Playlist
Some music from this album...... Everybody loves somebody Youre nobody til somebody loves you Nobodys Baby again Every minute every hour
Dean Martin's Greatest Hits, Vol. 1
Dean Martin
Everybody Loves Somebody
Year: 2000

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Legendary singer/songwriter and five-time Grammy Award winning artist James Taylor presents his first collection of original recordings in over 13 years! The album, Before This World, available on June 16th, will be released prior to US tour dates that includes a sold out performance at Fenway Park in Boston, MA on August 6th. Before This World follows his highly successful recording with Carole King, Live at the Troubadour, which was certified GOLD by the RIAA upon its 2010 release.The Deluxe Edition features the Before This World CD along with a DVD of 'There We Were: The Making of James Taylor's Before This World'.
Before This World
James Taylor
Angels Of Fenway

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Grammy Award-winning singer, songwriter, and musician John Mayer returns with his new album Paradise Valley, which he produced with longtime collaborator Don Was. The first single is the track Paper Doll. This album coincides with John's first US tour in three years, which will hit 40 cities from July 6th through early October.
Paradise Valley
John Mayer
Waitin' On the Day

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The first thing that hits you about Grinderman 2 is that you ve never heard anything like it. The debut album did its job. It defined the band. It marked a clear contrast with Nick Cave & The Bad Seeds. Nick, Warren, Martyn & Jim forged a distinctly different way of working together. They cast off musical baggage, shrugged off accepted wisdom, and tested pre conceptions about who they were as musicians. In the process, they took to the Bad Seeds hallowed legacy with a baseball bat. Their new album, Grinderman 2 combines the structured invention of their live performance and the unrestrained free for all of their studio improvisation. But these guys also know something about the art of writing songs. Grinderman 2 bears the hallmark of its rapturously received predecessor, yet is more open ended in its structure, more far reaching in its scope, and gloriously lost in its own transports of noise and rhythm.
Grinderman 2
Grinderman
Evil!
Year: 2010

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Born and Raised
John Mayer
The Age of Worry
Year: 2012

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Brand new.
Dutch Uncles
Dutch Uncles
Face In

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Sometimes I Sit and Think, And Sometimes I Just Sit
Courtney Barnett
Pedestrian at Best

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Sometimes I Sit and Think, And Sometimes I Just Sit
Courtney Barnett
Pedestrian at Best

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Laura Marling returns with her fifth studio album in seven years Short Movie. The album, a follow up to 2013's Mercury Prize nominated Once I Was An Eagle, marks a new chapter in her sound and artistic development. Short Movie sees Marling move into new musical territory and may surprise fans with its prevalence of electric guitar. The album is freer and looser sounding than anything she has done before. Marling produced the album, was recorded at Urchin Studios in London and aided by her long time drummer Matt Ingram and studio engineer Dan Cox.
Short Movie
Laura Marling
False Hope

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Fountains of Wayne's second album is somewhat of a new thing under the sun: Pet Sounds for '90s Jersey high schoolers. Main-men Adam Schlesinger and Chris Collingwood litter these songs with cultural references (Pink Floyd laser shows, tattoos, Puff Daddy, lavender Lexuses, "You Dropped a Bomb on Me"), but their "Valley of Malls" is saturated with as much bittersweetness as that of Adam Sandler's wedding singer. The pop-savvy Schlesinger--who also puts in time as a member of Ivy and wrote That Thing You Do!'s title song--is wiseacre enough to dub a touching ELO tribute "Prom Theme," but when the album ends with one of the kids falling for "The Senator's Daughter," it feels as openhearted as when Brian Wilson puzzled over why he just wasn't made for these times. --Rickey Wright
Utopia Parkway
Fountains of Wayne
Troubled Times
Year: 1999

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After working with Burnett numerous times most recently on the soundtrack for the Joel and Ethan Coen film Inside Llewyn Davis and the related Town Hall/Showtime concert Another Day, Another Time Punch Brothers decided to join forces with the multiple Grammy Award winning producer for their new record. Last summer, the band and Burnett spent a month at Hollywood s Ocean Way Recording laying down the songs that guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, mandolinist and lead singer Chris Thile, and fiddler Gabe Witcher had written during several writing retreats last winter and spring.Thile explains one of the ways the music on The Phosphorescent Blues reflects the band s view of modern life: We often go to bars after shows or writing sessions, to be around other people for a little while. And I d see people just like me on their phones, telling people they wish they were there, texting people who really are there. Then a song would come on that somebody likes and then they see that someone else does too and maybe they both sing it together and that moment is spiritual, some shared experience, and they are interacting in the flesh, with their fellow man. And that s communion. Many of the songs on this record dive into that: how do we cultivate beautiful, three-dimensional experiences with our fellow man in this day and age? Shortly before the sessions began, Thile and Witcher met with Burnett and discovered the producer had the very same things on his mind. In fact, he d just given a commencement address at the University of Southern California on the subject of technology and human interaction. Witcher remembers, Thile and I looked at each and said, This is unbelievable. It s exactly what we are writing about. So this was a perfect, serendipitous union.
The Phosphorescent Blues
Punch Brothers
Familiarity

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After working with Burnett numerous times most recently on the soundtrack for the Joel and Ethan Coen film Inside Llewyn Davis and the related Town Hall/Showtime concert Another Day, Another Time Punch Brothers decided to join forces with the multiple Grammy Award winning producer for their new record. Last summer, the band and Burnett spent a month at Hollywood s Ocean Way Recording laying down the songs that guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, mandolinist and lead singer Chris Thile, and fiddler Gabe Witcher had written during several writing retreats last winter and spring.Thile explains one of the ways the music on The Phosphorescent Blues reflects the band s view of modern life: We often go to bars after shows or writing sessions, to be around other people for a little while. And I d see people just like me on their phones, telling people they wish they were there, texting people who really are there. Then a song would come on that somebody likes and then they see that someone else does too and maybe they both sing it together and that moment is spiritual, some shared experience, and they are interacting in the flesh, with their fellow man. And that s communion. Many of the songs on this record dive into that: how do we cultivate beautiful, three-dimensional experiences with our fellow man in this day and age? Shortly before the sessions began, Thile and Witcher met with Burnett and discovered the producer had the very same things on his mind. In fact, he d just given a commencement address at the University of Southern California on the subject of technology and human interaction. Witcher remembers, Thile and I looked at each and said, This is unbelievable. It s exactly what we are writing about. So this was a perfect, serendipitous union.
The Phosphorescent Blues
Punch Brothers
My Oh My

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Greg Howe's highly technical, yet very melodic, guitar style has established him as one of the most innovative guitar instrumentalists of our time and a true guitarist s guitarist. On Sound Proof , Greg has assembled a hot band that has gelled together to create a freshly unified sound. This record is a veritable smorgasbord of hot chops as each player never fails to impress on these awesome jazz/rock/fusion compositions.
Sound Proof
Greg Howe
Tell Me Something Good
Year: 2008

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Sandwiched between the solitary, heart-on-her-sleeve confessions of Blue and the ravishing pop of Court and Spark, 1972's For the Roses captures Joni Mitchell in a deceptively subdued period of transition. Still hewing to a spare sound, Mitchell ventures beyond the elegant folk sources of earlier records to explore her love of blues and jazz-based harmony, writing as much on piano as guitar; thematically, the earnest reveries and heartbroken dirges of before give way to a more detached, even journalistic perspective and darker, grittier settings, most strikingly on "Cold Blue Steel and Sweet Fire." "You Turn Me On, I'm a Radio" was the set's nominal hit, yet in hindsight the keepers here are found in evolutionary pieces like the jazz-tinged "Barangrill," the rock-infused "Blonde in the Bleachers," and in more sober meditations like "Woman of Heart and Mind"--testaments to her restless growth and signposts to the more mature music ahead. --Sam Sutherland
For the Roses
Joni Mitchell
Cold Blue Steel and Sweet Fire
Year: 1972

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Sandwiched between the solitary, heart-on-her-sleeve confessions of Blue and the ravishing pop of Court and Spark, 1972's For the Roses captures Joni Mitchell in a deceptively subdued period of transition. Still hewing to a spare sound, Mitchell ventures beyond the elegant folk sources of earlier records to explore her love of blues and jazz-based harmony, writing as much on piano as guitar; thematically, the earnest reveries and heartbroken dirges of before give way to a more detached, even journalistic perspective and darker, grittier settings, most strikingly on "Cold Blue Steel and Sweet Fire." "You Turn Me On, I'm a Radio" was the set's nominal hit, yet in hindsight the keepers here are found in evolutionary pieces like the jazz-tinged "Barangrill," the rock-infused "Blonde in the Bleachers," and in more sober meditations like "Woman of Heart and Mind"--testaments to her restless growth and signposts to the more mature music ahead. --Sam Sutherland
For the Roses
Joni Mitchell
Lesson In Survival
Year: 1972

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The Band - Greatest Hits [ORIGINAL RECORDING REMASTERED]
The Band
Tears of Rage
Year: 2000

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It's easy to understand why Nine Inch Nails became the industrial band to break out of the techno ghetto and win a larger audience. Trent Reznor, who records the NIN albums almost entirely by himself (although he tours with a full band), tries very hard to pass himself off as an angry young man, but underneath the angst-ridden lyrics, pounding synths, and grating guitars is an irrepressible pop sensibility. On the second full-length NIN album, The Downward Spiral, Reznor builds his constructions of noise and gloom around warm, fuzzy melodies. On the album's first single, "March of the Pigs," for example, Reznor screams about swine lined up for slaughter amid guitars screeching in pain. Suddenly the guitars fall away to reveal the sensually throbbing rhythm track below; then that falls away to reveal a vocal-and-piano track that's as catchy as anything by Elton John. Because Reznor has a better handle on dynamics now, the melodic core is more obvious than ever. --Geoffrey Himes
The Downward Spiral
Nine Inch Nails
Big Man With A Gun
Year: 1994

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It's easy to understand why Nine Inch Nails became the industrial band to break out of the techno ghetto and win a larger audience. Trent Reznor, who records the NIN albums almost entirely by himself (although he tours with a full band), tries very hard to pass himself off as an angry young man, but underneath the angst-ridden lyrics, pounding synths, and grating guitars is an irrepressible pop sensibility. On the second full-length NIN album, The Downward Spiral, Reznor builds his constructions of noise and gloom around warm, fuzzy melodies. On the album's first single, "March of the Pigs," for example, Reznor screams about swine lined up for slaughter amid guitars screeching in pain. Suddenly the guitars fall away to reveal the sensually throbbing rhythm track below; then that falls away to reveal a vocal-and-piano track that's as catchy as anything by Elton John. Because Reznor has a better handle on dynamics now, the melodic core is more obvious than ever. --Geoffrey Himes
The Downward Spiral
Nine Inch Nails
Mr. Self Destruct
Year: 1994

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Dark Bird Is Home doesn’t feel like it came from one time, one place, or one tape machine. The songs and sounds were captured in various countries, studios, and barns, and they carry a weather-worn quality, some dirt and some grit. If you’re a fan of The Tallest Man On Earth, Dark Bird pays real tribute to the old records you fell for, and goes new places you’re going to love as well. If you’re new to The Man: holy shit! Many would be jealous of your position. Enjoy these songs, and know there are 40 or more other gems waiting on earlier albums and singles. Early in Dark Bird, toward the end of the opening track, we hear other voices and sounds backing Kristian Matsson’s own. One of them, later credited in the liner notes with Angel Vocals, shows up several times throughout the record, adding new color to the familiar palette. And so the story grows and expands. That first song has horns and a piano, keyboards, synthesizers, and other modern noisemakers… and by track two you’ve got The Tallest Man on Earth as full-throttle rock and roll. While Dark Bird is The Tallest Man at his most personal and direct, deeper and darker than ever at times, it’s also an album with strokes of whimsy and the scent of new beginnings — which feels fresh for The Tallest Man on Earth, and well timed. Reliably, the melodies and arrangements are sturdy and classic, like old cars & tightly wound clocks. The lyrics and their delivery are both comforting and alarming, like tall trees & wide hills. The other musicians and layers on this recording put a wide lens on familiar themes. Fear and darkness, sleep or lack of it, dreams in the dark and in the light. Moving, leaving, going. Distance and short stops, long straight lines, temporal places. More hopefully, a grateful nod to a traveling partner, a healing mind. Maybe a little forgiveness needed. Definitely some things to forget. And of course, that last song. The title track. If there is a little legend-building to be done here, let it be this scene a few of the album’s early-listeners can recount: Kristian gently warning them over their shoulder before track ten begins: “Watch out for this one.” You should expect the loudest and proudest sounds yet from The Tallest Man on Earth on album number four, but also the softest and the lowest. For the next few years, the Dark Bird tour will come to your city or a town nearby, and for the first time The Man is bringing a band to the stage with him.
Dark Bird Is Home
The Tallest Man On Earth
Sagres

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Little Feat
Little Feat
Snakes on Everything
Year: 1989

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Little Feat
Little Feat
Crazy Captain Gunboat Willie
Year: 1989

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Little Feat
Little Feat
Willin'
Year: 1989

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Sailin' Shoes
Little Feat
Willin'
Year: 1987

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Virtuoso #2
Joe Pass
Feelings
Year: 1977

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Sailin' Shoes
Little Feat
Texas Rose Cafe
Year: 1987

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Five CD box set containing a quintet of original albums from the Blues/Rock outfit: Dixie Chicken, Feats Don't Fail Me Now, Little Feat, Sailin' Shoes and The Last Record Album. Warner. 2010.
Sailin' Shoes
Little Feat
Texas Rose Cafe
Year: 1987

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The Battle Of Los Angeles
Rage Against The Machine
Testify
Year: 1999

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Sublime
Sublime
April 29, 1992 (Miami)
Year: 1996

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To call the Drive-By Truckers an alt-country band is a disservice--to the Truckers and their Buzzcocks-meet-the-Outlaws brand of punk-rock twang, as well as to most alt-country bands, which hardly belong in the same county as DBT, let alone borrowing the same genre. This remastered re-release of the Alabama foursome’s 1999 sophomore record picks up where its debut album Gangstabilly (also re-issued by New West Records) left off--fruitful storyteller Patterson Hood and his cotton-drawl vocals bobbing and weaving through the trepidations and peculiarities of his life in the Deep South. The Truckers abstain from some of the white-trash bulls-eyes and volume 11 blasters on their debut for a 14-song hootenanny about riding bulldozers in red clay, a reclusive uncle, giving up sex for the Lord, and a Memphis performance by the late shock-rocker G.G. Allin. The bluesy sing-a-long "Nine Bullets" features one round of lead for each of Hood’s adversaries, but two songs later he harmoniously reminisces his great-grandmother in "Box of Spiders." It’s a remarkable divergence that drives Pizza Deliverance and sets the table for the Southern Rock Opera that comes next. - Scott Holter
Pizza Deliverance
Drive-By Truckers
Too Much Sex (Too Little Jesus)
Year: 2005

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Train to Birmingham
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Train to Birmingham
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Detroit Made
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Hold On for Your Love
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Til I Get My Lovin' Back
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Down Around My Place
Year: 2011

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Produced by Kevin "Caveman" Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt's timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars). The first single is "Damn This Town."
Dirty Jeans And Mudslide Hymns
John Hiatt
Down Around My Place
Year: 2011

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Hell With the Lid Off
MC 900 Ft. Jesus
Too Bad
Year: 1990

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Mystic Pinball
John Hiatt
Wood Chipper
Year: 2012

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The Complete Jack Johnson Sessions (Disc 1-5)
Miles Davis
Willie Nelson [Remake Take 2]
Year: 1970

Amazon MP3

The Complete Jack Johnson Sessions (Disc 1-5)
Miles Davis
Willie Nelson [Remake Take 2]
Year: 1970

Amazon MP3

Who's Feeling Young Now?
Punch Brothers
Hundred Dollars
Year: 2012

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Upright & Locked Position
Don Ross
Wall of Glass (Duet with Brooke Miller)
Year: 2012

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This Super Audio Compact Disc (SACD) recording offers high-resolution sound and is playable on both standard CD players and SACD-compatible devices.
Every Breath You Take: The Classics
The Police
De Do Do Do, De Da Da Da
Year: 1980

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Critics buzzed loudly over this slide-playing American storyteller's 1991 debut Living with the Law, but there was a decidedly muted reception for 1995's sophomore effort. Here Whitley is back on course with a strong, original effort. "Automatic," one of the more conventional tunes here, is the most impressive. --Jeff Bateman
Terra Incognita
Chris Whitley
One Long Day
Year: 1997

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T-Bone Burnett has been hard at it since his last record of original songs in 1992: nominated for a songwriting Oscar, winning a production Grammy, composing movie soundtracks, and serving as one of his trade's most valuable studio musicians. But with those most fascinated by his remarkable resume, it's all about the songwriting, and on The True False Identity, Burnett substantiates his role as a composer and performer steeped in traditional American music. Backed by a scrupulous cast of players and drawing on his candidly innovative wordplay, Burnett not only has put the world on notice, he appears far from content with the outlook. "The cat's out of the bag/And it ain't going back," he pleads wearily over a machine-gun drum in "Fear Country," one of several tunes where Burnett enunciates more as dustbowl rapper than west coast songster. His relevant narrations include an undercurrent of religion in law ("Blinded by the Darkness"), the modification of history ("Every Time I Feel the Shift") and a cadenced appraisal of Frank Sinatra and his running buddies ("Palestine, Texas"). Teaming a Dylan-like poetry scheme with a searing guitar lead, "Palestine" begins as a mis chievous nursery rhyme, until Burnett aims his invective at the nation's leaders: "When you come out of this self-delusion/You're gonna need a soul transfusion." Listening to The True False Identity, we've already got ours. --Scott Holter More from T-Bone Burnett Twenty Twenty: The Essential T-Bone Burnett The True False Identity (Dualdisc) O Brother, Where Art Thou? (Produced by T-Bone) Walk the Line (produced by T Bone) King of America, Elvis Costello (produced by T Bone) T Bone Burnett
The True False Identity
T Bone Burnett
Palestine Texas
Year: 2006

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The album title Paper Walls comes from the song of the same name, which begins "Let's burn a hole so we can climb out of these paper walls in this empty house." It's a reference to the barriers that built up between the band members over the years and everyone's desire to tear down the obstacles and heal old scars. "If you really love each other as much as we do, you want to knock those walls down and get back to the place where you enjoy being with each other and making music together," says Key. "The song is basically saying let’s get back out there and remember why this is important to us, why we love being on stage and why we love making records." Album opener "The Takedown" starts with a shot – an indelible guitar hook and ferocious drums charge forth as Yellowcard's trademark mix of airtight vocal harmonies, entwined guitar lines and flourishes of violin crackle with energy. "Fighting" brings together the band's many strengths – tight, melodic, propulsive riffs gather steam before launching into an epic, undeniable chorus. And bruised but beautiful lead single "Light Up the Sky" has an even more massive payoff, its refrain won't leave your head in this lifetime, but allows for some ringing dissonance beneath it all. Yellowcard Photos       More from Yellowcard Ocean Avenue Lights and Sounds Beyond Ocean Avenue DVD
Paper Walls
Yellowcard
Five Becomes Four
Year: 2007

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Egyptology
World Party
Curse Of the Mummy's Tomb
Year: 2006

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So Flows the Current
Patrick O'Hearn
Along the Waterfront
Year: 2005

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Born and Raised
John Mayer
A Face to Call Home
Year: 2012

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Born and Raised
John Mayer
Shadow Days
Year: 2012

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