Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed. The partnership with Johns has become almost symbiotic at this point; his songwriting has become so confident, sure, and expressive - despite the ready intimacy in its subject matter - that he's become a kind of force.
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Release Name: Ray_La_Montagne-Gossip_In_The_Grain-CD-FLAC-2008-FLACME
Artist: Ray La Montagne
Album: Gossip In The Grain
Genre: Folk
Year: 2008
Tracks: 10
Duration: 00:45:05
Size: 265.99 MB
:format(jpeg):mode_rgb():quality(90)/discogs-images/A-502002-1192447821.jpeg.jpg "Ray Lamontagne Discography Rar")
Ray LaMontagne's third album, Gossip in the Grain is as different from 2007's Till the Sun Turns Black as that album was from 2006's Trouble. The deep, heart-of-night atmospherics of the preceding disc have been jettisoned in favor of a brightly lit palette of textures and instruments that legendary producer and multi-instrumentalist Ethan Johns uses to illustrate LaMontagne's considerable ambitions as a writer. The set opens with the singer channeling his inner Memphis soul man on 'You Are the Best Thing.' Horns, strings, and a female backing chorus underscore LaMontagne's heartfelt uptempo rasp that touches on Sam Cooke as much as it does Tim Buckley with a hook worthy of Stax/Volt. In terms of sequencing, it certainly grabs the listener, but it is also arguably the best track here. 'Let It Be Me' follows with a folksier, looser soul groove, where acoustic guitars, a Telecaster, piano, and strings underscore the hypnotic lilt in the verse. But LaMontagne can write a coda and a bridge and he gets his voice right into the meat of the lyric. We may have heard lyrics of this type a thousand times before, as they evoke loneliness and longing, but rarely have they been expressed this authentically and this dramatically. Echoes of Van Morrison's Astral Weeks are apparent in the gorgeous chamber jazz of 'Sarah,' and eerie, psychedelic British Isles folk -- complete with an otherworldly pedal steel -- haunts the grooves on 'I Still Care for You.' LaMontagne and Johns are able to create varying yet webbed atmospheres in these songs. Ray can find a style and write in it as if he'd created it. Johns adds so much depth and dimension in the mix that it feels as if both singer and songwriter will never be able to extricate themselves either from the emotional intentions expressed in his lyrics, or from the sound itself. The most notorious track on this set is the humorous yet tender 'Meg White,' for the White Stripes' drummer. With its imaginative use of an Ennio Morricone-esque spaghetti western intro, Johns playing Wurlitzer and Mellotron, a Pink Floyd cadenza, and drumming of the sort White trademarked, it's no throwaway; add to this a seemingly sincere offer of friendship and empathy and there is an undeniable emotional appeal. 'Hey Me, Hey Mama,' has a back porch singalong feel, and features a banjo, trombone, and trumpet. The rambling free-form blues of 'Henry Nearly Killed Me, (It's a Shame)' touches on Canned Heat, John Lee Hooker, and the Rolling Stones; it's another high point here. Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed. The partnership with Johns has become almost symbiotic at this point; his songwriting has become so confident, sure, and expressive -- despite the ready intimacy in its subject matter -- that he's become a kind of force majeure. One thing is certain, that given the consistency and vision LaMontagne has shown on all three albums, punters are certain to follow him wherever he goes next.
Ray La Montagne Discography Rare
Tracklist:
Ray LaMontagne's third album, Gossip in the Grain is as different from 2007's Till the Sun Turns Black as that album was from 2006's Trouble. The deep, heart-of-night atmospherics of the preceding disc have been jettisoned in favor of a brightly lit palette of textures and instruments that legendary producer and multi-instrumentalist Ethan Johns uses to illustrate LaMontagne's considerable ambitions as a writer. The set opens with the singer channeling his inner Memphis soul man on 'You Are the Best Thing.' Horns, strings, and a female backing chorus underscore LaMontagne's heartfelt uptempo rasp that touches on Sam Cooke as much as it does Tim Buckley with a hook worthy of Stax/Volt. In terms of sequencing, it certainly grabs the listener, but it is also arguably the best track here. 'Let It Be Me' follows with a folksier, looser soul groove, where acoustic guitars, a Telecaster, piano, and strings underscore the hypnotic lilt in the verse. But LaMontagne can write a coda and a bridge and he gets his voice right into the meat of the lyric. We may have heard lyrics of this type a thousand times before, as they evoke loneliness and longing, but rarely have they been expressed this authentically and this dramatically. Echoes of Van Morrison's Astral Weeks are apparent in the gorgeous chamber jazz of 'Sarah,' and eerie, psychedelic British Isles folk -- complete with an otherworldly pedal steel -- haunts the grooves on 'I Still Care for You.' LaMontagne and Johns are able to create varying yet webbed atmospheres in these songs. Ray can find a style and write in it as if he'd created it. Johns adds so much depth and dimension in the mix that it feels as if both singer and songwriter will never be able to extricate themselves either from the emotional intentions expressed in his lyrics, or from the sound itself. The most notorious track on this set is the humorous yet tender 'Meg White,' for the White Stripes' drummer. With its imaginative use of an Ennio Morricone-esque spaghetti western intro, Johns playing Wurlitzer and Mellotron, a Pink Floyd cadenza, and drumming of the sort White trademarked, it's no throwaway; add to this a seemingly sincere offer of friendship and empathy and there is an undeniable emotional appeal. 'Hey Me, Hey Mama,' has a back porch singalong feel, and features a banjo, trombone, and trumpet. The rambling free-form blues of 'Henry Nearly Killed Me, (It's a Shame)' touches on Canned Heat, John Lee Hooker, and the Rolling Stones; it's another high point here. Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed. The partnership with Johns has become almost symbiotic at this point; his songwriting has become so confident, sure, and expressive -- despite the ready intimacy in its subject matter -- that he's become a kind of force majeure. One thing is certain, that given the consistency and vision LaMontagne has shown on all three albums, punters are certain to follow him wherever he goes next.
Ray La Montagne Discography Rare
Tracklist:
- Ray La Montagne - You Are The Best Thing - 3:55 (965 kbps , 27 MB)
- Ray La Montagne - Let It Be Me - 4:41 (827 kbps , 27.7 MB)
- Ray La Montagne - Sarah - 4:31 (858 kbps , 27.71 MB)
- Ray La Montagne - I Still Care For You - 4:07 (920 kbps , 27.1 MB)
- Ray La Montagne - Winter Birds - 6:20 (654 kbps , 29.57 MB)
- Ray La Montagne - Meg White - 4:16 (781 kbps , 23.87 MB)
- Ray La Montagne - Hey Me, Hey Mama - 4:27 (873 kbps , 27.78 MB)
- Ray La Montagne - Henry Nearly Killed Me (It's A Shame) - 4:25 (925 kbps , 29.25 MB)
- Ray La Montagne - A Falling Through - 4:28 (774 kbps , 24.74 MB)
- Ray La Montagne - Gossip In The Grain - 3:59 (747 kbps , 21.26 MB)
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http://nitroflare.com/view/61398D97E1BE8B1/flac.st_Ray_La_Montagne-Gossip_In_The_Grain-CD-FLAC-2008-FLACME.rar
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Ray LaMontagne – Part of the Light (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 46:01 minutes | 877 MB | Genre: Singer/Songwriter
Studio Masters, Official Digital Download | Front Cover | © RCA Records Label
There was a time when Ray LaMontagne was viewed as the heir apparent to Van Morrison or Jeff Buckley. Part of the Light shakes up those assumptions as the New Hampshire singer/songwriter balances the quiet, loud, and ethereal. Ray's voice ripples and expands like a pebble splash in a quiet lake, so the vocal echo on 'It's Always Been You' adds a haunting contrail. 'As Black as Blood Is Blue' hints that LaMontagne has some Metallica cassettes stashed in his attic. Meanwhile, the ballads here are gorgeously lethal. 'Let's Make It Last' might be Ray's best one yet, perfect for a wedding first dance. The track represents the album's exquisite beauty and message: Slow down and appreciate what's truly important.'
In 2016 Ray LaMontagne once again threw everyone off guard with Ouroboros. Not really surprising coming from someone who could never quite be put in a specific genre with his blend of haunted folk à la Nick Drake, southern soul, refined blues and classic rock. With this sixth album created with Jim James from the band My Morning Jacket, the songwriter from New Hampshire provided a new piece to his stylistic puzzle. Ouroborosfeatured the markers of his previous album while bringing a new dreamy, almost psychedelic touch, straight out of an old Pink Floyd record. LaMontagne had never sounded so haunted and dreamlike… Two years later, Part Of Light takes him back to more roots and classical considerations: an heir to Cat Stevens rather than David Gilmour. This seventh opus is above all else carried by an impressive spiritual force. An impulse wrapped in a sound full of reverberation, giving his songs more power. And splendour. © Clotilde Maréchal
Tracklist:
01. To the Sea
02. Paper Man
03. Part of the Light
04. It's Always Been You
05. Let's Make It Last
06. As Black As Blood Is Blue
07. Such A Simple Thing
08. No Answer Arrives
09. Goodbye Blue Sky
Who Is Ray Lamontagne
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