with Betsy Cook. Their "Telling Me Lies," recorded for the Trio LP by Dolly Parton, Linda Ronstadt, and Emmylou Harris, earned the pair a Grammy nomination for 1987's Country Song of the Year, with Thompson and Cook performing it on the broadcast. Thompson resurfaced in 2002 with Fashionably Late, her first new record in 17 years, on Rounder Records. A second Rounder release, Versatile Heart, appeared in 2007. Linda Thompson - Tudor Lodge Demos (1972) Shortly before marrying Richard Thompson, Linda (then known as Linda Peters) joined the progressive folk rock group Tudor Lodge for a series of demos. And here they are, highlighted by a lovely cover of Carole King's "It! 's Going to Take Some Time." Taken from the Tudor Lodge cd! , "It Al l Comes Back." TRACKS 01 Morocco 02 It's Going to Take Some Time 03 Look at Me Quality - 320 kbs Password - highqualitymp3 Code:Linda Thompson - Dreams Fly Away From allmusic: Dreams Fly Away, a retrospective of the career of Linda Thompson, is a terrific introduction to one of the great female voices in popular music. With a healthy dose of rare and unreleased tracks, along with previously available material from her career with Richard Thompson and solo, this is a must for fans and novices alike. The unreleased gems include a haunting, live "The Great Valerio," what may be the definitive version of Sandy Denny's "I'm a Dreamer" from the Gerry Rafferty-produced Shoot Out the Lights sessions, and "Pavanne," recorded live in Hamburg, Germany. TRACKS 01 Lonely Hearts 02 Walking on the Wire [Alternative Take] 03 I Live Not Where I Love 04 Sometimes It Happens 05 For Shame of Doing Wrong 06 Talking Like a Man [Remixed B Side] 07 Sisters 08 Shay Fan Yan Ley 09 One Clear M! oment [Remix] 10 First Light [Demo] 11 Pavanne [Live] 12 Many Dreams Must Fly Away 13 I Want to See the Bright Lights Tonight 14 The Great Valerio [Live] 15 Insult to Injury 16 The Poor Boy Is Taken Away 17 Blackwaterside 18 Telling Me Lies 19 I'm a Dreamer [From the Rafferty Sessions] 20 Dimming of the Day [New Version, Previously Unreleased] Quality - 320 kbs Password - highqualitymp3 Code:Linda Thompson - Give Me a Sad Song (2001) From allmusic: A follow-up to Dreams Fly Away, Give Me a Sad Song is a compilation of rarities and previously unreleased material spanning the years 1970-1986. As its title suggests, it is a melting pot of grievous tales whose poignancies are revealed by Thompson's ever-emotive vocals. Of particular note is a chilling performance of Leonard Cohen's "Story of Isaac," taken from a pre-Richard 1970 session with Martin Carthy on guitar. Five tracks are taken from this set of demos for Tangent records and also include David Ackles' mourn! ful "Down River" and a sparse version of Lennon/McCartney'! s "Get B ack." Ironically, some of the album's best tracks are mid-'80s collaborations between Thompson and Betsy Cook, when Thompson's career had fallen into relative obscurity. As is typical of the period, too-glossy production values tend to mar the songs' elegance and simplicity. The album finishes with a sublime rendition of John Prine's "Aimless Love." TRACKS 01 Story of Isaac 02 Down River 03 Fire and Rain 04 From a City Balcony 05 Get Back 06 Sometimes It Happens 07 Embroidered Butterflies 08 After Frost 09 You Missed the Sunflowers at Their Height 10 Restless Boy 11 The World Is a Wonderful Place 12 Abandoned 13 Hell, High Water and Heartache 14 Her Father Was a Sailor 15 When I Mention Love 16 Give Me a Sad Song 17 Aimless Love Quality - 320 kbs Password - highqualitymp3 Code: Linda Thompson - Fashionably Late (2001) From allmusic: Linda Thompson's first recording in 17 years is a stunning brace of poetics and grace. For a woman who literally lost her vo! ice for more than a decade due to a stress disorder, Thompson reveals that she is at full strength as a vocalist, and perhaps more importantly, with this recording she clearly establishes herself as a songwriter as well....This is a comeback record to be proud of; it not only sates the appetite of those fans who felt Linda Thompson left the scene too abruptly, but it is also the British folk record that everyone interested in the genre has been waiting such a long time for. NB: The first track, Dear Mary, features Richard Thompson (and her ren Teddy and Kamila), on their first recording together since 1982. TRACKS 01 Dear Mary 02 Miss Murray 03 All I See 04 Nine Stone Rig 05 No Telling 06 Evona Darling 07 The Banks of the Clyde 08 Weary Life 09 Paint and Powder Beauty 10 Dear Old Man of Mine Quality - 320 kbs Password - highqualitymp3 Code: Linda Thompson - Versatile Heart (2007) From allmusic: Thompson's heart may be versatile, but her forte is her ability to imbue songs ! of remorse, loss, and frustrated desire with a soulful beauty ! and an i mplied state of grace. Every album is deeper, more sensitive, and more inspiring than the last -- and this one is no exception. TRACKS 01 Stay Bright 02 Versatile Heart 03 The Way I Love You 04 Beauty 05 Katy Cruel 06 Nice Cars 07 Do Your Best for Rock 'n Roll 08 Day After Tomorrow 09 Blue & Gold 10 Give Me a Sad Song 11 Go Home 12 Whisky, Bob Cooper and Me 13 Stay Bright Quality - 320 kbs Password - highqualitymp3 Code:
Part: 2 : Animal Collective - Merriweather Post Pavillon (2009)
Password: sharedmp3.net
ARTiST: Animal Collective
ALBUM: Merriweather Post Pavillon
BiTRATE: 202kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: Domino
GENRE: Indie
SiZE: 83.21 megs
PLAYTiME: 0h 54min 42sec total
RiP DATE: 2009-01-09
STORE DATE: 2009-01-09
Track List:
--------
01. In The Flowers 5:22
02. My Girls 5:40
03. Also Frightened 5:14
04. Summertime Clothes 4:30
05. Daily Routine 5:46
06. Bluish 5:13
07. Guy's Eyes 4:30
08. Taste 3:53
09. Lion In A Coma 4:12
10. No More Runnin' 4:23
11. Brother Sport 5:59
Release Notes:
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With their constantly evolving sonic identity, in-your-face vocal mannerisms,
and open-ended ideas about what their music might "mean," Animal Collective seem
designed to inspire obsessive fans and vociferous detractors in equal measure.
Merriweather Post Pavilion, their latest full-length, has been anticipated to an
almost ridiculous degree, with blogs and message boards lighting up with each
scrap of new information or word of a possible leak. No one who's been looking
forward to it should be disappointed. Everything that's defined the band to this
point-- all those strands winding through their hugely diverse [CENSORED]-- is
refined and amplified here.
Since their inception, Animal Collective have wandered the territorial edges of
music, scoping out where boundaries had been erected and looking beyond them.
They've punctuated perfectly likeable indie rock songs with bleating
vocalizations. They've seeded pretty instrumentals with irritating noise.
They've juxtaposed West African rhythms and melodies cribbed from British folk.
They've stayed on a single chord for 10 minutes. But Merriweather feels like a
joyous meeting in a well-earned, middle place-- the result of all their
explorations pieced together to create something accessible and complete.
Although it will be tagged as Animal Collective's "pop" album, Merriweather Post
Pavilion remains drenched in their idiosyncratic sound, a record that no one
else could have made. The album is named for a Maryland venue that last year
played host to Santana, Sheryl Crow, and John Mayer, but its songs won't be
heard on the radio, and besides, Animal Collective's M.O. requires them to exist
outside of rigid formats. Nonetheless, they've found a natural way to integrate
the sing-along melodies, sticky hooks, and driving percussion that have long
been hallmarks of celebratory popular music.
Animal Collective's two vocalists, Dave Portner (aka Avey Tare) and Noah Lennox
(aka Panda Bear), have never sounded better together, and the way their styles
complement each other is the story of the album. On the one hand you have
Panda's straightforward melodies, his fuzzy, head-in-the-clouds dreaminess, and
his instinctual trawl through pop music history. The tracks that favor his
songwriting typically have an underlying sense of drone, with everything moving
forward along a line in relation to some subliminal center: They begin, then
build, expand, and contract. Tare, meanwhile, tends to work within a more
classic pop structure, with clear bridges and snappy choruses, greater harmonic
development, and a sharper lyrical focus. Here, he reins in the blurting
vocalizations that he's so often used as punctuation (the hardcore faithful
might miss this unhinged emoting just a little). Both songwriters are on exactly
the same page and, working with sonic spelunker Brian "Geologist" Weitz and
producer Ben Allen (no Josh "Deakin" Dibb this time), they've found a sumptuous
musical background for their most accomplished songs.
Merriweather is the kind of album on which any song could be someone's favorite,
but two will likely reign as the choice picks: "My Girls" and "Brother Sport",
both of which leaked prior to the record's release, contain the album's most
effervescent moments, drawing from the communal energy of the group's
astonishing live show. "My Girls" grows from a synth-speckled, half-speed intro
into a booming electro-pop burner with handclaps and deep bass-- a towering
edifice of sound trailed by long wisps of West coast harmonies. The
Afro-Brazilian-flavored "Brother Sport" moves from one chanted melodic nugget to
the next before building to a huge swirl of psychedelic sound that encompasses
rave sirens and immersive tribal drums.
But these obvious peaks would have less resonance if not for the more subtle
moments. The oblong architecture of "Daily Routine" hearkens back to the band's
less stable earlier days, as it moves appealingly from an awkward organ-based
mid-tempo number to a long, droney coda that has the ego-pulverizing bliss of
shoegaze. The surging thrust of distortion and drumkick that propels "Summertime
Clothes" starts with an almost militaristic pomp, but the song soon reaches a
place of pure sweetness with a simple chorus hook ("I want to walk around with
you") that could have come from any point in the last 100 years. Similarly
out-of-time sentiments mark "Bluish"-- lines like "I'm getting lost in your
curls," or, "Some kind of magic in the way you're lying there"-- and the music
has the airy ease of 1970s soft-rock that weirdly winds up a little
disconcerting. And then "Also Frightened" has the dislocated swoon of first-wave
psychedelia, a "See Emily Play"-style mediation on the small insanity of
[CENSORED]hood softened with billowing layers of voices.
The lyrics focus on the body, basic human connection, the need to take care of
oneself, the puzzle of existence. Where the churning electronic sound, with its
fizzes and echoes and underwater cast, brings to mind altered states and the
confusing gap between the familiar and the strange, the words seem like a
running commentary on the essential mystery of being alive. Animal Collective
don't tell stories, and their music rarely has characters; there's little clever
wordplay and fewer money lines you'll repeat later on. Rather, the words
reinforce the sense of vulnerability that cuts through the music, and wind up
being an essential component on an album that oozes confidence from every pore.
Music obsessives talk a lot about originality-- whether it's important, or why
having a new sound should or shouldn't matter. In recent years, some fantastic
albums have turned a number of people off for being retreads, which has sparked
some interesting discussions. This album, which finds Animal Collective
completely owning their unique sound, feels like the crucial next step in that
conversation. What they've constructed here is a new kind of electronic pop--
one which is machine-generated and revels in technology but is also deeply
human, never drawing too much attention to its digital nature. It's of the
moment and feels new, but it's also striking in its immediacy and comes across
as friendly and welcoming. Animal Collective have spent the decade following
their own path, figuring out what their music is capable of while also working
to bring more listeners into their world. On Merriweather Post Pavilion, their
commitment has paid off tremendously.
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