Nice.. Sounds a bit like The Rain Song from Zeppelin

Another delicate/intense beauty......yesssss

The Rain Song the Zep influences hit you right in the face. Love this.

I have to write melodies and lyrics to this. Very nice.

10,000 submissions. How can you possibly hear ALL of them? Wow. Check mine out. Vasoline @ 1:55 :-)

you have to check this out NOW!!!!!!wooooow!!!!https://soundcloud.com/el-d-don/jwhy-ft-smokes-link-up   REPOST N LIKE  THANKS

Blind Melon - Soul One (rare early version)

After a 31-year career in music with the Melvins, which has born over 30 albums of studio and live material, dozens of limited and highly limited 12-inch, 10-inch, and 7-inch records, and north of 2000 live performances why is he going acoustic now?

Because it actually makes sense.

After all, Buzz has written the vast majority of the Melvins’ songs with a fair amount of them originally written on an acoustic guitar and then simply transferred to electric. "I recorded most of This Machine Kills Artists with my red white and blue Buck Owens American acoustic. It's a great guitar and is pretty much irreplaceable so it's staying home for tours. It's too bad really. Maybe I can paint the Chinese one I use live red white and blue! Ha!"

This Machine Kills Artists is an authentically acoustic album with no electric guitars, amplifiers or direct boxes used during the 17-track release’s recording.  Buzz’s live performance, previewed in a brief March tour, is equally raw, with the legendary singer/guitar player armed with only his guitar and his quirky-yet-captivating stories.

"I have no interest in sounding like a crappy version of James Taylor or a half assed version of Woody Guthrie,” explained Buzz.  “Which is what happens when almost every rock and roller straps on an acoustic guitar. No thanks... This Machine Kills Artists is a different kind of animal."  This Machine Kills Artists isn’t merely Melvins Lite (hey, there already is a Melvins Lite!), instead the album offers a surprising new side to the grunge progenitor, songs when offered naked further highlight what a powerful songwriter the Melvins’ front man is.

Along with the new album Buzz will be hitting the road on a giant tour that will take him all the way around the world! The tour itself will begin in the U.S. with a multi-month outing before winding it’s way throughout the globe. The songs on This Machine Kills Artists were written to be performed live and that's exactly what Buzz plans on doing.

It's all about digging it out of the dirt...

The more you work the luckier you get...


02 Rough Democracy

Regret

memo:demo - "The Hotel On The Hill"

Here is the demo of Bagman that made it's way on to our 6th album.
I recorded this using my laptop.
-Dean

memo:demo - "Bagman" Demo

"Coming In Hot" by The Atomic Bitchwax from the album Gravitron.

The Atomic Bitchwax - Coming In Hot

07 Sort Me Out

Dying Surfer Meets His Maker

Talisman

Black Smoke - Blues Pills  - Lembarzique 2016

It’s all but inconceivable that J Mascis requires an introduction. In the quarter-century since he founded Dinosaur (Jr.), Mascis has created some of the era’s signature songs, albums and styles. As a skier, golfer, songwriter, skateboarder, record producer and musician, J has few peers. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands—Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple—and he has guested on innumerable sessions. But Several Shades of Why is J’s first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.

Recorded at Amherst Massachusetts’ Bisquiteen Studios, Several Shades… is nearly all acoustic and was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Paulo Zappoli (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees). Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriterism. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals.

“Megan from Sub Pop has wanted me to do this record for a long time,” J says. "She was very into it when I was playing solo a lot in the early 2000s, around the time of the Fog album [2002’s Free So Free. She always wanted to know when I’d do a solo record. Several Shades of Why came out of that.

“There are a couple of songs that are older, but the rest is new this year. And it’s basically all acoustic. There’s some fuzz, but it’s acoustic through fuzz. There’re no drums on it, either. Just one tambourine song, that’s it. It was a specific decision to not have drums. Usually I like to have them. But going drum-less pushes everything in a new direction, and makes it easier to keep things sounding different.

“The album comes out around the time of South by Southwest, so I guess I’ll play there. It would be cool to have a band, but I don’t know. Some of the songs have a lot of musicians on them. I might start out solo then add people as it goes along. I don’t like playing solo so much. It’s weird. You have to try and keep the show going. If you break a string you have to come up with banter, like Richard Thompson does. He’s the master of the one man show. For me it’s stressful.”

There is little evidence of stress on Several Shades of Why. The title track is a duet with Sophie Trudeau’s violin recalling Nick Drake’s work at its most elegant. “Not Enough” feels like a lost hippie-harmony classic from David Crosby’s If I Could Only Remember My Name. “Is It Done” rolls like one of the Grisman/Garcia tunes on American Beauty. “Very Nervous and Love” has the same rich vibe as the amazing ruralist side of Terry Reid’s The River. And on and on it goes. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure.

What a goddamn great album.

—Byron Coley

memo:demo - "The Hotel On The Hill"

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