ALSO:
Kristin Hersh 50 Foot Wave THROWING MUSES 1984-2014: 
https://piratebayproxy.live/torrent/1734259...1984-2014_(onion)[V0__mostly]

Kristin Hersh Throwing Muses 50 FOOT WAVE 2003-2016: 
https://piratebayproxy.live/torrent/1734208...2003-2016_(onion)[V0]



After founding her influential art-punk band Throwing Muses, at age 14, Kristin Hersh went on to spend the next 36 years confounding expectations and breaking rules - both her own and others.


If u like her and her music, please visit these sites: 
https://KristinHersh.com 
https://KristinHersh.cashmusic.org 
https://50FootWave.cashmusic.org 
https://ThrowingMuses.cashmusic.org 
https://KristinHersh.bandcamp.com 
https://50FootWave.bandcamp.com/ 
https://twitter.com/KristinHersh


MP3 VBR V0, mostly
ALBUM
1994 - Hips and Makers
1998 - Murder, Misery and then Goodnight
1998 - Strange Angels
1999 - Sky Motel
2001 - Sunny Border Blue
2003 - The Grotto
2007 - Learn To Sing Like A Star
2010 - Crooked
2016 - Wyatt At The Coyote Hotel

EP
1994 - Strings [EP]
1995 - The Holy Single [single] [V0]

LIVE/DEMO/SESSIONS
1992 - Live at Maxwell's, Hoboken [live]
1994 - Sparkle [live]
1999 - Live at The Knitting Factory 1999-04-29 [live]
2001 - Live At Noe Valley Ministry [live]
2006 - Mississippi Candlelight [live]
2007 - Full Band w-Strings 'Pbgh' [live]
2007 - Live at Newbury Comics, Boston January 22nd, 2007 [live]
2008 - 10-4 All Box Set [5CD]
2009 - Cash [demo]
2009 - Speedbath [demo]
2010 - Cats and Mice [live]
various from Works in Progress vol I, II & III [demo]

ABOUT 10-4 All Box Set: 
https://www.kristinhersh.com/10-4 & https://www.kristinhersh.com/store/10-4-all


THOUGHTS ON SUSTAINABILITY
by KRISTIN HERSH

"I often feel there is an inverse relationship between quality of output and material success in the music business. This is distressing, but not out of line with what I've come to expect. Throwing Muses would wander the halls of Warner Brothers back in the day, muttering, "You don't have to suck in order to work here, but it helps."
Now, however, the financial climate and current upheaval in the music business mean that musicians like me are genuinely poor investments for the traditional powers that be. We do not engage in lowest common denominator trendiness, and so don't warrant the expenses of marketing dollars and company overhead.
Okay, I get that; this is a business. However, I believe that when you sell toothpaste, you should be selling a goo that helps prevent cavities and when you sell music, you should be selling sound that enriches the listener's inner life. There is today a twisted kind of natural selection in the entertainment industry -- a sort of "survival of the blandest" -- the result, I imagine, of mind-fucking marketing techniques, bandwagon appeal, hype. To me this stuff is ugly, not beautiful.
Given this, I can only assume that record labels are not for me. I've said it before -- I will always play music -- but in the past, it was a record company's job to make sure you heard that music. They sold their product; they had funded it, it was theirs to sell. How to sell music without them? I liken our situation to that of the family farmer's -- how can we keep from going under without going corporate?
This is what I think: we specialize -- we offer an organic product. It is lumpy and expensive and made with love and it can save you. It's the right thing to do. It isn't shiny or poisonous, which can be disconcerting to people who've been raised on shiny poison, but it's natural, it's high-end and we want you to eat it.
To that end, I think I need to engage in a grassroots kind of capitalism, choosing principles over profits, values over image, ideals over marketing. I have to create a permeable membrane between artist and listener -- I'm a craftsperson, after all. The church of the rock star that the music industry televangelists hawk has always been anathema to me anyway. This is about songs and sounds, nothing else.
Music is a tenuous profession in good times, hard times mean some of us disappear. I'm not looking for pity, but collaboration. Coming to you is the best way I can think of to continue being a musician.
The model is not new, it's akin to public radio's listener supported programming and Community Supported Agriculture's subscriptions to underwrite crops. In other words, music grows on trees, but money doesn't and I'm unwilling to suck in order to work here. Therein lies the value proposition. This little business will be interactive and intelligent; you will not be lied to, no shiny poison, no middle man.
The idea of relying on listeners, treating music as a cooperative, is humbling, yet interesting to me. This is a bit of a manifesto, I'm sorry, and now I'll shut up, but I wonder if we might be able to do this together."


Citation:
Sent by remulac1
"Thanks so much for your post. I followed the links, downloaded and contributed. This is the way it should be." /remulac


BENN JORDAN: FROM PIRATES TO PROFIT: 
http://www.bennjordan.com/blog/?page_id=51




=====MP3 VBR V0=====
Just as good as 320
Smaller files


Please SEED back what you take, or for at least 48 HOURS, or at least 1:5 RATIO