John Fahey – Popular Songs Of Christmas & New Year’s: Guitar Instrumentals (1983)

John Fahey – Popular Songs Of Christmas & New Year’s: Guitar Instrumentals
Vinyl rip in 24-bit/192 kHz || Folk, Holiday
1983 Varrick || Includes insert from Rounder

Less hauntingly beautiful as his initial Christmas LP, this is still plenty enjoyable.  Heck, by 1983, Fahey had released enough Xmas records that I quite literally can’t keep track, especially since at least one (or possibly two) got repackaged with different covers.  Anyway, check this out if you liked any of the others. Continue reading

Barbara and Ernie – Prelude To… (1971) Day 11 of FV’s 12 Days of Xmas

Barbara & Ernie – Prelude To…
Original release 1971 Atlantic
Reissue, 2013 Real Gone Music

I almost headed off to bed without posting Day 11 of this 12 Days of Xmas thing.  It’s only the fifth day of the year and I’m already exhausted with stress.  Too tired and strapped for time to give this album a proper tip of the hat.  This record pushes all my buttons in all the right places.  It’s a shame that Barbara Massey was relegated to background vocals for most of her career.  Ernie Calabria had done lots of session work with the likes of Harry Belafonte and others.  With Deodato doing the arranging, this is a treasure of soulful-psychedelic-folk-rock. #autoharp Continue reading

The Balfa Brothers Play Traditional Cajun Music (1967 Swallow Records)

The Balfa Brothers Play Traditional Cajun Music
1967 Swallow Records – LP-6011
Vinyl transcription in 24-bit 192 khz || File sets in mp3, FLAC and 24-bit FLAC

I had this record ready to post here long before there was a Cat 4 hurricane bearing down on the bayou.  I’ve been rewatching some Les Blank films this summer, which may be why I felt inspired to share this gem.  The Balfa Brothers were the real deal.  If you are remotely interested in Cajun music or the Acadian contribution to American roots music (e.g. country or “country & western”), do yourself a favor and check them out.  Some of you may know them from their inclusion on various compilations, but it is nice to have an entire long player of this material.  I don’t have any profound commentary to add; I just haven’t posted on this blog all month, and I sure hope the people of Louisiana are doing okay right now.

Tracklist
A1 – Drunkard’s Sorrow Waltz (La Valse De Bambocheurs) (03:16)
A2 – Lacassine Special (02:48)
A3 – My True Love (02:37)
A4 – La Valse De Grand Bois (02:58)
A5 – Family Waltz (02:40)
A6 – Newport Waltz (03:01)
B1 – Indian On A Stomp (02:36)
B2 – T’ai Petite Et T’ai Meon (03:03)
B3 – Two Step A Hadley (01:50)
B4 – Valse De Balfa (02:27)
B5 – Parlez Nous A Boire (03:13)
B6 – Les Blues De Cajun (02:00)

Link to all files

password: vibes

The Grateful Dead – The Warfield, San Francisco, CA 10/9/80 & 10/10/80

Grateful Dead – The Warfield, San Francisco, CA 10/9/80 & 10/10/80
Vinyl rip in 24-bit/192 kHz |  Art scans at 300 dpi
Grateful Dead Productions / Rhino Records – R1-585396

This is a gorgeous collection of acoustic music from The Grateful Dead.  The Dead were  doing “unplugged” sets before anybody called them that, but in grand total of their hundreds of recorded shows, live acoustic music from the whole band was relatively rare apart from side projects.  The shows captured here, along with others at Radio City in New York, would be drawn on to produce the all-wooden live album Reckoning.  This is them at their most intimate, minimal, and parsimonious; well, as much as any group which brings a harpsichord on stage for just one song can ever be called minimal. Dead shows were famous for a wild crowd and scene that would eventually come to overshadow the actual music, but you could hear a pin drop during many of the tunes here.  Elizabeth Cotton’s “Oh Babe, It Ain’t No Lie” is a poignant highlight of the first night, while the Garcia/Hunter original “To Lay Me Down” from the second night cuts wide and deep.  What has always set The Grateful Dead apart for me from their ‘jam-band’ imitators was their ability to play soulfully, and to un-self-consciously tap so many distinctly American musical traditions.  Those two qualities are in abundance in this special Record Store Day release.

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Ned Doheny – Hard Candy (1976) (2014 Be With Records 180g reissue)

Ned Doheny – Hard Candy
Vinyl rip in 24-bit/192 kHz | FLAC |  Art scans at 300 dpi
1.4801GB (24/192) | 714MB (24/96) + 238 MB (16/44) |
2014 Be With Records BEWITH003LP | Genre:   Soul, Funk, Rock

I’m not sure that the release of Ned Doheny’s 1973 album sold enough copies to inculcate anything much in the way of expectations, but anybody who had happened to own that album could be forgiven for wondering if his second record in 1976 hadn’t accidentally been switched with the latest Vangelis when they first put it on the turntable. A full thirty seconds of  slowly faded-in, droning synth chords opens the album before a splash of Ned’s acoustic guitar, chimes and eventually drummer Gary Mallaber laying down a rock-solid beat on the moody “Get It Up For Love.” The whole record is heavenly blue-eyed soul, folky funk, swimming pool dreaminess and about as Laurel Canyon 1976 as it could possibly be.

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The Humblebums – First Collection of Merry Melodies (1969) (Transatlantic TRA-186)

The Humblebums – First Collection of Merry Melodies
Vinyl rip in 24-bit/192 kHz | Art scans at 300 dpi
1969 Transatlantic Records TRA 186 | Genre:  Folk

The other week, I ran a Patreon poll for the site’s handful of patrons to ask what genre the next post should be about, and “folk” won the day.  A few months ago I shared the final Humblebums record, Open The Door, which is split evenly between Billy Connolly and Gerry Rafferty songs.  This debut album predates Rafferty’s participation and demonstrates that it was really Connolly’s project.  In his place was Tommy Harvey, a competent guitarist who went on to play with Hamish Imlach, another Scotsman in the tradition of folk-comedy.  The record opens with “Why Don’t They Come Back To Dunoon?”, a parody of the Jonathan King hit “Everyone’s Gone To The Moon” which remained a staple in Connolly’s live performances.  While I am a big fan of Rafferty’s bittersweet balladeering, this record is less bipolar and more cohesive than their other two releases because of Connolly’s total control over the mood.  And of course, there is some hot banjo playing on it.  (P.S.  If you feel like supporting the site via Patreon, YOU TOO can participate in exciting polls and other activities!)

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