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  • Figure 8 Figure 8 Quick View

    $24.99
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    Figure 8

    Figure 8 is the fifth studio album by American singer-songwriter Elliott Smith, and the final album he completed before his death. It was recorded from 1998 to 2000 at numerous studios and originally released on April 18, 2000, through DreamWorks Records. Preceded by the singles Happiness and Son of Sam, Figure 8 was Smith's second release on a major label.
    LP 1
    1. Son Of Sam
    2. Somebody That I Used To Know
    3. Junk Bond Trader
    4. Everything Reminds Me of Her
    5. Everything Means Nothing to Me
    6. L.A.
    7. In The Lost And Found (Honky Bach)/The Roost
    8. Stupidity Tries


    LP 2
    1. Easy Way Out
    2. Wouldn't Mama Be Proud?
    3. Color Bars
    4. Happiness/The Gondola Man
    5. Pretty Mary K
    6. I Better Be Quiet Now
    7. Can't Make A Sound
    8. Bye

    Elliott Smith
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • An Introduction To Elliott Smith An Introduction To Elliott Smith Quick View

    $14.99
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    An Introduction To Elliott Smith

    An Introduction to...Elliott Smith features fourteen tracks compiled from all seven of Elliott Smith's albums: Roman Candle, Elliott Smith, Either/Or, XO, Figure 8, From A Basement on the Hill and New Moon. As the title suggests, the collection is intended as an introduction to one of the greatest songwriters of our era. The album generously offers new generations the opportunity to delve more deeply into the late artist's immensely satisfying catalog.
    1. Ballad of Big Nothing (Either/Or)
    2. Waltz, No. 2 (XO)
    3. Pictures of Me (Either/Or)
    4. The Biggest Lie (Elliott Smith)
    5. Alameda (Either/Or)
    6. Between the Bars (Either/Or)
    7. Needle in the Hay (Elliott Smith)
    8. Last Call (Roman Candle)
    9. Angeles (Either/Or)
    10. Twilight (From A Basement On The Hill)
    11. Pretty (Ugly Before) (From A Basement On The Hill)
    12. Angel in the Snow (New Moon)
    13. Miss Misery (Early Version) (New Moon)
    14. Happiness (Single Version) (Figure 8)
    Elliott Smith
    $14.99
    Vinyl LP - Sealed Buy Now
  • Mic City Sons Mic City Sons Quick View

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    Mic City Sons

    The third and final album by Heatmiser, a band led by Elliott Smith and Hampshire College buddy Neil Gust, released in 1996 on Caroline Records, is hailed by all as their best effort. Unfortunately, the record was released as the band was breaking up.


    The duo of Tom Rothrock and Rob Schnapf, that worked on both Elliott Smith solo albums for DreamWorks (XO and Figure 8), helped produce and record Mic City Sons. A true indie-rock classic that still sounds good today: if you are a fan of Elliott Smith you need this one as well. Here on 180 gram vinyl.

    1. Get Lucky

    2. Plainclothes Man
    3. Low-Flying Jets
    4. Rest My Head Against The Wall
    5. The Fix Is In
    6. Eagle Eye
    7. Cruel Reminder
    8. You Gotta Move
    9. Pop in G
    10. Blue Highway
    11. See You Later
    12. Half Right
    Heatmiser
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Division Street (Discontinued) (On Sale) Division Street (Discontinued) (On Sale) On Sale Quick View

    $24.99 $19.74 Save $5.25 (21%)

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    Division Street (Discontinued) (On Sale)

    Division Street is Harper Simon's follow-up to his critically acclaimed debut album. It is a departure for Simon: it features a sound that's much more driven by electric guitars than his alt country-flavored debut. The mission was to make the kind of Rock 'n' Roll record I would want to listen to myself, he says. Which sounds simple but is, in fact, incredibly difficult.


    Simon co-produced Division Street with Tom Rothrock, who produced three albums for Elliot Smith (Either/Or, XO and Figure 8) and Beck's first album Mellow Gold, among others. As the team worked, the album's sound grew rougher around the edges. I felt challenged and inspired by the idea of making a modern psychedelic folk-rock album, a Tom Rothrock production like XO, but then the Velvet Underground and the Stones kept entering in, says Simon. Elliot Smith was very influenced by the Beatles but my guitar playing is more influenced by Keith Richards. And I kept wanting to emphasize more lo-fi elements.


    Division Street was recorded with a small coterie of guest musicians, including Pete Thomas from Elvis Costello's Attractions on drums, Nikolai Fraiture from the Strokes on bass, vocals by Inara George, Feist's musical director Brian LeBarton playing synths, as well as Nate Walcott from Bright Eyes and Wilco's Mikael Jorgensen. I'm very lucky, says Simon. Everybody that we asked to come and guest on the record showed up.

    1. Veteran's Parade
    2. Bonnie Brae
    3. Division Street
    4. Dixie Cleopatra
    5. Nothing Gets Through
    6. Eternal Questions
    7. Chinese Jade
    8. Just Like St. Teresa
    9. 99
    10. Breathe Out Love
    11. Leaves of Golden Brown
    Harper Simon
    $24.99 $19.74 Save $5.25 (21%)
    Vinyl LP - Sealed Buy Now
  • Rarities Vol. 1: The Covers Rarities Vol. 1: The Covers Quick View

    $15.99
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    Rarities Vol. 1: The Covers

    No Use For A Name is one of THE most successful and prolific acts to come out of the 90's skate-punk scene. But there's a lot more to it than that. Just have a look at their family tree, it has bands like Spazz, Foo Fighters, and Suicidal Tendencies to count among its branches. No really, think about that: the dude from that infamous grindcore band was in NUFAN?!? Their long, unpredictable journey has been full of twists, turns, and alternate routes that led them to be one of the best-selling outfits of their genre. They've done it all: Warped Tour's main stage, MTV, a live record, and an even a recent greatest hits album entitled, All The Best Songs. Hey, you know you've made it when you finally get a greatest hits collection! Not bad for some goofy kids from San Jose who started out with a couple hardcore 7s

    Early No Use releases appeared on New Red Archives, a San Francisco punk label operated by Nicky Garratt of the UK Subs. Believe it or not, in the late 80's it actually made sense that they would be labelmates with Reagan Youth, Social Unrest, and Christ On A Crutch. An AllMusic review describes their early material as, hulking hardcore with mighty fists full of metal. Angry and Threatening. This was a gritty, hardcore punk band, known mostly for their growling vocals and dark lyrical themes. Then came the first unforeseen occurrence: frontman Tony Sly unexpectedly developed into a proficient songwriter and mastered melody like few punk bands can ever do. Nobody knows where those gifts come from and you never see it coming, but suddenly No Use For A Name was starting to make music that people actually liked.

    As is natural, the band kept evolving, and things changed in a major way for the band when they signed to Fat Wreck Chords in the mid-90's. Their 8-song Fat debut, The Daily Grind EP, drew comparisons to Bad Religion and was a marked step up, but it was 1995's, ¡Leche con Carne!, that would cement No Use For A Name as a successful band for years to come. The album was their best yet and bore a hit song (Soul Mate) that landed them on alternative radio charts, which, for a scrappy punk band, was a complete deviation from industry norms. Stranger yet, was that they made a music video and MTV even played the damn thing! What followed obviously was commercial success in the form of six-figure album sales, another anomaly in the world of indie-punk bands and something that would set the stage for later melodic punk bands like Blink 182, et al. From then on it was steady sailing with a string of successful records and tours from the band. Most notably was 1997's darker, and somehow faster, Making Friends; followed by 1999's hyper-catchy More Betterness!. It was during these halcyon days that Chris Shiflett held down 6-string duties for NUFAN before accepting an offer to join Foo Fighters on lead guitar.

    The years went by for the perennial punk powerhouse and the band did numerous world tours, amassing album sales that would eventually total in the 7 figures. Pretty remarkable when you think about it. The new millennium was also a fruitful time for the boys. It started in 2001 with the release of their Live In A Dive album, which was very successful abroad where people were especially hungry for No Use's live performances. In 2002 they released their poppiest effort, Hard Rock Bottom, which was stocked with upbeat tempos and radio-friendly melodies. Their most recent and seemingly final studio album came in 2008. Ironically titled The Feel Good Album Of The Year, the album was a tinge darker and more aggressive than their recent releases and the band reminded us all that their songs still had urgency and bite.

    After 25 years, No Use For A Name disbanded in 2012 when frontman Tony unexpectedly passed away. Anthony J. Sly (November 4, 1970 - July 31, 2012) died at home, in his sleep on a Tuesday morning, at age 41. Fat Mike-label head and long-time friend to Tony-was staggered by the news and offered, One of my dearest friends and favorite songwriters has gone way too soon. Tony, you will be greatly missed. No one could've predicted his passing, and needless to say, it shook the very foundation of the Fat Wreck family and the underground music community as a whole. Tony was loved and respected by a wide variety of artists and musicians, and nowhere is that more evident than the roster of contributors to The Songs of Tony Sly: A Tribute; a compilation of NUFAN songs covered by bands like Bad Religion, Frank Turner, The Gaslight Anthem, Alkaline Trio, and many more. Bands from the Americas, Europe, Australia, UK, and even Israel contributed to this final chapter in the storied career of No Use For A Name. The collection will be released on October 29th, 2013, and all proceeds will go towards the Tony Sly Memorial Fund, which has been established to help Tony's wife Brigitte and their daughters, Fiona and Keira.

    1. Turning Japanese
    2. Hybrid Moments
    3. I've Heard
    4. Selwyn's Got a Problem
    5. Enjoy the Silence
    6. Badfish
    7. Dream Police
    8. Fairytale of New York
    9. Making Our Dreams Come True
    10. 1945
    11. Don't Cry for me Argentina
    12. The Munsters' Theme
    13. Beth
    No Use For A Name
    $15.99
    Vinyl LP - Sealed Buy Now
  • World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane Quick View

    $28.99
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    World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane

    Alice Coltrane remains a singular figure on the fringe of American music but her appeal is growing. While Coltrane's music is gaining wider acceptance there is an entire era of her recorded output that remains obscure, almost as if by design.


    Her four self-published, devotional albums of the eighties and nineties were recorded during a period in which she had withdrawn from secular life. They were manufactured and distributed in limited quantities amongst her spiritual community. Operating outside of the constraints of the commercial recording industry Coltrane was free of external pressures whether monetary or deadline. She recorded this music totally on her own terms. The resulting compositions synthesized her spiritual and musical outlook into a highly original work that is unique unto herself.


    Available commercially for the first time. Remastered, bucket loads of notes, available in all formats but 8-track. A loving tribute to an amazing woman. 2xLP comes with two booklets of liner notes.

    LP 1
    1. Om Rama
    2. Om Shanti
    3. Rama Rama
    4. Rama Guru
    5. Hari Narayan


    LP 2
    1. Journey To Satchidananda
    2. Er Ra
    3. Keshava Murahara
    4. Krishna Japaye (vinyl only)
    5. Ram Katha (alternate version, solo demo, unreleased, vinyl only)

    Alice Coltrane
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • ROWYCO ROWYCO Quick View

    $18.99
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    ROWYCO

    Jackyl's brand new album 'ROWYCO' (let us know when you figure this one out!) is the FATTEST sounding record to date for the band. The album is also the most personal, lyrically, for the band, according to lead singer, Jesse James Dupree. This will be an exciting year, with the album's release timing perfectly with the grand opening of the Full Throttle Saloon, in Sturgis, South Dakota. The original location burned to the ground last year & they are building back bigger and better than ever. The Full Throttle Saloon enjoyed a 6 year run of a hit reality television show of the same name, which documented owner Michael Ballard and Jackyl singer Dupree's struggles to get the bar up, running and profitable during the world's largest motorcycle rally.
    1. Disasterpiece
    2. Rally
    3. All Night Rodeo
    4. Ahead Of My Time
    5. Just Because I'm Drunk
    6. Everyone's A Winner
    7. Crazy
    8. Hammer To The Head
    9. Limpdick
    10. Blast Off
    Jackyl
    $18.99
    Vinyl LP - Sealed Buy Now
  • Operator Operator Quick View

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    Operator

    After a 5 year hiatus, Canadian electronic music producers MSTRKRFT (Jessi F. Keeler & Al-P) are back. Driven by distorted drum beats, hauntingly hypnotic synths, and booming cinematic soul, OPERATOR immediately captivates. "It's probably the most acurate reflection of how we work on stage," says Jesse. "We had to be very creative with very few elements. It took time to figure that out".


    2011 was the last time we heard from MSTRKRFT with the release of the single "BACK IN THE USSA", following their Juno Award-winning debut album THE LOOKS in 2006. MSTRKRFT have released official remixes for everybody from KATY PERRY and KYLIE MINOGUE to WOLFMOTHER, Justice and Bloc Party. 2009's FIST OF GOD boasted collaborations with the likes of John Legend, Ghostface Killah, E-40, N.O.R.E., Lil' Mo and more as it predicted an eventual crossover between hip-hop and electronic music on the horizon.

    1. Wrong Glass Sir
    2. Runaway
    3. Little Red Hen
    4. Priceless
    5. Playing With Itself
    6. Party Line
    7. Death in the Gulf Stream
    8. World Peace
    9. Morning of the Hunt
    10. Go On Without Me
    MSTRKRFT
    $19.99
    Vinyl LP - Sealed Buy Now
  • End Is Forever End Is Forever Quick View

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    End Is Forever

    Following up their breakthrough 1999 release Blue Skies, Broken Hearts...Next 12 Exits, Kris Roe and his band, the Ataris, offered up the dynamic, dangerously non-punk End Is Forever in early 2001. Along with singer/guitarist Roe, Chris Knapp (drums), Marco Pena (guitars), and bassist Mike Davenport wind their way through an expanse of post-grunge alternative and emocore more musical than anything the Ataris had previously released. Listeners familiar with the group's earlier recordings probably won't be too surprised by End Is Forever as Roe's quickly developing, gifted writing had always been the outfit's defining factor, making the transition away from punk's noisier elements predestined. Purists already dismissive of the entire emo genre will be mortified by Roe's polished heart-tugging trilogy Giving Up on Love, Summer Wind Was Always Our Song, and I.O.U. One Galaxy that opens the disc. Things degenerate further for credibility-obsessed punk fans when Roe and Co. kick out some old-fashioned big rock on tracks like Road Signs and Rock Songs. Listeners anxious about the Ataris unavoidable flight to the punk genre suburbs won't have to read between any lines to figure where the band was heading when they produced this 2001 release. After End Is Forever, all that remained to be seen is just how far the quartet's undeniable mainstream appeal would take them.


    - Vincent Jeffries (All Music Guide)

    1. Giving Up on Love
    2. Summer Wind Was Always Our Song
    3. I.O.U. One Galaxy
    4. Bad Case of Broken Heart
    5. Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start
    6. Road Signs and Rock Songs
    7. If You Really Wanna Hear About It
    8. Fast Times at Drop-out High
    9. Song for a Mix Tape
    10. You Need a Hug
    11. How I Spent My Summer Vacation
    12. Teenage Riot
    13. Song #13
    14. Hello and Goodbye
    The Ataris
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Soul Of Ike & Tina (Bonus Tracks) The Soul Of Ike & Tina (Bonus Tracks) Quick View

    $27.99
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    The Soul Of Ike & Tina (Bonus Tracks)


    Import


    Original LP with four bonus tracks


    Ike and Tina Turner's debut album for Sue Records, released in 1961.


    Well-known for her trademark legs, throaty voice, and boundless stage energy, Tina Turner was one of the sexiest and most popular international performers of the 20th century. Ike Turner, a well established seminal figure in the early years of rock & roll as both a performer and talent scout, met her one night in St. Louis while he was performing with his Kings Of Rhythm: she just grabbed the microphone and sang a B.B. King song, impressing Ike so immediately and overwhelmingly that he asked her to perform regularly with them. The rest is history: Ike's slick managing skills and songwriting, along with Tina's intensely energetic lead voice, three back-up 'Ikettes' and a technically airtight eight-piece band produced a combination of country blues, rock and roll, ghetto rhythm and gospel passion that created a legend lasting 50 years. It's Gonna Work Out Fine, I Pity the Fool, I Idolize You, and Tra La La La La. are just some of the R&B gems included in their 1960 astonishing debut album.

    1. I'm Jealous
    2. I Idolize You
    3. If
    4. Letter From Tina
    5. You Can't Love Two
    6. I Had A Notion
    7. It's Gonna Work Out Fine
    8. Tina's Dilemma
    9. A Fool In Love
    10. Sleepless
    11. Chances Are
    12. You Can't Blame Me
    13. You're My Baby
    14. The Way You Love Me
    15. Mind In A Whirl
    16. The Argument
    Ike & Tina Turner
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fuchsia Swing Song Fuchsia Swing Song Quick View

    $19.99
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    Fuchsia Swing Song

    During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.


    Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition.


    Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point.


    Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. Downstairs Blues Upstairs sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures


    He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is Luminous Monolith, with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records limited editions; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of Luminous Monolith and three more of Downstairs Blues Upstairs, making it a very worthwhile look at the entire session.


    This is a highly recommended date. Rivers never played quite like this again.


    - Thom Jurek

    1. Fuchsia Swing Song

    2. Downstairs Blues Upstairs

    3. Cyclic Episode
    4. Luminous Monolith

    5. Beatrice
    6. Ellipsis
    Sam Rivers
    $19.99
    Vinyl LP - Sealed Buy Now
  • Like Water For Chocolate Like Water For Chocolate Quick View

    $35.99
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    Like Water For Chocolate

    Common spent the '90s carrying the Native Tongues torch through an era dominated by gangsta rap, earning a sizable underground following. Positive-minded alternative rap came back into vogue by the new millennium, and Common managed to land with major label MCA for 2000's Like Water for Chocolate. The album established him as a leading figure of alternative rap's second generation, not just because of the best promotion he'd ever had, but also because it was his great musical leap forward, building on the strides of One Day It'll All Make Sense. There's production work by the Roots' ?uestlove, neo-soul auteur D'Angelo, the Soulquarians, and DJ Premier. But the vast majority of the album was handled by Slum Village's Jay Dee, and his thick, mellow, soul- and jazz-inflected sonics make Like Water for Chocolate one of the richest-sounding albums of the new underground movement. Common isn't always a master technician on the mic, but it hardly matters when the music serves his deeply spiritual vision and smooth-flowing raps so effectively. The singles The Light and The 6th Sense are quintessential Common, uplifting and thoughtful, and helped bring him a whole new audience. They're well complemented by the slinky, jazzy funk and lush neo-soul ballads that make up the record. Not everything is sweetness and utopia, either; Common sends up his own progressive image on A Film Called (Pimp), which features a hilarious guest appearance by MC Lyte, and spins a gripping first-person tale of revenge on the streets on Payback Is a Grandmother (though the tougher Dooinit feels a bit forced). The album could have been trimmed a bit to keep its momentum going, but on the whole, Like Water for Chocolate is a major statement from an artist whose true importance was just coming into focus.

    - Steve Huey (All Music)
    1. Time Travelin' (A Tribute to Fela)
    2. Heat

    3. Cold Blooded
    4. Dooinit

    5. The Light
    6. Funky for You
    7. The Questions
    8. Time Travelin' Reprise
    9. The 6th Sense
    10. A Film Called (Pimp)
    11. Nag Champa (Afrodisiac for the World)
    12. Thelonius
    13. Payback Is a Grandmother
    14. Geto Heaven, Pt. 2
    15. A Song for Assata
    16. Pops Rap III...All My Children
    Common
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Inji Inji Quick View

    $21.99
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    Inji

    Inji is the debut solo album by Sam Dust, AKA LA Priest. Across its ten audaciously
    imaginative tracks Inji reasserts Dust as a truly idiosyncratic voice in British music, applying
    the same frantically eclectic, mischievous and wilfully absurd spirit of his previous band,
    the beloved Late of the Pier, to ever more nuanced and affecting songwriting and
    composition.


    From the obscene space-age stadium rock guitar solo of 'Oino', the maddeningly catchy
    digi-dub single that Dust leaked sample-by-sample on a suitably enigmatic website at the
    turn of the year, to 'Learning To Love', the record's gargantuan, eight minute long proghouse
    centrepiece and 'Occasion', a melting martian Prince come-on, Inji confounds and
    delights in equal measure and at every turn.


    'Lady's In Trouble With The Law' boasts a lithe, sensual soul chorus about getting arrested
    that feels at once haunted and horny whilst the insectoid instrumental ambience of 'Lorry
    Park', twists and turns and burrows into the brain as creepily as the most classic Aphex
    Twin material. Elsewhere, 'Fabby', another instrumental, juxtaposes a gorgeous, cascading
    piano figure that'd make Benjamin Britten proud with percussion that sounds like the
    clashing of two swords and album closer, the bubbling, aquamarine ballad 'Mountain' finds
    Dust contorting his voice into an impossibly high, androgynous falsetto.


    Throughout all the songs there's a reliance on feeling and intimation as opposed to any one
    lyrical theme, and although the notion of love, its joys and trials, heaviness and absurdity,
    can often be glimpsed, it's in a non-linear way that recalls the disruptive, deliberately
    misleading pop of artists such as David Sylvian, Arthur Russell and David Byrne.


    Just like its genesis story, Inji is a record that poses as many questions as answers. It has
    its own logic, in its own time zone, and for the duration of its forty four minutes the listener
    shares in this too. If it doesn't conform it's because it's not supposed to.

    1. Occasion
    2. Lady's In Trouble With The Law
    3. Gene Washes With New Arm
    4. Oino
    5. Party Zute / Learning To Love
    6. Lorry Park
    7. Night Train
    8. Fabby
    9. A Good Sign
    10. Mountain
    LA Priest
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Attack & Release Attack & Release Quick View

    $18.99
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    Attack & Release

    Until now, guitarist-singer Dan Auerbach and drummer Patrick Carney of the Black Keys took an extreme do-it-yourself approach to record making, hunkering down in a basement studio or setting up equipment in one of the abandoned factories of their native Akron, Ohio. Their modus operandi was more seance than session. With a minimal set of tools, they conjured up a big, swaggering blues-rock sound, seemingly drawn from some distant time and place yet too weirdly original to ever be called retro. As Rolling Stone put it in a review of their 2006 Nonesuch debut, Magic Potion, Pure blues rock of this caliber is really timeless.


    For this album, however, the Black Keys decided not to go it alone: Attack and Release is the result of one of the most audacious and eagerly awaited collaborations in alternative rock history. As producer, Auerbach and Carney chose Danger Mouse, the mega-eclectic sonic mastermind behind the Grammy Award-winning Gnarls Barkley's St. Elsewhere and its multi-format hit, Crazy, as well as the music-industry provocateur who created the mother of all mash-ups, The Grey Album. The Black Keys also deigned to work at an established studio, albeit one within driving distance of Akron. Suma Recording, a legendary spot in northeast Ohio renowned for its supply of great vintage gear, provided just the right ambience for the guys. As Carney put it, with genuine affection, Suma smells like a moldy cabin and looks like a haunted house.


    On Attack and Release, Danger Mouse is more creative co-conspirator than traditional figure behind the boards. He doesn't radically alter the duo's sound so much as coax out more of its inherent soulfulness, groove and bittersweet emotion. Two versions of Remember When illustrate how the duo can swing easily from smoldering ballad to thrashing rocker. I'm more pleased with the sound of this record than any one we've ever made, says Carney, and Auerbach concurs: We never let it all go like we did for this one, anything was game. It was just fun to make, and that's why I think it's so successful. The band adds more instrumentation to their mix, including piano, organ and moog synthesizer. Danger Mouse fashions subtle special effects, like the ghostly background choir that surfaces on the moody I Got Mine, which sounds as if it were samples from some old Warner Bros. cartoon. The Black Keys also invited in a few special guests: guitarist Marc Ribot and clarinetist-flautist (and Pat's uncle) Ralph Carney, both veterans of Tom Waits' band and players on countless avant-rock/jazz/noise session. Jessica Lea Mayfield a/k/a Chittlin, an impressive 18 year-old bluegrass/country singer from Kent, Ohio, sings alongside a heart-breakingly plaintive Auerbauch on the slow-dance final cut, Things Ain't Like They Used to Be

    1. All You Ever Wanted
    2. I Got Mine
    3. Strange Times
    4. Psychotic Girl
    5. Lies
    6. Remember When (Side A)
    7. Remember When (Side B)
    8. Same Old Thing
    9. So He Won't Break
    10. Oceans & Streams
    11. Things Ain't Like They Used to Be
    The Black Keys
    $18.99
    Vinyl LP - Sealed Buy Now
  • Wait 'Til Night Wait 'Til Night Quick View

    $17.99
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    Wait 'Til Night

    Cooly G returns with Wait 'Til Night , an album of sensitive, lo-fi bedroom music, it s lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R n B. The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R n B in equal amounts, with a slight hint of dark synthpop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album her intimate vocals and smokey synths cross-hatched with her characteristic broken rhythmic sense. Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song. 'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations. 'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar. 'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song. 'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while 'Quick Question' plays out the scenario after the dance. 'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal. The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano. 'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she s kept hidden until now, with double-time flows casting off a missing babyfather. Wait Til Night finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.
    1. Wait til Night
    2. Like a Woman Should
    3. Your Sex
    4. I Like
    5. Dancing
    6. A Quick Question
    7. Want
    8. So Deep
    9. 1st Time
    10. Freak You
    11. Fuck with You
    12. The 3 of Us
    Cooly G
    $17.99
    Vinyl LP - Sealed Buy Now
  • Pain Pain Quick View

    $16.99
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    Pain

    When Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: "Let's not make anything that's going to last. If we're together for just two shows, then that's what it is." They've deviated some. Over the course of eight years, the Melbourne foursome-bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung, with each member contributing vocals-have instead amassed one of rock's most exhilarating bodies of work, a concise run of wooly seven-inches and white-knuckle LPs whose legendary live translation has been most accurately described as "unhinged." All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. "We didn't really know what this band was," Tjhung says. "We had something, but it wasn't clear-we had to figure out what that was." This year marks the arrival of Pain, the first they've written since coming together again semi-permanently in Melbourne, and their appropriately titled first full-length for Sub Pop. (Last October's St. Vincent EP was their proper Sub Pop debut.) It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they've ever had before, they're found themselves confronted with ideal (yet foreign) conditions. Two-minute freakouts like "Eyes Closed" share airspace with the meditate squall of "On" and the guitar-born majesty of "Calypso." Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne. Pain was mastered by Mikey Young (Eddy Current Suppression Ring, Total Control). "It's a simple thing," Tjhung says of their approach. "Simple takes the worry out of it. If we try to step it up and go sideways, it just doesn't seem to work. But we've grown up and been through some shit. To get to this point you have to bust through a few walls. It's easy to be new, and I think, in the end, this is what it is. When you put these people in the room, it's Deaf Wish."
    1. The Whip
    2. Newness Again
    3. They Know
    4. Sunset's Fool
    5. Eyes Closed
    6. Play
    7. Pain
    8. Sex Witch
    9. On
    10. Dead Air
    11. Calypso
    Deaf Wish
    $16.99
    Vinyl LP - Sealed Buy Now
  • Meetle Mice Meetle Mice Quick View

    $16.99
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    Meetle Mice

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. BJI Aii Hmhp #14
    2. Never Do That (Mars)
    3. Biggle Hat Was Ice Cream Time (Card Shark Nose Nose)
    4. 30 (from 21 through 35)
    5. Electronics With Clarinet and Bari Sax
    6. Song For Dina
    7. My own face is F word
    8. Drinking Out of Cups
    9. sdahgsfdgh3frgha3wffhjdvbjs4uh
    10. The Adventures of Mr Bumbershine
    11. Thats A Nice Shirt (Dad)
    12. Aerosmith Permanent Vacation 24162-2
    13. Plums
    14. Im So Gay with The Boner
    15. Aw Ah Ah Ah (Party Cakes)
    16. My Weasle Is Married Worm Married
    17. I Have AIDS
    18. 005 September 22 BE
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Silly Hat Vs. Egale Hat Silly Hat Vs. Egale Hat Quick View

    $16.99
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    Silly Hat Vs. Egale Hat

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. My Name Is Robert
    2. ksjfhgljkhertykjlehgskjhkjvhda
    3. Sound Events (Live)
    4. Shit Slowly Applied On Cock Parts
    5. The House I Was Isn't My Girlfriends Porshe
    6. Missy Modle x 1000
    7. Spring
    8. I Will Always Have Juice Today
    9. Glass and Metal
    10. It's Not As It's Going Downtown
    11. Junior High Band With Trucks and Dogs
    12. 4400440044040 with Dufus and The Beatles
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • God Bless My Solo (Pure Pleasure) God Bless My Solo (Pure Pleasure) Quick View

    $34.99
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    God Bless My Solo (Pure Pleasure)

    The solo referred to in the title, God Bless My Solo, is that in "Flying Home" made by Illinois Jacquet into a Decca Records microphone in May 1942. This solo became one of the two or three most influential solos in all of jazz history, an 80-second masterpiece.



    Nearly every tenor player who followed made it a priority to learn that solo, note for note. But Flying Home marked neither the beginning nor the end of Jacquet's seven-decade career. He was one of jazz's great survivors, thought of as an outrageous musician when he was young but hailed as a classic figure in old age. He was as effective with romantic jazz ballads as he was with the explosive performances with which he made his reputation.



    Tenor saxophonist Illinois Jacquet is heard in top form throughout this quartet set, recorded for the French Black & Blue label, whilst touring throughout Europe in the 1970's.



    Musicians:



    • Illinois Jacquet (tenor saxophone)

    • Hank Jones (piano)

    • George Duvivier (bass)

    • J. C. Heard (drums)



    Recording: March 1978 at Barclay Studio, Paris (France), by Gerhard Lehner




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Jean-Maries Den
    2. You left me all alone

    3. Lean baby
    4. God bless my solo
    5. Things aint what they used to be

    6. From Broussard
    Illinois Jacquet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Skin New Skin Quick View

    $20.99
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    New Skin

    New Skin is the debut album of CRX a new project for STROKES lead guitarist Nick Valensi. The urge to begin a new project came from a primal place for Valensi, he just wanted to play. I was at a place where I got really hungry to perform in front of audiences, and do things a little more simply, Valensi says. The Strokes don't play that often anymore, and when we do it's awesome, but it got to the point where I needed to balance that out with a project I could take on tour whenever I wanted to. And the idea of playing clubs again was really exciting to me. But Valensi couldn't start playing until he'd written some songs, and he realized he'd have to finally embrace an aspect of performing he'd resisted up until that point -- singing. Last summer, he just dug in, grabbing whatever spare time he had to record demos on his laptop at home. It was a learning process, says Valensi. It took me some time to figure out how my voice sounds most natural, and to think about what I wanted to say.


    As the songs progressed, Valensi invited a few trusted musician friends to join him and to contribute as songwriters. In addition to Valensi on guitar and vocals, CRX includes bassist Jon Safley, keyboardist/vocalist Richie Follin, drummer Ralph Alexander, and guitarist Darian Zahedi. Once we were all in a room together, it got collaborative pretty quickly, Valensi says, noting that about half of New Skin s ten tracks are co-writes with the band.


    After demoing several songs, Valensi reached out to Queens of the Stone-Age's Josh Homme, for feedback on the tracks and advice regarding producers who might be right for the band. It quickly became apparent that there was no better person for the job than Homme himself. He was really enthusiastic about the demos, says Valensi. There were even specific things he loved from the demos so much that we ended up including them on the album, which was very much a Josh decision.


    New Skin was recorded at Homme's Pink Duck Studios in Burbank, with work wrapping up in early 2016. And even as this year marks the fifteenth anniversary of The Strokes first LP, it represents the beginning of a promising new chapter for Valensi. One of the coolest things for me is that I began making this record as a vehicle to get onstage, he says, but along the way, it started to feel like we were working on something more special than that. I'm excited to be singing and having a lot of fun with it, and I'm really enjoying the feeling of having to work hard to win people over. It's like being a kid again - like everything is new and kind of scary but irresistibly fun, too.

    1. Ways to Fake It
    2. Broken Bones
    3. Give It Up
    4. Anything
    5. Walls
    6. Slow Down
    7. On Edge
    8. Unnatural
    9. One Track Mind
    10. Monkey Machine
    CRX
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Quazarz vs. The Jealous Machines Quazarz vs. The Jealous Machines Quick View

    $19.99
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    Quazarz vs. The Jealous Machines

    Quazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.

    Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.

    The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.

    On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.

    Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.

    And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.

    1. Welcome to Quazarz
    2. Gorgeous Sleeper Cell
    3. Self-Made Follownaire
    4. Atlaantis
    5. Effeminence
    6. Julian's Dream (ode to a bad)
    7. 30 Clip Extension
    8. Love in the time of Kanye
    9. Sabonim in the Saab on 'em
    10. The SS Quintessence
    11. Late night phone calls
    12. Quazarz on 23rd
    Shabazz Palaces
    $19.99
    Vinyl LP - Sealed Buy Now
  • Anchors Anchors Quick View

    $18.99
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    Anchors

    Featuring Special Guest Sheryl Crow On Little Bit Of Rust

    "I hit a wall," says Will Hoge. "I was doing the best touring of my career and I had a great, steady gig writing songs, but I was falling out of love with being in a band. I had to figure out what was next."

    For Hoge, what came next was a quest to reclaim the joy and the magic that had drawn him to music in the first place. He let his band go and hit the road for roughly a year of solo shows, crisscrossing the country by himself with just a guitar and a keyboard. He felt rejuvenated by the freedom and began writing material that reenergized him, that made him feel like a kid falling in love with rock and roll all over again. Those songs ignited a dormant flame somewhere deep within his soul, and now they form the bulk of Anchors, his strongest and most nuanced album to date.

    Recorded with an all-star band comprised of drummer Jerry Roe (Emmylou Harris & Rodney Crowell, Darius Rucker), bassist Dominic Davis (Jack White, Wanda Jackson), and guitarists Brad Rice (Son Volt, Ryan Adams) and Thom Donovan (Lapush, Ruby Amanfu), the album is a prime showcase for Hoge's soaring, gritty vocals, as well as his remarkable gift for crafting complex characters with real emotional depth and plainspoken profundity. Over the course of eleven tracks (including one with special guest Sheryl Crow), Hoge weaves elements of vintage country, literate folk, and heartland rock into a passionate, genre-busting masterpiece, one that offers an unflinching portrait of the messy challenges of adulthood and the ways in which we persevere (or don't) through hard times.

    Beginning with the release of his acclaimed 2001 debut, Carousel, Hoge established himself as a masterful songwriter and performer as well as a critical favorite, with Rolling Stone comparing him to Bob Seger and John Mellencamp and NPR praising his "sharp, smart, passionate rock 'n' roll that seems to exist out of time." He built up a loyal fanbase the old fashioned way, maintaining a steady studio output and a relentless touring schedule of more than 200 shows a year, including bills with the likes of My Morning Jacket, the Black Crowes, and Drive-By Truckers, in addition to festival slots from Bonnaroo to Austin City Limits. In 2012, the Eli Young Band hit #1 on the Billboard Country chart with their Platinum-selling recording of Hoge's song "Even If It Breaks Your Heart," earning Hoge nominations for CMA, ACM, and GRAMMY Awards. Soon he was performing everywhere from the Grand Ole Opry to The Late Show with David Letterman, his music was soundtracking a high-profile Chevy truck campaign, and he'd signed a major publishing deal.

    When the inspiration ran dry, though, Hoge took a gamble on himself and walked away from it all in order to pursue the kind of art that truly moved him, to make something that mattered. If Anchors is any indication, it was a safe bet indeed.

    1. The Reckoning
    2. This Grand Charade
    3. Little Bit of Rust (feat. Sheryl Crow)
    4. Cold Night in Santa Fe
    5. Baby's Eyes
    6. This Ain't An Original Sin
    7. Through Missing You
    8. Anchors
    9. Angels Wings
    10. 17
    11. Young As We Will Ever Be
    Will Hoge
    $18.99
    Vinyl LP - Sealed Buy Now
  • Chet Baker And His Quintet With Bobby Jaspar Chet Baker And His Quintet With Bobby Jaspar Quick View

    $39.99
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    Chet Baker And His Quintet With Bobby Jaspar

    In answer to an offer from Nicole Barclay, Chet Baker arrived in Paris early in September 1955. On the 22nd - or maybe the 23rd - he signed a contract to make seven records... (The figure was later erased and replaced by 'three', which turned out to be correct). Released after the trumpeter's return to the USA, this last volume was construed as rather a poor relation opposite the others in the trilogy, all the more so because, hurriedly drafted, the sleeve-notes did little to render unto Caesar the things which were Caesar's. Unlike the earlier opuses, this one was in no way a concept-album: it contented itself with a simple overview of Chet's Parisian associations, depending on where his fancies took him in the course of his stay. When Chet entered the Studio PathÉ-Magellan on October 25th, only one member of his original accompanying trio was still present: pianist Dick Twardzik had died of an overdose, and drummer Peter Littman had returned home after selling his kit for whatever it would fetch. Jimmy Bond and his contrabass, however, were both still there, and in the ensuing octet session Chet's melodic gifts were magnified by (remarkable) scores penned by Pierre Michelot - Chet, Dinah - and Christian Chevalier (Vline). The three pieces were mini-concertos, and the trumpeter loved them so much that he decided to do them again back in America ... but not so successfully. On November 28th Chet went back into the same studio, this time with Raymond Fol on piano, Benoît Quersin on bass and Jean-Louis Viale on drums. They recorded two improvisations: the first was based on a 1932 standard from Howard Dietz and Arthur Schwartz, Alone Together, while the second began with Exitus, a composition written by one of Baker's friends, Phil Urso. The performances are among the most beautiful that Chet produced during this period, along with Chekeeta - or Chik-Etah - and How about You? which put the seal on a partnership that had first come to light at the Club Saint-Germain, temporarily rechristened for the occasion: »Every Saturday and Sunday afternoon from 16h30 to 19h30 at the Barclay's Club - 13 rue Saint-Benoît, Paris - Bobby Jaspar Quintet with American trumpeter Chet Baker«, read the sign. The format was stylistically ideal, leading Chet to abandon the quartet format he'd preferred up until then. To respect his next bookings, Chet had to get a stable band together, and as his pianist he chose Raph Schecroun - later known as Errol Parker - who was himself replaced by Francy Boland. Alongside him were bassist Eddie de Haas, who'd previously been with Martial Solal and Henri Renaud (the latter, in the adventure, also lost his regular drummer, Charles Saudrais, who was just seventeen. According to Jean-Louis Chautemps, »When Bobby Jaspar couldn't do it or just wanted too much, they looked for someone cheaper; and that was me. There wasn't really an audition: we were in the Tabou, I played with Chet, he said OK and, two days later, we found ourselves in Reykjavik, Iceland.« The tune Tasty Pudding written by Al Cohn and Anticipated Blues, one of the rare pieces Chet claimed to have written, were in the repertoire played by this last Baker-led formation on the Old Continent.



    Both pieces, once again, moved Pierre Michelot to pass judgement: »With ordinary means, Chet managed to play phrases of extraordinary beauty with simplicity and clarity.«



    Recording: between 25 October 1955 and 15 March 1956 at PathÉ Magellan Studio, Paris.



    Musicians:



    • Chet Baker (trumpet)

    • Benny Vasseur (trombone)

    • Bobby Jaspar, Jean-Louis Chautemps (tenor saxophone)

    • Rene Urtreger, Francy Boland (piano)

    • Jimmy Bond, Benoit Quersin, Eddie De Haas (bass)

    • Nils-Bertil Dahlander, Charles Saudrais (drums)

    1. How About You
    2. Once In A While
    3. Chekeetah
    4. Alone Together
    5. Chet
    6. Dinah
    7. Tasty Pudding
    8. Anticipated Blues
    9. Vline
    10. Exitus
    Chet Baker
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kreisleriana (Speakers Corner) Kreisleriana (Speakers Corner) Quick View

    $34.99
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    Kreisleriana (Speakers Corner)

    It is always tempting with the Kreisleriana, a portrayal of E.T.A. Hoffmann's wild, eccentric and genial Kapellmeister Kreisler, to study both the literary figure and to try to identify the characteristics of the composer Robert Schumann himself. In the eight Fantasies, as Schumann called them, we find a romantically coloured reflection of the ups and downs of life, which an artist such as Vladimir Horowitz could empathize with. Right in the very first movement furious chains of triplets »like electrical fire« (Hoffmann) seem to leap out of the keyboard. With a cool mind and extreme sensitivity Horowitz treats the extreme tempo markings such as 'very heartfelt, very agitated, very fast' with restrain, resulting in a haunting and controlled expression. The result is an effusion of gently flowing melodies and swift, pulsating movement full of spirited rhythm which heightens to nervous emotion. Rich, saturated sounds from the piano breathe life into even the quietest passages and the listener's highest expectations are totally fulfilled - as such a key work deserves. It only takes a little imagination to conjure up something of the irony and humour of the romanticist when »the music vibrates in the play of facial muscles« of the Kapellmeister Kreisler.




    Recording: February and December 1964 at Columbia's 30th Street Studio, New York, by Fred Plaut

    Production: Richard Killough




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    Robert Schumann: Andantino from Sonata No. 3, Op. 14, Kreisleriana, Op. 16 - Vladimir Horowitz
    Robert Schumann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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