camp vibes

Fruition - It Won't Be Long

Time > Breathe Reprise > Radio

A blend of music for Brooks and SPRNKL. Updates daily.

SPRNKL   Brooks

SPRNKL   Brooks 2021

A blend of music for Clear and Exponential. Updates daily.

Exponential   Clear

jammin

WORKING

GOOD PUSS

Quiet On Set / Grumpy Old Man

Quiet On Set

Long Time Coming

Silver Dollar

2nd OFFICIAL RELEASE FROM IYA TERRA's NEW EP!
MUSIC VIDEO FOUND HERE ! 
http://youtu.be/9wnzCO-91a8

Love Is Crucial

Tracks 8 and 9 off of SCI's album, "String Cheese Incident"
San José starts at approximately 12:00

Just thought I'd share :)

I do not own the rights to these songs, nor to the album artwork.

The String Cheese Incident - Lands End/San José

In the name of a nobler womanhood believing that for us as club rats the idea of posting up holds the possibility for moral growth

#MADELINE #INJI #ALLTHEGIRLS #ALLTHEGALS #INJIMADELINE #MADELINEINJI #INJIVERSE #INJITHEONE #INJIGASLIGHT #TIKTOK #TIKTOKVIRAL #TIKTOKHITS #TIKTOKTUNES #VIRAL #VIRALHITS #VIRALTIKTOK #VIRALTUNES

MADELINE

BEATPORT

"Raising Cain" by Gregory Alan Isakov from the record "That Sea, The Gambler."  
Recorded and mixed by Morgan Harris, Moja Magic Recording.

Raising Cain by Gregory Alan Isakov

Burning Spear
Winston Rodney OD (born 1 March 1945), better known by the stage name Burning Spear, is a Jamaican roots reggae singer and musician. Burning Spear is a Rastafarian and one of the most influential and long-standing roots artists to emerge from the 1970s.
Winston Rodney was born in Saint Ann's Bay, Saint Ann, Jamaica. As a young man he listened to the R&B, Soul and Jazz music transmitted by the US radio stations whose broadcasts reached Jamaica. Curtis Mayfield is cited by Rodney as a major US musical influence along with James Brown.[3] Rodney was deeply influenced as a young man by the views of the political activist Marcus Garvey especially with regard to the exploration of the themes of Pan-Africanism and self-determination.[3] In 1969, Bob Marley, who was also from Saint Ann, advised Rodney to approach Coxsone Dodd's Studio One label after Rodney sought his advice during a casual conversation.[4][4][5][6]

Career[edit]
Burning Spear was originally Rodney's group, named after a military award given by Jomo Kenyatta, the first President of an independent Kenya,[7] and including bass singer Rupert Willington. The duo auditioned for Dodd in 1969 which led to the release of their debut single "Door Peep" (the session also included Cedric Brooks on saxophone).[4][8] They were then joined by tenor Delroy Hinds. The trio recorded several more singles for Dodd, and two albums, before they moved on to work with Jack Ruby in 1975.[4] Their first recording with Ruby, "Marcus Garvey", was intended as an exclusive track for Ruby's Ocho Rios–based Hi-Power sound system, but was released as a single, giving them an immediate hit, and was followed by "Slavery Days".[4] These recordings featured the backing band The Black Disciples, which included Earl "Chinna" Smith, Valentine Chin, Robbie Shakespeare and Leroy Wallace.[4] The group worked with Ruby on their third album, Marcus Garvey (1975), which was immediately successful and led to a deal with Island Records to give the album a wider release.[4] Island remixed and altered the speed of some of the tracks, much to the annoyance of fans and the group,[9] leading Rodney to set up his own Burning Music[10] label for future releases where he would have full control, although further releases followed on Island including Garvey's Ghost, a dub album, and the Man in the Hills album.[4] In late 1976, Rodney split from both Ruby and group members Willington and Hinds, and from that point on used the name Burning Spear for himself alone. Dry and Heavy followed in 1977, self-produced but still on Island, and with a sizeable following by now in the United Kingdom,[9] he performed in London that year with members of Aswad acting as his backing band for a sold-out show at the Rainbow Theatre, which was recorded and released as Live!.[4] Aswad also provided backing on his next studio album, Social Living (1978), which also featured Sly Dunbar and Rico Rodriguez.[4] A dub version of the album, Living Dub (1979), was mixed by Sylvan Morris.[4] His profile was raised further by an appearance in the film Rockers, performing "Jah no Dead".[9]



Burning Spear - Best of Burning Spear - Justice Sound.

trust : @prodlzr
TRUST VOL. 2 OUT AUGUST

-trust worldwide // @trustco

lzr - motion

Slightly Stoopid - Free sampler download @
http://music.slightlystoopid.com

Collie Man

The Best of the Grateful Dead

Box of Rain (2015 Remaster)

Now That The Light Is Fading

Dog Years

Blindfaller

Wildfire

1952 Vincent Black Lightning

Town Mountain - I'm On Fire

Lonesome Dreams

Ends of the Earth

Fully Completely

Wheat Kings

Mickey Mouse Operation

Gravitas

Celebration

Caving In

Shouted, Written Down & Quoted

Past My Prime

I'm Allergic To Dogs!

Hello Hello Hello

It Won't Be Long

Turn Your Love

Bent

'Til You Come By Here

Big Sky

Drowning In You

Just One of Them Nights

Mountain Annie

Wastin' Away

right now.

Peace Sine - Tribal Trap

Jay Cobb Anderson (vocals, lead guitar, harmonica) / Kellen Asebroek (vocals, rhythm guitar, piano) / Mimi Naja (vocals, mandolin, electric & acoustic guitar) / Jeff Leonard (bass) / Tyler Thompson (drums, banjo)

Fruition’s newest album, Wild As The Night, conveys the emotions of our darkest, and sometimes weakest, moments. Influenced equally by acoustic music as well as rock ‘n’ roll, the eclectic, after-hours vibe comes naturally to the Portland, Oregon-based band. Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest. Wild As The Night follows the band’s acclaimed Tucker Martine-produced 2018 album, Watching It All Fall Apart.

The album’s first single, “Wild As The Night,” provides perhaps the album’s most beautiful moment, with vocals from Naja evoking the midnight grief of letting a relationship go. It was released with the announcement of the album, along with the track’s accompanying music video. 

Wild As The Night opens with the rollicking and pulsating “Forget About You,” setting the tone of the record as a whole; commiserating in sorrows and lifting spirits. “Sweet Hereafter” follows the album’s self-titled first single with an entrancing drum and piano loop that could be equally at home on a James Blake record. The organic beat gives way to thick repeating harmonies, leaving the listener wanting more after a subtle fade to silence. The album picks back up, tempo-wise, with a quick rock and roll study in city living with “Raining In The City” before it dives back into more classic Fruition territory with a campfire celebration of the Oregon Coast in “Manzanita Moonlight.” “Don’t Give Up On Me”’s seductive groove dips back into the commiseration with the final verse lamenting, “All the world is just empty without somebody to love.”

“For me, I've just always hoped that people relate to the music, whether it's a certain chord movement that lifts their spirit or comforts their sorrow, or a lyric that speaks to them like it was written for them,” Asebroek says. “This music comes from places of vulnerability and I hope people can take their guard down a little while resonating with it.”

Recorded at Silo Sound Studio in Denver, Wild As The Night captures the band’s mindset in the midst of relentless touring. “We were exhausted, but musically firing on all cylinders,” says Thompson, who shares production credit with the band on the new project. “It’s extremely diverse Americana, with a focus on great songwriting and harmonies. We weren’t going for a particular sound, just something that’s honest to our live sound along with a few tricks we learned from our last producer, Tucker Martine.”

With a renewed focus on harnessing the energy of the live experience, Wild As The Night allows listeners to get a glimpse of these longtime friends doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

“Something that has always tied our variable styles together is the honesty in the songwriting, the attention paid toward what is genuinely and deeply catchy, not superficially so,” Asebroek says. “Vocal harmonies have also always been a unifying tool for our band. The Fruition sound has always been about being more than the sum of our parts.”