i liked more of their Byrdsian up-tempo stuff...not much of that to be found here. its grown on me a bit though, but near the bottom of their discography for me.

The Volebeats are one of the best little American bands that most people have never heard of, and their sound, an autumnal mix of country-folk-rock, subtle Motown rhythms, and British Invasion harmonies, stands out of time, as if 1965 never ended. They just do what they do, and they have been one of Detroit’s best kept secret for years now. The group’s 2010 album, simply called The Volebeats, is a sprawling 19-track affair that holds together like a well-stitched quilt, and like everything this band has recorded, it seems to come from the past, and here they deliver their own Exile on Main St.–only it’s more like the Flying Burrito Brothers and Gram Parsons reborn than it is the Rolling Stones. The songs, full of lovely harmonies and spare but appropriate instrumentation (Jeff Oakes and Matthew Smith on guitars and vocals, James McConnell on guitar and mandolin, Russell Ledford on bass, Scott Michalski on drums and occasional guitar, and Ryan Gimpert on pedal steel), are usually about sad love affairs poised between going on and ending, a subject that is always contemporary in any era. From the opening gentle shuffle of “With You,” this album is of a piece, with song after song building and adding to the fabric — “Things People Say,” the lovely, unhurried “Dream Come True,” “1000 Miles of Confusion,” “Sadness Kicked the Door In,” “The City That’s Always Asleep,” the country ballad “I’m Not Gonna Change My Mind,” the Simon & Garfunkel-like “Kathleen No,” and the Byrds-ian do-over of Ray Davies’ “This Is Where I Belong” all build on the feel of a rainy fall day spent perched between what was and what will be. Nothing is overstated and there are no fancy studio tricks in play — the Volebeats just do what they do with little regard for what year it is. It’s refreshing. They’re a great little band and this is a great little album.

im pretty sure this has been out for like 5 years

I really like this write-up from AMG:

I've only listened to the first disc but so far Cold Roses III/IV sounds nothing like Cold Roses...more like Demolition or maybe even Rock N Roll

So I definitely don't need to hear this?

Dude, it says Ryan Adams right there in the title.

So I definitely don't need to hear this?

No, you definitely do, just don't be expecting more songs inspired by ripoffs of "Bird Song".

All right, when I get to work I'll throw this on first. This will set the tone for the rest of the day, so if anyone dies, it's on your conscience sir.

Who's the Tragically Hip? Any good?

Hoquiam - Hoquiam

Guadalupe Plata

Damn, just came across this thing and it fucking kills. Nasty swampy bluesy trash from Spain. Recommended for fans of stuff like the Gun Club or anyone interested in dirty grimy blues.

digging a lot. this is the direction im pushing my label.

cemeterio

Guadalupe Plata

Damn, just came across this thing and it fucking kills. Nasty swampy bluesy trash from Spain. Recommended for fans of stuff like the Gun Club or anyone interested in dirty grimy blues.

AMG by Tim Sendra

The first ten seconds of the first song, “The Darkside,” on the Limiñanas' self-titled debut album tells you everything you need to know about the band and the record right away. Simply put, if you think the idea of Serge Gainsbourg and Jane Birkin backed by the Velvet Underground and produced by Liam Watson is a good one, you’re going to love this band and this record. Marie and Lionel Limiñana have concocted a sound and feel that conjure up all kinds of brilliant music; along with the already mentioned artists you can toss in Holly Golightly, the Kinks, Jacques Dutronc, and any number of ye-ye girls of the '60s. Instead of sounding like slavish imitators, though, the duo gives its sound a modern feel and a bit of dangerous fun that helps the record come to life. Avoiding the lo-fi reverb trap, they reach instead for a punchy sound that is built more on fuzztone guitars and vintage echo than it is on tape hiss and overloaded guitars. It’s a choice Billy Childish would approve of and indeed, at times the Limiñanas sound like they were trained at the Childish Institute. The alternately deadpan and peppy vocals (provided by Marie, Mu, and Nadège), the sassy-as-can-be lyrics, the pounding drums, and the simple chords are all pure Billy. Unlike Billy, though, the band isn’t afraid to add updated sounds, acoustic guitars, and instruments other than guitars (most notably sitar on "Tigre du Bengale" and pounding “I’m Waiting for the Man”-style piano on “Funeral Baby”). After a listen to the record, you could argue that the band isn’t really doing anything new and you’d have a point. What they are doing is taking all these vintage elements and creating something that sounds new and different, and that’s not an easy trick to master. Songs like “Tears” and “Mountain” could only exist in 2010 because they combine elements of everything cool that’s happened in rock & roll since 1963. Add the Limiñanas to that list of cool things and hope that this excellent debut album is the first of many to follow.

The Limiñanas - Trouble in Mind

if you think the idea of Serge Gainsbourg and Jane Birkin backed by the Velvet Underground and produced by Liam Watson is a good one, you’re going to love this band and this record.