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Draw The Line'
$34.99 $18.99 Save $16.00 (46%)
Draw The Line (On Sale)Aerosmith's 1977 release Draw the Line responded to then-emerging punk with a full-on straight-ahead hard rock assault, wrapped in an iconic cover art by American caricaturist Art Hirschfeld.1. Draw the Line
2. I Wanna Know Why
3. Critical Mass
4. Get It Up
5. Bright Light Fright
6. Kings and Queens
7. The Hand That Feeds
8. Sight for Sore Eyes
9. Milk Cow Blues$34.99 $18.99 Save $16.00 (46%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Draw The LineAerosmith's 1977 release Draw the Line responded to then-emerging punk with a full-on straight-ahead hard rock assault, wrapped in an iconic cover art by American caricaturist Art Hirschfeld.1. Draw the Line (2012 Remaster)
2. I Wanna Know Why (2012 Remaster)
3. Critical Mass (2012 Remaster)
4. Get It Up (2012 Remaster)
5. Bright Light Fright (2012 Remaster)
6. Kings and Queens (2012 Remaster)
7. The Hand That Feeds (2012 Remaster)
8. Sight for Sore Eyes (2012 Remaster)
9. Milk Cow Blues (2012 Remaster)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Flow 15 AC In-Line Power Filter
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
AC Power Can Make or Break Your System! The audio you hear from your home entertainment system is essentially the incoming electricity itself, and the typically violent storms riding the AC line and its ground is very detrimental to the performance of your components. The Flow-15 is a superbly engineered and finished inline power filtering unit that eliminates many common problems caused by contaminated electrical power lines. It protects against distortion caused by ground noise, voltage spikes and sags, high frequency power supply noise from other components in your own system, and finally high-frequency digital noise emanating from processors and digital interconnects. Plus you're never alone when you take your listening seat; the residential AC supply is shared with other apartments, homes, and businesses on the same utility transformer explaining why many enthusiasts find their systems perform to a higher standard late at night and over weekends. And while the Flow-15 is a star performer at eliminating common AC problems, it does it all without restricting current draw in any way. Furutech, known for its world-class Pure Transmission engineering, build and finish, have done the tests and the Flow-15 does not interfere with current draw. The AC-1001G EMI-filtering IEC input perfectly complements the remarkably effective Flow-15's ability to eliminate distortion. The FI-15EG IEC connector finishes off the package. The Flow-15 Inline AC Filter lowers noise on every component on which it's used resulting in very natural and extremely fine resolution down and through the utterly silent noise floor. It improves soundstaging and imaging while creating nuanced high frequencies, an attractive, engaging midrange, tight and controlled bass, with power and dynamics to spare.$270.00Flow 15 AC In-Line Power Filter Buy Now
Baying At The MoonThis high energy show is from Aerosmith's 1978 national tour in support of their 5th album - Draw the Line. It was broadcast live-as-it-happened on Boston's local FM station WBCN. As you would expect in the band's hometown, The Music Hall was completely sold out for this gig and the crowd was really pumped, resulting in what is regarded as the hottest performance from the boys during this outstanding tour.LP1
1. Intro (Live)
2. Rats In The Cellar (Live)
3. I Wanna Know Why (Live)
4. Big Ten Inch Record (Live)
5. Walk This Way (Live)
6. Sight For Sore Eyes (Live)
7. Seasons Of Wither (Live)
8. Sweet Emotion (Live)
9. Lord Of The Thighs (Live)
1. Kings And Queens (Live)
2. Chip Away (Live)
3. Get The Lead Out (Live)
4. Get It Up (Live)
5. Draw The Line (Live)
6. Same Old Song And Dance (Live)
7. Toys In The Attic (Live)
8. Milk Cow Blues (Live)
9. Train Kept A Rollin' (Live)
10. Outro (Live)$37.99Vinyl LP - 2 LPs Sealed Buy Now
Sight And Sound
On a recent summer evening in downtown Raleigh, NC, Chatham County Line set up shop at a stately theater filled with hundreds of their most devoted fans and captured for the ages what they do best: gathering around a single microphone to play and sing their own songs.
The result, the two LP audio and video collection Sight & Sound, is an essential document of one of the finest acoustic ensembles North Carolina has ever produced. In a state rich with bluegrass, folk and country legends, this quartet stands out for its left-of-center approach, bringing a rock 'n' roll sensibility to roots forms in a manner that appeals to traditional and contemporary camps alike.
Sight & Sound includes 20 tracks drawing from all five albums of the band's decade-long career. Nine songs appear on both the LP and the DVD; four are exclusive to the DVD, while the LP expands the collection with seven more tracks (including two taken from a Christmas-tour show in Atlanta).LP
1. Alone In New York
2. Crop Comes In
3. Nowhere To Sleep
4. Birmingham Jail
5. By The Riverside
6. Route 23
7. Gunfight In Durango
8. Whipping Boy
9. Rock Pile
10. Speed Of The Whippoorwill
11. The Carolinian
12. Clear Blue Sky
13. Closing Town
15. Chip Of A Star
16. Let It Rock
1. Crop Comes In
2. Gunfight In Durango
3. One More Minute
4. The Carolinian
5. Speed Of The Whippoorwill
6. Birmingham Jail
7. Clear Blue Sky
8. Closing Town
9. Blue Jay Way
10. Chip Of A Star
11. Let it Rock
12. Porcelain Doll
13. End of the Line$29.99180 Gram Audiophile Virgin Vinyl LP + DVD - 2 LPs Sealed Buy Now
Red Light FeverTaylor Hawkins has become a worldwide superstar as the dynamic drummer for Foo Fighters. As many fans of Foo Fighters know, Taylor isnt just a drummer, as he most famously penned Cold Day In the Sun, from the record breaking release In Your Honor, which has now become a live staple for the band. Enter Taylor Hawkins & The Coattail Riders, with their second full length, Red Light Fever. A new collection of music which draws a clear line between contemporary rock music, and the classic rock artists that clearly influence Taylors music. Songs like Way Down and Not Bad Luck sound both contemporary and classic at the same time.1. Not Bad Luck
2. Your Shoes
3. Way Down
4. Its Over
5. Hell To Pay
7. Never Enough
9. In My Shoe
10. James Gang
11. Dont Have To Speak
12. I Can See It Now
13. I Dont Think I Trust You Anymore$19.99Vinyl LP - Sealed Buy Now
Gorelick (Awaiting Repress)Dead Kenny Gs have made their punk rock masterpiece. A 17-minute EP entitled Gorelick. Not one more second is needed as the DKGs slash and burn their way through six tracks, including originals like Beer, Daddy Issues and Punk Rock Girlfriend, plus a bruising rendition of their namesake The Dead Kennedys' Kill The Poor.
The combustible punk-jazz trio featuring saxophonist Skerik, bassist Brad Houser and vocaslist/vibraphonist/drummer Mike Dillon have garnered a fanatical cult fan-base over years of incessant touring and critical praise, as well as through related projects like Garage A Trois, Critters Buggin and Mike Dillon's Go-Go Jungle. Gorelick will be released as a limited vinyl pressing with only 500 copies being issued.
Dead Kenny Gs is a definitive statement of purpose: a resolute denunciation of all-things artificial. Skerik and his compatriots use their un-compromised art to draw an aesthetic line in the sand at the expense of crass commercialization that contaminates our art, our food, and what passes for our political discourse. It's fun, fearless, and, if you are the ass-shaking type, you can get down accordingly. - Popmatters1. Gorelick
2. Kill The Poor
3. Trivial Assault
4. Punk Rock Girlfriend
5. Daddy Issues
6. Beer$11.9912 Vinyl LP - Sealed AWAITING REPRESS Buy Now
AJ & The JiggawattsFrom the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail.
AJ & The Jiggawatts' self titled full length debut eloquently captures the vibe of a high energy, no nonsense band. The entire album plays out like a wild night on the town with the band, and there is a good chance you're going to jail before the night's over. Tracks like Back Alley Beale Street and Brown Bottle Fever transport the listener to the many bourbon drenched juke joints of Memphis while tracks like Throw A Fit literally explode with frenetic energy. Get Wild, The Drop, and Shake It For Me bring the raucous party element to the record and Once In A Lifetime and Typical Feeling get things nice and tender. In terms of attitude and straight up bad-assery, this is one of the hypest albums you are going to hear in 2014.
The new record is a rough, tough, killer soul machine not to be missed! The Jiggawatts came to get wild, try to keep up.1. Intro
2. Throw A Fit
3. Back Alley Beale St.
4. Get Wild
5. Brown Bottle Fever
6. Typical Feeling
7. Pushin' Forward
8. Once In A Lifetime
9. 99 Degrees
10. Shake It For Me
11. The Drop
12. Outro$17.99Vinyl LP - Sealed Buy Now
Silver KobaltIn between work for Björk, The Cinematic Orchestra and Anoushka Shankar, the prodigious Hang player and percussionist Manu Delago has inked a deal with Tru Thoughts to release his own new album, 'Silver Kobalt'. The ambitious LP draws lines from pop to the avant-garde.
Aged just 30, Manu Delago is the world's leading Hang player (with 5 million YouTube views for his DIY performance video "Mono Desire") and possesses equally virtuosic skills as a percussionist and drummer alongside ever maturing instincts as a songwriter and producer. The accessible yet startlingly original sound of 'Silver Kobalt' draws on the experience and ideas built up by the London based Austrian native across a high-flying and diverse career to date. From overachieving teenaged rock bands, through extensive classical training; from his exploits at the cutting edge of art pop as the lynchpin of Björk's band, to a London Symphony Orchestra commission which saw him playfully subverting their expectations; this endlessly curious artist has been honing his own style rich in melody, wit and invention.
The title, 'Silver Kobalt', plays on the strangely linked themes of magnets, goblins and human behaviour. Throwing a pair of small magnets in the air one day, Delago recorded their frantic, thrumming sound for the track "Plus Minus"; he also experimented with the detuning effect of a magnet on the Hang. Magnet fascination deepening, he read that some rare elements are permanently magnetised, of which one is cobalt. Then, up popped the pleasing story that cobalt was actually named after the German word for 'goblin' ('kobold') by hapless silver miners who suspected little kobolds had taken all the silver and left them with this substance. Further reading revealed also that all humans contain cobalt which we need to survive. "I really enjoyed this string of information", he says. "As well as this fun idea of little goblins within us, it really struck a chord because I had been thinking a lot about attraction and repulsion - what makes people magnetically drawn to some things, away from others - and that is a strong theme in the music. 'Silver Kobalt' tied it all together."
Tying together the many sonic threads is co-producer Matt Robertson (Björk, The Prodigy, The Streets, Bat For Lashes), following his work on Delago's acclaimed 2013 LP 'Bigger Than Home', the record on which he began to truly develop his current sound. This is a sound that revolves around the unique timbre of the Hang, but encompasses much more, from acoustic percussion, bassoon, piano and chimes to multi-layered beats and a variety of synths.
The hypnotic, nursery rhyme-like Hang melody of lead single "Disgustingly Beautiful" feat. Isa Kurz opens the album; the affecting vocals of Kurz (also the pianist and violinist on record and in the live outfit Manu Delago Handmade) ride a bass-heavy undercurrent, with added beats from Grammy nominated producer j.viewz. On the spiky yet melodically catchy "Plus Minus", the aforementioned magnet theme is extended into the composition, with two main lines that are pulled together and pushed apart. "Drumheart feat. Anil Sebastian" is pristine bassy pop lifted onto another plane by the haunting, androgynous vocals of the up-and-coming singer.
Stealthily moving into a fascinating instrumental section, "Down to the Summit" (which, unusually, uses the Indian drone instrument Surpeti for harmony) leads to the punchy, subby Hang sound and four-handed piano tinkering of "Wandering Around" and on to the joyful "Simon is Psychling", which calls to mind a DJ with speakers on a bike, circling a big field, one lap bringing a bassoon solo, another an industrial noise-fest. Restoring calm, "Sun In The North feat. Isa Kurz" is a potent lyrical snapshot from a day on the beach on Reunion Island in the Indian Ocean, its rhythms inspired by playing with Indian musicians there. Cobalt gets its glory in the shape-shifting "Chemical Reaction feat. Rahel", and the lovelorn "Dearest" was conceived on tour in Australia where Delago captured the fairytale vocals of celebrated Australian folk singer Katie Noonan. "Almost Thirty", in Delago's words, "draws a bow from Eurotrash Dance Music to Austrian folk music, with some brainy immature rhythm ejaculations in between"; a banger that skirts the border between strange-town and club-land, it is a thrilling way to see out both his third decade on Earth and the album.
Having been given his first drum kit aged two, also learning the accordion and piano in childhood, Manu Delago was a professional performer by his teens, but it was in 2003, when he began playing the Hang - an enchanting new sound sculpture from Switzerland - that he discovered his passion for writing music. On graduating from the university Mozarteum in Innsbruck, he moved to London and studied at Guildhall School of Music & Drama and Trinity College of Music. With this pedigree, the lessons learned from collaborating with his heroes, and influences from The Prodigy to Bon Iver, Michael Jackson to Stravinsky and Beyonce to Rage against the Machine, his music is as impeccably realised as it is impossible to classify. Delago has featured heavily in the world's media, having toured on six continents and played festivals including Shambala, Green Man, Haldern Pop, Reeperbahn, Eurosonic and Popfest Vienna.1. Disgustingly Beautiful feat. Isa Kurz
2. Plus Minus
3. Drumheart feat. Anil Sebastian
4. Down to the Summit
5. Wandering Around
6. Simon is Psychling [sic]
7. Sun in the North feat. Isa Kurz
8. Dearest feat. Katie Noonan$14.99Vinyl LP - Sealed Buy Now
TempestOlympia, WA three-piece, Broken Water, a sometimes noisy, sometimes droning, often pretty and subtly pop sounding band, is very much a product of its hometown. Shape-shifting over the course of EPs, singles, and full-length albums released consistently since 2009, the band has managed the rare feat of evolution in the service of a signature sound, wild experimentation that ultimately works as a harness, locking down the music's unique and idiosyncratic internal logic.
All band members contribute lead vocals, Jon Hanna often sounds like Thurston Moore at his bratty best singing from the belly of a giant grizzly, and Kanako Pooknyw and Abigail Ingram balance things out with a mix of Mazzy Star-like precision and eerie, haunting melodies that can draw a jagged line back to My Bloody Valentine, Cocteau Twins, or even the springy, deadpan vocals of Black Tambourine.
Add to this the way each instrument plays both for and against the others, and Broken Water creates an energetic crescendo; a controlled and restless sound, one that is ambient and ethereal without denying itself the messy joy of punk rock; a loud band, with seeds of aggression, but one that doesn't mask melody for the conceit of a sonic assault. 2012's Tempest draws heavily from the detuned pop malay of Sonic Youth, immediate hooks of Nirvana, and the note bending tidal wave of feedback of MBV.1. Drown
2. Coming Down
3. Orange Blossom Stains
4. Yanka Dyagileva
6. Some Thread to Connect
8. River Under the River
10. When You Said$13.99Vinyl LP - Sealed Buy Now
$20.99 $15.74 Save $5.25 (25%)
Time's Arrow (On Sale)For many artists who have careers that span more than an album or two, there are often various lines visible in their work - a line from origin to current form, lines between different paradigms of sound, lines across which fans of different manifestations of the artist will not cross. Prurient in 2011 is drawing just such lines, and Time's Arrow proves this point explicitly. Here we bear witness to Dominick Fernow's long running project once again evolving, unfolding, and changing. Taking a bold step away from the sounds which drew attention his way in the formative years, he is clearly moving towards something new, something still taking form in the present moment. It's unsettling, perhaps for followers of Prurient's former incarnations, but extremely important for the longevity and vitality of a determinedly restless and inventive musician as Fernow has consistently proved to be.
If noise music, the genre to which Prurient has most often been assigned, is about confrontation, exploration, and defying expectations, this release measures up on all counts. Yet, much of what made past work identifiable as noise music harsh textures, screams washed in seas of static, clanging unidentified percussion is now gone. Those elements which formerly provided a valuable counterpoint to the harsh din of Prurient's core sound buried melodies, passages of relative serenity, and occasional spoken word bits have come to the fore. A sense of naked clarity and uncomfortable intimacy now brings the listener closer to the world as described the music, rather than pushing away the would-be voyeuristic observer. This is best illustrated on the title track of the EP, Times Arrow, where a glistening synth melody lays atop an undeniably dancey beat, over which a fragmented, but clearly discernable narrative is intoned - sinister in character to be sure, but also clearly without any element that could be described as overtly aggressive.1. Time's Arrow
2. Time's Arrow (Unsolved)
3. Let's Make a Slave (De-Shelled)
4. Maskless Face
5. Slavery In the Bahamas [Instrumental]$20.99 $15.74 Save $5.25 (25%)Vinyl LP - Sealed Buy Now
It's Like ThisThis lovely set of intimately arranged and meticulously recorded covers, originally issued in 2000, is precisely the kind of semi-obscure album in need of a quality all-analog reissueThe superbly natural sound produced by this record is what spending big bucks on an audio system is all about. Set the volume appropriately and Ms. Jones'll draw you into the studio for a personal song recitalThis is one to savor. Music = 9/11; Sound = 10/11 Michael Fremer, www.musicangle.com
this effort from 2000 shows Jones conjuring such magic with the material that she deserves as much attention for reworking standards as do Carly Simon or Linda Ronstadt. Kicking off with Steely Dan's 'Show Biz Kids,' and with appearances by Joe Jackson and Ben Folds, among the highpoints is the Beatles' 'For No One' that ranks as among the finest Beatles cover ever. And considering that they number in the tens of thousands, that's about as high as praise gets. Recording = 5/5; Performances = 5/5 Album of the Month Ken Kessler, Hi-Fi News, April 2008
The Rickie Lee Jones 45rpm is AWESOME UNREAL AMAZING!!! I have to get a backup copy. I'll play this one to death. Danny Kaey, Positive-Feedback Online
Not since Billie Holiday has there been a vocalist who so completely transforms a song into her own. On It's Like This, eclectic folkie Rickie Lee Jones envelops standards, showtunes, '70s soul, and even slick jazz-rock, interpreting them with her familiar childlike, breathy shouts. In a very similar vein as 1991's Pop Pop, Jones pulls together a collection of diverse songs from throughout the 20th century and gives them a sparse, fragile spin, kind of like Diana Krall and Bjork sharing coffee at an all-night diner. Produced by Bruce Brody (who has also worked with Maria McKee and Bette Midler), this album is really a showcase for the dynamic vocalist - her voice pitching and yawing like a sloop far out at sea. Several notable artists scatter themselves unobtrusively throughout the album like Joe Jackson, Ben Folds, John Pizzarelli, and Taj Mahal; each lend a subtle bass line or harmony vocal, cautiously not stepping on any of Jones' delicate lines.
This title is not eligible for discount.1. Show Biz Kids
2. Trouble Man
3. For No One
5. Low Spark of High Heeled Boys
6. On The Street Where You Live
7. I Can't Get Started
8. Up A Lazy River
9. Someone To Watch Over Me
11. One Hand, One Heart$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
MinimalistsIn the 1960s, something happened to classical music. A bold new American voice emerged, pushing away the intricate, atonal forms of the European avant-garde and drawing on the music that most people were actually listening to. The scene led to composers having bona fide hits (Reich's Music For 18 Musicians), and aiming to do so: Philip Glass's album 'Glassworks', which featured Façades, was created with the chief aim of appealing to a much wider audience. Glass added lyricism, power and brooding emotion to the minimalist sound, though he prefers to call his work 'repetitive structures.' You can trace a line from the pulsating, stripped-down sounds of Reich, Glass and Adams to the clarity and repetition of Kraftwerk, and on through just about every type of electronic music you could ever dance to.
This limited-edition LP celebrates the state of minimalism 50 years after the movement broke down barriers in classical music.1. Adams - Shaker Loops - Shaking and Trembling
2. Adams - Shaker Loops - Hymning Slews
3. Adams - Shaker Loops - Loops and Verses
4. Adams - Shaker Loops - A Final Shaking
5. Glass - Façades
6. Reich - Eight Lines$23.99Vinyl LP - Sealed Buy Now
CyrkA new force in song craft, Cate Le Bon resides in Cardiffm Wales's French quarter and befitting a songwriter who only writes in the dark, her music is a heady and personal Gallic stew of equal parts Nico, Malkmus and the chronicler's own observations on the impossibility of existence. Drawing on her experiences of the last year, Cate created collection of pop nuggets imbued with the playfulness of Faust and Syd Barrett and the tropical melodies of Os Mutantes. Existential word play and fuzz fused guitar lines tear through like an angry bee in a CAN on 'CYRK'. Currently on tour w/ St. Vincent.1. Falcon Eyed
2. Puts Me to Work
6. Fold the Cloth
7. Man I Wanted
8. Through the Mill
9. Ploughing Out, Pt. 1
10. Ploughing Out, Pt. 2$19.99Vinyl LP - Sealed Buy Now
Live at the Old WaldorfLimited Edition Of 660 Copies On Gold Vinyl
This limited edition double-LP release once again proves that there were very, very few bands in the late '70s that could match the stylistic sweep, musicianly chops, and quality of repertoire wielded by Todd Rundgren & Utopia. This August 5, 1978 set at the Old Waldorf in San Francisco captures the band at the beginning of an extensive U.S. tour, but it had already been a busy year of touring for Todd, as back in May he had assembled an all-star band for residencies at the Bottom Line in New York City and the Roxy in Los Angeles.
Performances from those shows that (along with a portion of an August 23 Utopia date from this tour) comprised the release of the double live LP Back to the Bars in December 1978, and fans of that album will find much to treasure here on this well-recorded release taken from the evening's stereo master tapes. Here you get a chance to hear Utopia back Todd on songs, like "Black and White" and "The Last Ride" (an epic version!), from which they were absent on Back to the Bars, and Live at the Old Waldorf offers such Utopia favorites as "Trapped," "Abandon City," "Back on the Street," and "Gangrene" from 1977's Oops! Wrong Planet that did not appear on Bars. Even more importantly, the band is on fire this night, displaying the rare mixture of note-perfect arrangements and improvisatory verve that made Todd Rundgren & Utopia such a must-see concert draw during the era.
One last note about this release: because Todd was such a dynamic live performer, there have been a series of authorized live "bootlegs" that have come out on CD in recent years, but very few have come out on LP; we have cherry picked what just may be the best of the bunch and put it on double gold vinyl inside a gatefold package limited to 660 copies. It belongs on your shelf right next to your other Rundgren records from the era don't miss it!LP
1. It Wouldn't Have Made Any Difference
2. Love Of The Common Man
4. Abandon City
5. The Last Ride
6. The Seven Rays
7. Can We Still Be Friends
8. Back on the Street
9. You Cried Wolf
2. A Dream Goes On Forever
3. Black and White
4. Eastern Intrigue/Initiation
5. Couldn't I Just Tell You
6. Hello, It's Me
7. Just One Victory$34.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Nigel Lived (Pre-Order)45th Anniversary Edition Of Murray Head's Groundbreaking 1972 Classic
180-Gram Double 45s Pressed At RTI
Old Style ''Tip On'' Gatefold Jacket + 8-Page Book Printed By Stoughton On Heavy Stock
100% Analog Mastering From The Original Master Tapes
Mastered by Kevin Gray At Cohearent Audio
Murray Head's Nigel Lived is a groundbreaking classic and one of the boldest, most daring and inventive albums of all time. Recorded by the great recording engineer Phill Brown, Nigel Lived is from the golden era of all-analog recording, a sonic and musical masterpiece that every music lover and audiophile simply must have.
In Spring of 1972 Murray Head was just 25, coming off amazing success on the stage and screen, when he recorded his debut album, Nigel Lived. And Nigel isn't just any album, it's an ambitious, experimental album full of great songs that required stunningly diverse recording techniques and instrumentation on every track. There are beautiful acoustic works that draw a straight line to Murray's later albums like ''Ruthie'' and ''When You Wake Up In The Morning,'' there are straight-up rockers and amazingly innovative tracks like ''Religion'' and the sprawling ''Junk.''
Nigel's story arc unfolds as a three-act play in which Nigel leaves a small town for the big city, finds love and success before crashing into addiction and despair. The background locations, characters and scenes change sonically throughout as Nigel was a adventurous & pioneering effort in blending studio recording with an incredible array of location recordings captured all over London's West End.
In the same way that films today operate on the ''found footage'' motif, Murray's ahead-of-its-time conceptual treatment for Nigel consisted of hand writing a ''diary'' for Nigel that was then ''found'' by Murray, who put Nigel's life to song. It's a brilliant narrative tool that allowed Murray to weave aspects of his own rich experiences in the whirlwind of late 60s London into the songs. Murray saw great success, making a splash on stage in Hair and on-screen in films like The Family Way and John Schlesinger's avant-garde Sunday Bloody Sunday. And he saw the depths working in a drug-addiction clinic and watching friends disappear into and eventually succumb to heroin.
Nigel Lived is driven by Murray's tremendous energy, and the songs are witty, intense, achingly beautiful and exceptionally well-recorded.
This title is not eligible for discount.LP 1
1. Pacing On The Station
2. Big City
3. Bed & Breakfast
4. The Party
6. City Scurry
7. When You Wake Up In The Morning
1. Why Do We Have To Hurt Our Heads?
2. Pity The Poor Consumer
4. Nigel, Nigel
5. Miss Illusion
7. Junk$37.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now
FolilaAmadou & Mariam have long cultivated a spirit of openness that they often put into practice with musicians from all backgrounds and styles. Their journeys have allowed the couple to forge lasting friendships. M. and Vincent Segal were their guests, Keziah Jones and K'naan also interacted, the Lebanese trumpeter Ibrahim Maalouf and British guitarist Johnny Marr were invited to jam while Manu Chao and Damon Albarn produced them with skill. No doubt, the Malian couple's history is written in the plural suggestive of their affinities.
Their land, Mali, is currently one of the most attractive centers of globalized music. The couple still draws from their region's inspiration, a living spring they draw from beyond their region. Such is the strength of Folila, reflecting a growing openness to the world of music. The idea was to produce two albums: a crossover in New York, centered around meetings, and the other more roots in Bamako, with guests mainly African, says Marc-Antoine Moreau, their loyal manager and artistic director, with sound engineer Antoine Halet.
Stage one was recorded in three weeks at the Cooper Square Hotel, which accommodated multiple guests, including Santigold, who puts her voice on Dougou Badia. Tunde and Kyp, the two poets of the combo TV On The Radio, slide naturally on Wally Katasso, a ballad mixed by Keni Takamoto, the sound engineer for Danger Mouse. As for Theophilus London, the young poet prints a subtle flow of soul-jazz onto Nebe Meri, perfectly fitting with Amadou's blues accents.
Other esthete of great black music, Amp Fiddler brings some Detroit soul on Wari, before lending his keyboard lines onto Africa My Africa, boosted by Antibalas' section, the Afro-funk combo from Brooklyn, whose brass gleam here and there. As for Jake Shears, the soul of Scissor Sisters and a fan of the couple since a tour together in England, he served his high-pitched voice on the haunting disco blues of Metemya. Last but not least, Ebony Bones puts fire on C'est Pas Facile, a track that flirts with Congolese rumba and electro sounds.
During stage two of the process, it was back to Bamako, for another three-week session, this time in the studios of Manjul, a prominent rastaman installed in Mali. He has a clear idea: to use the same basic track, the same tempo, the same tones, but putting it into perspective with long-time friends, like the percussionist Boubacar DembelÉ and Yaho the totemic bassist, and guests.
Judge for yourself: Bassekou KouyatÉ and his ngoni, Idrissa Soumaoro on kamele ngoni, Toumani DiabatÉ on kora, Zu Tereta on monochord fiddle, Tuareg guitarist Abdallah Oumbadougou: all the best subtle strings of the universe are on this record. This album sounds at once organic and electronic, both roots and rock, both retro and futuristic, and totally unlike anything else.1. Dougou Badia (feat. Santigold)
2. Wily Kataso (feat. Tunde & Kyp of TV On The Radio)
3. Oh Amadou (feat. Bertrand Cantat)
4. Metemya (feat. Jake Shears of Scissor Sisters)
5. Africa Mon Afrique (feat. Bertrand Cantat)
6. C'est Pas Facile Pour Les Aigles (feat. Ebony Bones)
7. Wari (feat. Amp Fiddler)
8. Nebe Miri (feat. Theophilus London)
9. Another Way (feat. Bertrand Cantat)
10. Bagnale (feat. Abdallah Oumbadougou)
11. Mogo (feat. Bertrand Cantat)
12. Sans Toi
13. ChÉrie$32.99Vinyl LP w/ CD - Sealed Buy Now
$23.99 $17.99 Save $6.00 (25%)
Hive Mind (On Sale)If youve heard Daniel Martin-McCormicks name recently, it would have been either in association with his disco / punk / echo band Mi Ami, or as Sex Worker on the Not Not Fun label, or as Ital on NNFs sister label 100% Silk. Raised in Washington, DC, Martin-McCormick has a history in the citys hardcore scenehe was in Dischord Records band Black Eyes in the early 2000sbut was also making dance-inspired tracks during the same period, coming from a very different angle than the average guy with a copy of Logic Pro and a working knowledge of dance musics history.
Martin-McCormicks music is a stranger thing. Hive Mind, his debut full-length under the Ital moniker, uses houses easygoing 4/4 structure as a kind of camouflage for more out-there sonic explorations, subverting expectations, seeking the links between dubs space- and sound-bending, industrials unsettling sonics and the effects and black holes of minimal at its weirdest. The album has a sculptured feel: sounds twist in space while melodies pitch-shift in an unsettling way, voices fade in and out, nothing is ever allowed to settle comfortably, everything vibrates.
Opener Doesnt Matter (If You Love Him) sounds a bit like Tackhead if they had made house music, using a flickering and confidently repeated phrase over a lumbering drum and bass line, introducing swirling and bombing synths into the mix once the secret comes out. The strange marriage of treated voices and swelling, pitch-bent chords and effects on Floridian Void draws the listener into its strange atmosphere; its an ambient house track of sorts, but the ambience here is a swirling, confusing, watery vortex rather than fuzzy, new age pap. Privacy Settings builds creepy wolf howls over a slow bass line and cold, far-away drums, estranged from their usual disco setting, while Israel picks things up again, with weird, pitch-shifting bells over dubby toms and cold chords. Final Wave restores the album to something resembling normality, with a disco-like swing that recalls Moodymanns beat-down productions slid through brutal dub-like effects that bring out a shade of strangeness in an otherwise happy groove.1. Doesn't Matter (If You Love Him)
2. Floridian Void
3. Privacy Settings
5. First Wave$23.99 $17.99 Save $6.00 (25%)Vinyl LP - 2 LPs Sealed Buy Now
Songs From The Garage (Pink Vinyl)Pink Colored Vinyl
Features AC/DC Lead Vocalist Brian Johnson
Guitars And Production Duties Handled By Rob Caggiano (Anthrax, Volbeat, Bleeding Through, Cradle Of Filth And More)
Whether it's Spinal Tap gloriously losing the plot, the escapades of Tenacious D getting them into trouble, or the phenomenon that is Dethklok tearing up the album charts, comedy and heavy music have long made for great bedfellows. Jim Breuer is a man who understands this, and with Songs From The Garage, his first full-length with longtime backing band The Regulators, he delivers both in his inimitable style. "I basically want the crowd to have a blast, and I write what I feel that I would love if I was in the crowd. So, going into the record the music had to be killer and have great hooks, that was most important, and I wanted to balance that with something that's funny," he enthuses. "I wanted to bring the smile back to hard rock that has a nice punch to it - and in doing so hopefully bridge the gap so my generation and their kids will come see this live together!"
In realizing this, Breuer has delivered a record that is pure, unadulterated fun, and yes, it rocks. From crunchy opening romp "Thrash" through the swaggering "Who Better Than Us?" to the gloriously deranged excitement suffusing "Sugar Rush", his exuberance is infectious, and he challenges you to keep your ass from shaking and the corners of your mouth twitching while it thunders from the speakers. Throughout, his influences bleed through, comfortably blurring the line between hard rock and metal while every anthemic chorus lodges irrevocably in the hippocampus. While a great many 'comedy rock' records are ultimately pretty throwaway and last as long as the joke stays funny, this is not the case with Songs From The Garage. True to his game plan, Breuer has made great songs, ones that persistently draw a smile and will fit comfortably when shuffled among the likes of Megadeth, AC/DC, Judas Priest and more contemporary bands, such as Avenged Sevenfold and Halestorm.
Having finally made the album that has been burning to get out of him since his teens, Breuer couldn't be happier with the result. Though he has fulfilled one rock and roll dream with its completion, it certainly does not mean he's about to kick back and leave it at that. "I plan on making great, funny videos for every song and have videos up during the concerts. I want pure entertainment when you come see this live, and now my rock and roll dream is to play this not only here in America, but anywhere else in the world that will accept it! I'm taking it one day at a time, living the dream."1. Thrash
2. Raising Teenage Girls
3. Old School
4. Be a Dick 2nite
5. My Rock n Roll Dream
6. Mr. Rock n Roll
7. Who's Better Than Us?!
8. Family Warrior
9. Sugar Rush
11. The Unexplained$25.99Colored Vinyl LP - Sealed Buy Now
$21.99 $16.49 Save $5.50 (25%)
I'm New Here (On Sale)Gil Scott-Heron is one of the most influential and important singer/songwriters to have come out of America in the second half of the last century. Much can be said about why Gil's lyrics are so original and powerful, but it is important not to overlook his utterly singular voice which is so distinctive and rough and tender. It's a voice of experience and the way his voice floats over the shifting funk rhythms and the deep jazz, soul and blues melodies is nothing short of sublime. It's also what enables him to draw you in to the difficult issues he does not shy away from dealing with. His sound is intimate and warm and direct and consequently it is hard to resist being moved and inspired by his message. Gil has been consistently relevant whether it be on a personal or political canvas.
Early on in his career he wrote and recorded the song that for many is regarded as one of the first great rap tracks,The Revolution Will Not Be Televised. From its opening lines which turn Timothy Leary on his addled head (You will not be able to stay home brother. You will not be able to plug in, turn on and cop out. You will not be able to lose yourself on scag brother, because the revolution will not be televised.), Gil threw down the gauntlet, challenging us to get involved, be informed, retain a sense of humour and do the right thing. He was angry, politically savvy, compassionate and very funny. When he was brought to Arista by Clive Davis in 1975, he was billed by the label as the black Bob Dylan, and whilst this reductive and over simplistic description is typical marketing bullshit, there is some raison d'etre for this moniker. For Gil is a protest poet of enormous subtlety who has railed against those things in the world that he believes are wrong. And like Dylan he has often used humour as a powerful weapon.
A new record from Gil Scott-Heron, 40 years after his first solo album, is a cause for major celebration and something that the world needs now more than ever.1. On Coming From A Broken Home (Pt. 1)
2. Me And The Devil
3. I'm New Here
4. Your Soul And Mine
5. Parents (Interlude)
6. I'll Take Care Of You
7. Being Blessed (Interlude)
8. Where Did The Night Go
9. I Was Guided (Interlude)
10. New York Is Killing Me
11. Certain Things (Interlude)
13. The Crutch
14. I've Been Me (Interlude)
15. On Coming From A Broken Home (Pt. 2)$21.99 $16.49 Save $5.50 (25%)Vinyl LP - Sealed Buy Now
Youth And Young ManhoodNow Available on Remastered 180 Gram Gatefold Double LP
Youth & Young Manhood is the debut album from American rock band Kings of Leon, released in August 2003. The title was taken from a drawing of the family tree of Moses, found on the inside of one of their Pentecostal preaching father's Bibles. Each branch contained a line that the band was quoted as saying could easily have passed for an album title. Youth and Young Manhood, however, seemed fitting and was quickly agreed upon by all members.
The album was recorded between Sound City Studios, California (where Nirvana's Nevermind and Fleetwood Mac's Rumours were made) and Shangri-La Studio in Malibu. Molly's Chambers, Wasted Time and California Waiting were all released as singles. Spiral Staircase featured on the PS3 game Motorstorm. Red Morning Light was also featured on a Ford Focus commercial, and as the opening song in FIFA 2004 by EA Sports. Holy Roller Novocaine was featured in the movie Talladega Nights: The Ballad of Ricky Bobby as well as on the soundtrack.
The album peaked at number 3 in the United Kingdom, but fared worse in the band's homeland, peaking outside the top hundred. The band's popularity exploded in Australia during the weeks of the 22nd and 29 September 2008, when all four of the band's studio albums reached the top 50.Youth and Young Manhood making its first top 50 chart appearance since its release in 2003, peaking at number 46. The album sold more than 940,000 copies worldwide, and was ranked at #80 in Rolling Stone's Top 100 Albums of the Decade.LP 1
1. Red Morning Light
2. Happy Alone
3. Wasted Time
4. Joe's Head
6. California Waiting
2. Molly's Chambers
5. Holy Roller Novocaine
6. Talihina Sky$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Soul SickThere are artists who can command attention. They lean into their songs with an irresistible edge and total emotional connection and stay there. Sallie Ford is one of those artists. On her upcoming new album Soul Sick, out via Vanguard Records, Ford creates music that draws on all of her influences but still comes out her own. From the album's opening line "I woke up feeling sour on the sweetest summer day," the 11 tracks on the album chronicle Ford's journey through anxiety, insecurity, and depression.
"This is a 'confessional' album. It's about struggling with my issues - some that I've overcome and some that I still carry around. I felt confused, down about life and unsure of myself," states Ford. "On these new songs, it felt good to write on one theme and from one place. All in all, Soul Sick has taught me a lot about myself and helped me to heal."
That healing is captured throughout the music played on the album. With Mike Coykendall (M. Ward and She & Him) at the helm, it's laced with nostalgic feeling and produced to enhance that essence. "I asked Mike to produce, Ford says. "He loves old rock & roll and always records on tape, but he's also an experimenter, exploring new things with his music.
Soul Sick finds Ford further mining, updating and perfecting her vintage influences to stand alongside her uncompromising and confessional lyricism. On her first themed album, her doo-wop harmonies, slippery British invasion keyboards, and crunchy, fuzzed-out guitars back Ford's distinctive howl and surround her at-once intimate and confrontational musings on love, depression, and fear.1. Record On Repeat
2. Screw Up
3. Loneliness Is Power
4. Get Out
6. Middle Child
7. Never Gonna Please
8. Romanticized Catastrophe
9. Hurts So Bad
11. Rapid Eyes$21.99Vinyl LP - Sealed Buy Now
CavemanOn Their self-titled sophomore album, Caveman strech thier legs in a number of different, albeit cohesive, directions.
Caveman-a five-man vibe collective from NYC-released their first album in 2011. As first albums go, CoCo Beware was something akin to a moody statement of intent, a blueprint for a band quickly learning how to create horizon-wide rock songs that were equal parts intimate and expansive. Initially self-released and later snatched up by Fat Possum for re-release in early 2012, the record brims over with four-part harmonies, crystalline guitar lines, and tracks that see-sawed between echoey lullaby ("A Country's King of Dreams") to shoegaze-by-way-of classic-FM-radio sprawl ("Old Friend"). The album quickly elevated Caveman from local band to watch to a sizable touring draw and formidable live act, as evidenced by stints on the road with the likes of The War on Drugs, White Rabbits and Built to Spill. Despite being the work of a brand new band, CoCo Beware displayed a kind of Zen-like ease. It was the sound a five friends settling into a nice groove; the music that happens when, for whatever reason, a lot of seemingly disparate elements finally fall into place.
"We all went up to Jimmy's grandmother's place in New Hampshire," says singer Matthew Iwanusa. "That's where the new record kind of started. It was literally the attic of her barn, lit up by Christmas lights. We'd all sit in this one room together and one by one we'd all go into the bathroom and record ourselves making the most psycho noises possible. It actually felt kind of like a weird breakthrough. We were all confident and comfortable enough with each other to try out these experiments, which extended itself into the making of the new record which is really just an evolution of this vibe that we'd been cultivating for long time."
With that, the guys holed up in Brooklyn's Rumpus Room to start recording in earnest with Nick Stumpf (who produced the band's debut album) and Albert Di Fiore behind the controls. The album is a kind of sonic microcosm-a series of emotional yet tough mini-narratives operating within the same quixotic musical universe.
As a result, the guitars on Caveman are bigger and more expansive, the rhythm section is tighter and more adventurous, the keyboards more opaque and pronounced. Like a marriage between Tangerine Dream, late period Slowdive, and Lindsey Buckingham, tracks like their new single "In the City" and "Ankles" boast synth lines that sound simultaneously retro and futuristic, while "Pricey" and "Never Want to Know" overflow with guitar sounds that could have miraculously floated off an old Cure album. It should be noted that James Carbonetti, the band's primary guitar player, also happens to be one of the most highly regarded guitar makers in New York City.
And while Caveman's music could certainly operate on the level of dreamy soundscape and still be excellent, the depth of feeling in front man Matthew Iwanusa's lyrics helps weave the songs deeply into your memory. When Iwanusa sings Where's the time to waste on someone else's life? on "Where's the Time," it's hard not to read between the lines. Wonder and regret seem to fuel the record in almost equal measure.1. Strange to Suffer
2. In the City
3. Shut You Down
4. Where's the Time
6. Over My Head
9. I See You
10. I Never Want to Know
11. The Big Push$16.99Vinyl LP - Sealed Buy Now