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Fit For A King'
Slave To Nothing
Limited Edition Colored Vinyl
Fit For A King will release their third full-length album Slave To Nothing, The band has spent the last year touring in support of their debut label release Creation / Destruction (March 2013), which set Solid State Records history by becoming the highest-selling first week debut release on the label. Fit For A King then re-released their independently produced and recorded Descendants, which featured the original songs completely re-tracked.1. Kill the Pain
2. Young & Undeserving
3. Slave to Nothing
4. Break Away
6. Selfish Eyes
7. A Greater Sense of Self
8. Forever Unbroken
10. Cleanse My Soul
11. The Final Thoughts of a Dying Man$19.99Colored Vinyl LP - Sealed Buy Now
The Nat King Cole StoryAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52
The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle
...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010
One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.
His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.
A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.
Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.
Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.
This title is not eligible for discount.1. Straighten Up And Fly Right
2. Sweet Lorraine
3. It's Only A Paper Moon
4. (Get Your Kicks On) Route 66
5. (I Love You) For Sentimental Reasons
6. The Christmas Song (Merry Christmas To You)
7. Nature Boy
8. Lush Life
9. Calypso Blues
10. Mona Lisa
11. Orange Colored Sky
12. Too Young
14. Somewhere Along The Way
15. Walkin' My Baby Back Home
17. Blue Gardenia
18. I Am In Love
19. Answer Me, My Love
21. Darling, Je Vous Aime Beaucoup
22. The Sand And The Sea
23. If I May
24. A Blossom Fell
25. To The Ends Of The Earth
26. Night Lights
29. Send For Me
30. St. Louis Blues
31. Looking Back
32. Non Dimenticar (Don't Forget)
34. Oh, Mary, Don't You Weep
35. Ay, Cosita Linda
36. Wild Is Love (spoken intro and song)
37. Ramblin' Rose
38. Those Lazy-Hazy-Crazy Days Of Summer$149.99200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
No Time For DreamingCharles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska, singing and performing in his spare time, before re-settling in his hometown of Brooklyn and eventually finding a musical home at Dunham/Daptone.
In his distinctively rough-hewn timbre one hears the unmistakable voice of experience, each note and gruff infection a reflection of his extended, sometimes rocky, personal path. It's only fitting that No Time For Dreaming's producer Thomas Tommy TNT Brenneck (also a member of The Dap-Kings and The Budos Band) would recognize in Bradley a kindred musical spirit, a singer whose performances exude both raw power and poignant beauty.
Recorded at Dunham Studios, and mixed at Daptone Records' internationally revered House of Soul Studios, No Time For Dreaming is the inspired sound of an awakening.1. The World (Is Going up in Flames)
2. The Telephone Song
3. Golden Rule
4. I Believe in Your Love
5. Trouble in the Land
6. Lovin' You, Baby
7. No Time for Dreaming
8. How Long
9. In You (I Found a Love)
10. Why is it so Hard?
11. Since Our Last Goodbye
12. Heartaches and Pain$15.99Vinyl LP - Sealed Buy Now
Dark Divine (Pre-Order)Pressed On Colored Vinyl
Like Moths To Flames have been working relentlessly to build a name for themselves in the metal-core community. The band's tireless
work ethic and constant touring cycle have helped them sell over 80,000 total albums, as well as land on the cover of Alternative
Press Magazine. The band has returned with their fourth full-length album, which is arguably some of their best work to date.
With the help of producer Erik Ron (Issues, New Years Day) and mixing/mastering genius Caleb Shomo (Beartooth, Sylar), Like Moths
To Flames are back with "Dark Divine." These 11 songs bring the band forward in a whole new light, progressing to a sound that is sure
to capture the attention of new listeners, while not abandoning their core fanbase that has supported them from the beginning. Like
Moths To Flames will be touring with Fit For A King and In Hearts Wake to support this release.1. New Plagues
2. Nowhere Left To Sink
3. Shallow Truths For Shallow Minds
4. Dark Devine
5. Empty The Shame
6. From The Dust Returned
7. Even God Has A Hell
8. Mischief Managed
9. Instinctive Intuition
10. The Skeletons I Keep
11. False Idol$18.99Colored Vinyl LP - Sealed PRE-ORDER Buy Now
REDD-VIC-1513xFeed Her To The Sharks
FortitudeHailing from Melbourne, Australia, one of Victory Records' latest signings, FEED HER TO THE SHARKS, are out for blood. Assembled in 2010, the five-piece modern, melodic, metalcore act have established themselves by aggressively touring Australia with ASKING ALEXANDRIA, SUICIDE SILENCE, AUGUST BURNS RED and others in addition to a spot on the 2013 Warped Tour Australia.
Of the signing, FEED HER TO THE SHARKS comment, We are very pleased to announce we have joined the Victory Records family! Victory is already home to many of our idols, and to say we are part of this is truly an honor. We are extremely excited to show our music to the world, and bring our unique sound to the masses!
After a tour with BURIED IN VERONA and FIT FOR A KING, the band dusted off their pens and began the writing process for their Victory debut, FORTITUDE. Committed to creating the most dynamic album of the band's career, FEED HER TO THE SHARKS will shock and awe with their impeccable ability to incorporate clean vocals into their heavy, riff-driven metalcore sound.1. The World Is Yours
2. Chasing Glory
3. Burn The Traitor
4. Shadow Of Myself
6. Heart Of Stone
7. Walking On Glass
8. Fear Of Failure
11. Let Go$15.99Vinyl LP - Sealed Buy Now
New Tip-On Gatefold Jacket With Extra Photos Inside!
In Session, recorded in 1983, is the only known recording of Albert King and Stevie Ray Vaughan performing together. Its long-overdue commercial release (the album didn't come out until 1999) stands as a fitting tribute to the genius of two of the greatest musicians ever to have played the blues on electric guitar. Now, it's available on vinyl for the first time.
Anyone who's witnessed a much-anticipated jam session only to be disappointed - with each participant deferring to the other, the end result being that neither ever got out of first gear will welcome this pairing of two giants of blues guitar. Albert King and Stevie Ray Vaughan obviously shared a mutual admiration, but it simply wasn't in either one's makeup to a) be intimidated or b) take a backseat to anyone. Not without kicking up a little dust.
This is such a precious set to any fan of either of these blues giants. In addition to the free-spirited jams, there are priceless episodes of conversation between each song, both men exchanging accolades and King giving the much younger Vaughan (though tragically it was Vaughan who died first) some sage advice. This simply is a must-have.
This title is not eligible for discount.1. Call It Stormy Monday
2. Old Times
3. Pride And Joy
4. Blues At Sunrise
5. Turn It Over
6. Overall Junction
7. Matchbox Blues
8. Who Is Stevie
9. Don't Lie To Me
10. Ask Me No Questions
11. Pep Talk$54.99200 Gram Audiophile Virgin Vinyl 45 RPM - 2 LPs Sealed Buy Now
SONM-LEG-4512xKings Of Leon
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
Town Hall Party 1958Just turned 21 and beautiful beyond words, Wanda Jackson ripped through a red-hot, live Town Hall Party rockabilly session in 1958 that helped define the parameters of this raw, young music. Discovered singing on an Oklahoma radio station only two years earlier by honky-tonk recording star Hank Thompson and encouraged to cut loose musically by genre superstar/touring partner (and onetime boyfriend) Elvis Presley, Jackson was a perfect fit for Town Hall Party, the Los Angeles-based TV show that had already welcomed sets by rockin' luminaries Gene Vincent, Carl Perkins and Eddie Cochran. Backed by old friend and King of the Strings guitarist Joe Maphis, Jackson was in her element for the Town Hall Party session, tearing into Mean, Mean Man, a career-defining tune she'd recorded only a few months earlier. Highlights of Jackson's set also include Rock Your Baby, her current Capitol Records single, and Alone (With You), a Faron Young chart-topper, as well as her show-stopping finale, Jackson roaring through Hard Headed Woman, a scorcher from Elvis' current movie, King Creole. Jackson would soon become a substantial force on the country music charts, specializing in aching, honky tonk ballads for the rest of her career. Still touring today to rabid fan reaction, Jackson has never forgotten her red-hot rockabilly roots. And no live session ever caught Wanda Jackson as wild and rocking as she was on Town Hall Party in 1958, now available on Sundazed's high-definition, ten-inch vinyl.1. Town Hall Party Intro
2. Mean, Mean Man
3. Pick Me Up On Your Way Down
4. Rock Your Baby
5. Town Hall Party Intro
6. Alone with You
7. Queen for a Day
8. Hard Headed Woman$15.99Vinyl LP 10 - Sealed Buy Now
I'm Shakin' / Blues On Two TreesJack White unleashes his fourth (and final?) single from his debut ''Blunderbuss'' LP. Written by Rudy Toombs and popularized by the version recorded by Little Willie John for King Records in 1960, White's version builds on a lush bank of female backing vocals to lend a completely new and fresh take on the classic. Exclusive b-side ''Blues on Two Trees'' is an impressive, non-traditional piece unlike anything else White has done before. Truly needs to be heard to be believed.
Front cover of the single fits in with the art from the previous three singles on the album, creating an impressive quadriptych that needs to be seen in person.1. I'm Shakin
2. Blues On Two Trees$6.99Vinyl 7 Single Buy Now
"clipping. makes party music for the club you wish you hadn't gone to, the
car you don't remember getting in, and the streets you don't feel safe on"
- Press release for clipping.'s debut, Midcity, September 2012
Since the above was written, things have changed for clipping. The band
found that listeners were more ready for them than they'd first imagined.
Before 2013's Midcity, the trio of rapper Daveed Diggs and producers Jonathan
Snipes and William Hutson did not expect to find an audience for their
abrasive brand of rap music. The project was initially a remix project, an
aside to the members' main occupations - Diggs is a stage actor, while Snipes
composes music for film, and Hutson is an established noise music artist
(Snipes and Hutson collaborated on the score to 2013s IFC documentary
Room 237). But, since the formation of clipping., the field of commercial
music enlarged ever so slightly, making room again for noisier, more adventurous
elements in electronic production (though clipping. insist they simply make
CLPPNG is a much more ambitious project than Midcity. The album features
guest verses from some of the band's strongest influences, including Gangsta
Boo (formerly of Three 6 Mafia, and currently of Da Mafia 6ix), Guce (longtime
Bay Area mainstay, member of Bullys Wit Fullys), King T (all-around West
Coast gangster rap legend, founder of the Likwit Crew, and mentor to Xzibit
and Tha Alkaholiks). For the first single from the album, "Work Work",
clipping. joined up with Cocc Pistol Cree, a newcomer from Compton best
known for her appearance on DJ Mustard's mixtape Ketchup, and her song
CLPPNG stretches the band's experimental sounds to fit a wider emotional
range. Midcity had anger and aggression figured out, but CLPPNG fits the
group's harsh electronics to club tracks, a slow jams, songs to strip to, and
more. Relying heavily on musique-concrète techniques, the trio built many
of the tracks out of field recordings and acoustic sounds. The beat for "Tonight
(featuring Gangsta Boo)" evokes a nasty, late night encounter with its fleshy
slaps and squishy, biological noises, while "Dream" utilizes natural ambiences
to create a bleary, hypnagogic mis-en-scène. But the band hasn't gone soft;
the album's intro is likely the most uncompromisingly brutal piece of music
they've yet recorded, and "Or Die (featuring Guce)" is as mean as anything
on Midcity. CLPPNG is an album that demonstrates the variety of sounds
available when the 'rules' of a genre are willfully questioned.1. Body & Blood
2. Work Work (Feat. Cocc Pistol Cree)
3. Summertime (Feat. King T)
4. Taking Off
5. Tonight (Feat. Gangsta Boo)
7. Get Up (Feat. Mariel Jacoda)
8. Or Die (Feat. Guce)
9. Inside Out
10. Story 2
12. Williams Mix (Feat. Tom Erbe)
13. Run Out$23.99Vinyl LP - 2 LPs Sealed Buy Now
Rat CityMemphis based Jack Oblivian (aka Jack Yarber) was a founding member of the garage-bands The Compulsive Gamblers and The Oblivians but he has contributed to a dizzying array of projects over the years, including Andre Williams, Jack Oblivian & the Tennessee Tearjerkers, The Cool Jerks, '68 Comeback, King Louie & His Loose Diamonds, Greg Oblivian & the Tip Tops, Jack Oblivian & The Cigarillos, The Natural Kicks and Tav Falco's Panther Burns.
Jack Yarber began his professional music career in high school, appearing alongside high school friend and future Squirrel Nut Zippers founder Jimbo Mathus in the Corinth, Mississippi, based Johnny Vomit & the Dry Heaves. Yarber played drums in the outfit, which credited him as Johnny Goopa. After moving to Memphis, his encounter with fellow musican Greg Cartwright led to the formation of the Compulsive Gamblers. The Oblivians formed in 1993 as a side project to the Compulsive Gamblers, the members of the Oblivians shared songwriting and each member supplied vocals, guitar work, and percussion on albums, switching instruments during live shows. The Oblivians lasted from 1993 until 1998, at which time Yarber and Cartwright left the band to reform the Compulsive Gamblers. The second incarnation of the Gamblers lasted from 1998 to 2003. The Oblivians returned to the stage in 2009 for a sold-out international tour with the Gories.
His collaborations with the cream of the Memphis music crop guarantee that the players on Rat City fit the bill like the proverbial glove. Jack Oblivian channels the spirit of proto punk as well as blues, country and junkyard rock; his songs evoke haunting, echo-y swamp boogie that will walk you down that dark alley without fear.1. Mad Lover - Part II
2. Put Your Love On Me
4. Milkshake Baby
5. Make Your Mind Up - Part II
6. Against The Mall - Part II$16.99Vinyl LP - Sealed Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
O ShudderSix years into Dutch Uncles' flourishing career, the idiosyncratic art-popologists return with new album O Shudder which sees them further distilling and refining their signature sound, marrying rock bombast with classical arrangements, acoustic instrumentation with smart synthetic pop.O Shudder is Dutch Uncles' most direct record to date, the sound of a wildly witty band well and truly finding their stride, whilst lyrically tackling the growing pains of being twentysomething in a generic Northern suburbia; according to hip swivelling front man Duncan Wallis, the album covers themes including "pregnancy, social media, terrorism, divorce, sexual dysfunction, job seeking, health scares, doubt, love".With O Shudder, Dutch Uncles continue their fascinating, wonky ascent which has seen them play enormodomes with emo punk rock behemoths and self confessed Dutch Uncles acolytes Paramore, supporting and being supported by like minded left-field pop adventurers Wild Beasts, Outfit, Field Music, and Everything Everything, have a burger named after them by one of Manchester's premiere eateries and prefigure Future Islands' dance moves meme in their video for 2013 single Flexxin.The album was recorded with long term collaborator Brendan Williams in three locations; at a studio in the heart of the Welsh valleys, above a Salford pub, 'The Kings Arms', (incidentally where C4 comedy Fresh Meat is filmed) and, for the acoustic instruments, in the natural reverb of Salford's Peel Hall. The band were meticulous in tweaking their synth sounds so they'd fit seamlessly with the harp, xylophone, marimba, string and woodwind sounds that populate the record. Sources of inspiration for the record included The Blue Nile, Kate Bush's third album, Never For Ever, Igor Stravinsky, Japan and lyrically John Cooper Clarke, Sparks, Ian Dury and Prefab Sprouts' album From Langley Park to Memphis. All set to o shudder and stun, and induce plenty of hip swivelling, Dutch Uncles have delivered on their youthful potential and, with O Shudder, solved their own particular Rubix's cube, bringing their unclassifiable pop music into clear and precise focus.1. Babymaking
4. Decided Knowledge
5. I Should Have Read
6. In N Out
7. Given Thing
8. Don't Sit Back (Frankie Said)
10. Tidal Weight
11. Be Right Back$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Notorious Byrd Brothers (MONO)Ranked 171/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with Artificial Energy, a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned Goin' Back. It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. Space Odyssey is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of Draft Morning says plenty about being eligible for conscription during the Vietnam War, while Wasn't Born To Follow was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby.
Insanely rare and unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. Artificial Energy
2. Goin' Back
3. Natural Harmony
4. Draft Morning
5. Wasn't Born To Follow
6. Get To You
7. Change Is Now
8. Old John Robertson
9. Tribal Gathering
10. Dolphin's Smile
11. Space Odyssey$28.99Vinyl Mono LP - Sealed Buy Now
SPCO-SPE-2302xGeorg Szell with the London Symphony Orchestra
Handel - Water Music - Fireworks Music (Speakers Corner)
Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.
The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.
Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.
In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.
For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.
- London Symphony Orchestra
- George Szell (conductor)
Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
Production: John Culshaw
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Ghost To A Ghost/Gutter Town (Awaiting Repress)With his own new label, Hank3 Records, and the sense that he has thrown off the chains holding him back creatively, Shelton Hank Williams III, aka Hank III, is coming out swinging in 2011 with the release of four records. The unprecedented launch, in a distribution partnership with Megaforce Records (MRI), features a broad range of music that bridges more than one head-thumping genre, a familiar theme that true Hank III fans have embraced for years. Ghost to a Ghost/Gutter Town, a double-album set, is a straight-shooting country collection, flavored with Hank III's trademark hellbilly sound, and heavily weighted with Cajun influence (especially on Gutter Town) and an ambient, lonesome mood, and a few very special guests.
All three projects were recorded at The Haunted Ranch, Hank III's home and studio that lies on the outskirts of Nashville, a fitting place since the town has never really known what to do with this grandson of the American icon. He finally parted ways with Curb Records January 1. I have musical freedom. I'm able to say 'Here's my record' and I don't have to go through a million different channels just to put out a song, he says. It's all me now.
Hank III wrote the lion's share of the songs that appear on Ghost to a Ghost/Gutter Town. The players are Andy Gibson on steel guitar and banjo, who also aided in its recording, David McElfresh on fiddle and mandolin, Zach Shedd on standup bass, Daniel Mason on banjo, super-picker Johnny Hiland on guitar, Billy Contreras on fiddle, and Rory Hoffman on accordian. Guest appearances include the mythical Tom Waits on the haunted Fadin Moon from Gutter Town and on the Ghost to a Ghost title track, Alan King of Hellstomper, Les Claypool of Primus fame, Dave Sherman, Troy Medlin and Hank III's dog Trooper.
Cuts such as Gutter Town, Ridin The Wave and The Devil's Movin In on Ghost to a Ghost and Goin to Gutter Town, The Low Line and I'll Save My Tears on Gutter Town highlight both the excellent musicianship on the records, and Hank III's unmistakable, confident vocals. The release of all three projects represents a new birth for Hank III, and he's happy to have the chance. Megaforce Records has helped me with my vision to do something that never been done before, he says. They're handling my distribution, and I wanted to flood the market and do everything different. I wanted to come out of the gate strong. I'm opening up the mind a little bit and bringing some different styles together.LP1 - Ghost to a Ghost
1. Gutter Town
2. Day By Day
3. Ridin The Wave
4. Don't Ya Wanna
5. Ray Lawrence Jr.
6. The Devils Movin In
7. Time To Die
8. Troopers Hollar
9. Outlaw Convention
10. Cunt of a Bitch
11. Ghost to a Ghost
LP2 - Gutter Town
1. Goin to Gutter Town
2. Gutter Stomp
3. The Dirt Road
5. The Dream of Before
6. Dyin Day
7. I Promised
8. Chord of the Organ
9. Move Them Songs
10. The Low Line
11. Ill Be Gone
12. Troopers Chaos
13. Chaos Queen
15. Fadin Moon
16. The Round
17. Ill Save My Tears
16. Its Goin Down
17. With the Ship$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Clean Your Clock
Colored 180 Gram Double Vinyl with Pop-Up Art
Motörhead, Kings of the Road for over förty years, are immortalized one more
time in Clean Your Clock, the superb live album recorded at The Zenith in
Munich, Germany during the Winter 2015 Bad Magic tour.
The indomitable cocktail of power, purpose and head-crunching volume that Lemmy Kilmister,
Phil Campbell and Mikkey Dee always succeeded in producing is captured
superbly by long-time producer Cameron Webb's mix, giving this landmark
Motörhead release the warmth, curve and punch which helped the band
achieve international acclaim during a career which saw the Grammy-winning
icons sell over 15 million albums and play to millions worldwide.
Clean Your Clock is also a fitting salute to the power of Ian 'Lemmy' Kilmister,
who founded Motörhead back in 1975 and so sadly passed away on Dec 28th
2015. Recorded only weeks before, Lemmy snarls, roars and bangs that bass
with the magisterial air of a man who knows he's a leader.
Perhaps more than with any other Motörhead album, you need to TURN-THISUP
because as Lemmy himself said, the only way to feel the noise is when it's
good and loud...1. Bomber
2. Stay Clean
4. When The Sky Comes Looking For You
5. Over The Top
6. Guitar Solo
7. The Chase Is Better Than The Catch
8. Lost Woman Blues
9. Rock It
11. Doctor Rock
12. Just 'Cos You Got The Power
13. No Class
14. Ace Of Spades
15. Whorehouse Blues
16. Overkill$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)Box Set Features 13 x 7" Singles On Colored Vinyl
Includes Booklet Featuring Previously Unpublished Photos
Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.
He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.
All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.
From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.
Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.
His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.
As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.
Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.
Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.
In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.
Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.
In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.
But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.
Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.
Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.Disc 1 - Blue Colored Vinyl
(a) I Can Hear Music - Larry Lurex (1973)
(b) Goin' Back - Larry Lurex
Disc 2 - Orange Colored Vinyl
(a) Love Kills (1984)
Disc 3 - Yellow Colored Vinyl
(a) I Was Born To Love You (1985)
(b) Stop All The Fighting
Disc 4 - Red Colored Vinyl
(a) Made In Heaven [Single Remix] (1985)
(b) She Blows Hot And Cold
Disc 5 - White Colored Vinyl
(a) Living On My Own [Single Edit] (1985)
(b) My Love Is Dangerous
Disc 6 - Red Colored Vinyl
(a) Love Me Like There's No Tomorrow (1985)
(b) Let's Turn It On
Disc 7 - Cyan Colored Vinyl
(a) Time (1986)
(b) Time [Instrumental]
Disc 8 - Orange Colored Vinyl
(a) The Great Pretender (1987)
(b) Exercises In Free Love [Freddie's Vocal]
Disc 9 - Clear Colored Vinyl
(a) Barcelona [Single Version] (1987)
(b) Exercises In Free Love [Montserrat's Vocal]
Disc 10 - Gold Colored Vinyl
(a) The Golden Boy [Single Edit] (1988)
(b) The Fallen Priest [B-Side Edit]
Disc 11 - Green Colored Vinyl
(a) How Can I Go On [Single Version] (1989)
(b) Overture Piccante
Disc 12 - Neon Pink Colored Vinyl
(a) In My Defence (1992)
(b) Love Kills [Wolf Euro Mix]
Disc 13 - Yellow Colored Vinyl
(a) Living On My Own [No More Brothers Radio Mix] (1993)
(b) Living On My Own [Julian Raymond Album Mix]$139.997 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
Set Your Lightning Fire FreeIt's been a busy couple of years since the self-release of Shana Falana's debut EP,
2011's In The Light. The veteran dream pop artist has toured all over the US and
Europe. She's released two Bandcamp-only collections of lo-fi works, Channel and
Velvet Pop, as well as a cassette-only document of her early-career music, Shana Falana
Sings Herself To Sleep. But for all her globetrotting, archiving, and micro-releasing, this
is the moment we've been waiting for: Set Your Lightning Fire Free.
A lightning fire is exactly what it sounds like, the earth at odds with itself, burning
itself to the ground and starting from scratch. On this record, her debut LP, Shana
Falana makes a point of breaking her own rules. "I've always kept the different sides
of my music separate. The ambient ballads, the fuzzed out stuff; they all needed to
exist as their own statements," says Falana, "I would have two or three bands at one
time: a sludge rock band; a Bulgarian women's choir; a pretty, dreamy organ and guitar
duo. This is the first record where I've combined all of that, sometimes in the course
of one song."
Rather than spending months in the studio, laboring over arrangements and ideas,
Falana recorded SYLFF in just over a week. The songs were already compact and fully
realized from years of touring. Recorded at ISOKON studios in upstate New York
with producer Dan Goodwin (Devo, Kaki King), SYLFF's working mantra was a) get
the idea down b) move on c) don't look back. Shana chose to record the vocals herself
alone in various locations, from her bathroom to a child's bedroom. And for the first
time, Shana wrote and performed her own lead guitar parts.
The other noticeable difference is the addition of steady drummer and creative
companion, Mike Amari. The two met at a garden party. Shana was covering a
Bauhaus song and the two instantly connected. Soon after they were setting up to
play together for the first time in an abandoned theater in Kingston, New York.
Mike's minimalistic and tribal approach to drumming was a perfect fit with Shana's
droning dream pop, and within six months they were heading out on their first
Shana and Mike's collaboration has culminated in Set Your Lightning Fire Free, and the
result is a record of stark confidence. Undaunted guitar riffs and thundering drums
prevail, while Shana's two decades of songwriting and performing lend authority and
emotion to one or two word refrains like "Gone," "Go," and "There's a Way."
"Anything," with its Bollywood strings and industrial groove, climaxes with repeated
shouts of "No, you didn't take anything from me!" in a way that would make James
Murphy sweat. Lead single "Heavenstay" takes the lilting "higher, higher, higher"
refrain of In The Light's "Light The Fire" and absolutely soars with the most explosive
chorus of the LP. Day-Glo guitars are smeared across this record, and Falana's
veritable army of vocals stacked and vibrating with her eastern European influences.1. Gone
5. Know UR Mine
6. Shine Thru
7. Second Skin
8. There's a Way
10. That Girl$15.99Vinyl LP - Sealed Buy Now
Life. Love. Flesh. BloodImelda May's fifth studio record, entitled Life. Love. Flesh. Blood, is set for release via Verve Records.
It is clear that one of Ireland's biggest exports has found a new groove, here presenting the most personal and intimately autobiographical album she has ever written. The album is produced by the legendary T Bone Burnett, who said of Imelda: "When I first happened onto her music, she was a punky Irish Rockabilly singer with a great band. When I ran across her several years later, she had gone through a change of lives and was writing about it with a wild intensity and singing about it in the most open-hearted way."
The album marks a new direction for May who, in the time since her 2014 release Tribal, ended her marriage of eighteen years. Imelda May's new sound sits firmly outside of any sharply defined genre box, widely spanning blues, rock, soul, gospel and jazz. Life, Love, Flesh, Blood breathes new life into a classic sound, with Imelda's powerhouse vocal as distinctive as ever, cementing her position as one of the strongest vocalists of her generation. The singer herself describes the record as her most "honest" yet. Imelda's life changed considerably in the run-up to recording, and this is documented in the only way she knew how. Imelda explains, "It's therapy, like keeping a diary that a lot of people read. Some of my favorite songs don't say much, but they reveal everything."
Recorded over seven days in Los Angeles, the album features musical contributions from guitar hero Jeff Beck ("Black Tears"), piano legend Jools Holland ("When It's My Time") and an accomplished group of backing musicians including the core trio of guitarist Marc Ribot (Tom Waits, Elvis Costello), drummer Jay Bellerose (Elton John & Leon Russell, Ray Lamontagne) and bassist Zach Dawes (The Last Shadow Puppets, Mini Mansions), the same band that recorded Robert Plant and Alison Krauss' Raising Sand.
First single "Black Tears" is a personal and heart-wrenching ballad, it features a distinctive slide guitar part, coupled with a unique picking and guitar tone that could be the handiwork of only one man - the legendary Jeff Beck. Jeff Beck says of Imelda, "I knew it from the start you cannot ignore talent this unique."
Imelda showcases her raw yet restrained breathtaking lead vocal, complimented by rich backing vocals and a super tight rhythm section. Written with Angelo Petragalia (Kings of Leon), the inspiration for the song's visual and poignant lyrics was inspired by a very personal moment for Imelda: "I wrote Black Tears with Angelo Petraglia after a heart-wrenchingly difficult goodbye. I closed my door and caught a glimpse of myself in the mirror with black tears rolling down my face. It's a sight and situation most women have unfortunately seen ourselves in at some point in life. Angelo had a beautiful guitar piece that fit the mood perfectly."
Imelda May, born and raised in The Liberties area of Dublin, has become one of Ireland's most celebrated female artists in history. Discovered by Jools Holland, who asked Imelda to support him on tour, Imelda has gone on to perform alongside legendary artists including Lou Reed, Bono, and Smokey Robinson.1. Call Me
2. Black Tears (feat. Jeff Beck)
3. Should've Been You
4. Sixth Sense
6. How Bad Can A Good Girl Be
7. Bad Habit
9. When It's My Time (feat. Jools Holland)
10. Leave Me Lonely
11. The Girl I Used To Be$19.99Vinyl LP - Sealed Buy Now
Eight And A HalfJustin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.
Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.
However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.
What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.
And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.
O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.
Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.
And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."1. When I Was Twenty Nine
3. Go Ego
4. The Turn Around
5. Took A Train To India
6. Wait Up
7. Two Points
8. Walked Into Diazepene
9. Oh, My Head
10. My Forevers$17.99Vinyl LP - Sealed Buy Now
The Parallax II: The Further Sequence (Awaiting Repress)Double gatefold marbled 2LP pressing with 2 x 4-color inserts from Metal Blade Records.
Between the Buried and Me have not made a name for themselves through playing it safe. Pushing the envelope of heavy music with each successive release, they have continually evolved in thrilling new directions while maintaining the honesty and integrity that has connected with so many listeners. With The Parallax II: Future Sequence, the first concept album of their career, the North Carolina based unit have delivered their most complex, ambitious, and accomplished work to date. "We're certainly not the average metal band, we write what we want to write, and we've never really tried to fit in anywhere," states guitarist Paul Waggoner. "With this record we held nothing back. We were excited to experiment and see where it took us, and working with a concept was a really interesting new challenge."
The concept was first introduced to the band's fans with 2011's The Parallax: Hypersleep Dialogues EP, which established the narrative's two characters, Prospect I and Prospect II, the story commencing with the events of Parallax II. Separated by millions of light years, the two men exist in ignorance of the other yet are intrinsically connected by a shared soul, which ultimately brings them together. "Both men exist in isolation, one because he runs away from the life that is his and the other when he leaves his dying planet in the hope of creating new life elsewhere, through the planting of souls," explains vocalist Tommy Rogers.
"As the story progresses you realize they are actually the same person, and at the end of the journey they're responsible for destroying all life as they know it, reinforcing the idea that humanity is a destructive species, and that there's some kind of innate flaw about us that causes us to destroy everything we touch." While the story is very much based in fiction and grounded in the imagination of Rogers, it was important that the vocalist was able to emotionally connect with it, and relate it to his own life, thereby making it relatable for listeners. "That was probably the hardest thing for me, making sure I could find that connection. The main thing that these characters go through is confusion and isolation, and I think that's something every person deals with in their lives at some point. As a musician you spend a lot of time with your own thoughts, so despite the science fiction of it all it is still a very personal record."
Produced by the band, which is rounded out by guitarist Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson, alongside longtime collaborator Jamie King, the recording process was smooth, though labor intensive, if for no other reason than the sheer amount of material that had to be tracked. Stepping back from it, the band are proud of everything they have achieved. "This whole process was a lot of work, and it's definitely the most rewarding piece of music we've ever written," states Rogers. "It's a very coherent record, and I think nowadays records are getting thrown out there without much thought put into them. I like that what we've done is kind of bring back the whole album feel, which was really important once but doesn't seem to be any more." With plans to play Parallax II in its entirety on forthcoming tours, the band hope this album introduces new fans to their music, yet they maintain the humble aspirations that have always driven them.
"I'm a firm believer that if you create something that's unique and different there's always going to be a niche market for that. Our mentality is to keep doing what we're doing, writing music that challenges both us and the listener, and to keep playing to everyone who wants to see us," Waggoner states. Rogers concurs with this, adding "I think what we do speaks loudly to people. We're a very genuine band, we do what we want because we love doing it, and I think that's what people want. They want honesty in their music, and they want music that comes from the heart rather than comes from a computer, or that is made by people motivated by making money. We're just going to keep writing the best songs we can and with that continue to grow, and hopefully through doing that more and more people will find us.1. Goodbye to Everything
2. Astral Body
3. Lay Your Ghosts to Rest
5. Extremophile Elite
7. The Black Box
10. Melting City
11. Silent Flight Parliament
12. Goodbye to Everything Reprise$29.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Roadsinger (To Warm You Through The NIght)With his reintroduction to the pop world behind him, renowned singer-songwriter Yusuf (the artist known as Cat Stevens) is ready to once again strike up an intimate relationship with his audience. After retreating from the pop stage following classic '70s multi-platinum albums such as Tea For The Tillerman and Teaser And The Firecat and acclaimed hits such as Wild World, Peace Train, Moonshadow, Morning Has Broken and Father And Son, Yusuf returned in late 2006 with his first pop album in 28 years. Now he's back again with a second album, Roadsinger (To Warm You Through The Night).
I was absent from my audience for so long, Yusuf says, people thought another album would never come. The 2006 album, An Other Cup, was a surprise. With this new album, the distance is much less. I'm back to doing what I do best, painting pictures with music and storytelling on a very human, personal, intuitive level through lyrics and song, so I can help people feel good again. I guess in some ways the new album picks up where the Cat Stevens the public knows left off.
The album, Roadsinger (To Warm You Through The Night), was produced by the now singularly named Yusuf with help from Martin Terefe (James Morrison, Jason Mraz, Martha Wainwright), and recorded around the world. Guests include Morrison, Michelle Branch and Holly Williams (granddaughter of Hank Williams, Sr.).
The new album is a response to the way An Other Cup was received, Yusuf explains. Fans said they wanted to hear more of me with a guitar. So, this album is much more folk-tale oriented. Also, apart from one track, all of it was recorded live. I listened to a lot of' '70s L.A. music, such as Joni Mitchell, James Taylor, Carole King, and it inspired me to go back into that intimate style of recording. The songs are somewhat autobiographical but abstract enough so everyone can relate to them and connect them to their own lives.
The title track, Roadsinger, unfolds the tale of an outcast who revisits his old hometown; along the empty street a child peeks from behind a store window and gives an innocent smile out of the shadows of prejudice. The theme of a journey has always been big with me, says Yusuf. A journey that was unexpectedly cut short in 2004 was when Yusuf was flying from his London home to Washington, D.C., en route to a meeting with Dolly Parton, who had recorded Peace Train several years earlier and wanted Yusuf to play guitar on her cover of his Where Do the Children Play. The incident that made headlines was resolved in 2006 and Yusuf's new song Boots and Sand resulted.
There are plenty people who sing, but not enough who have walked far from their block, he says. I embraced an unexpected spiritual path that was confusing for many (converting to Islam in 1977). Sadly, I'm still often misunderstood. Some people want to put me into their own one-sided view, but I don't fit those limitations. My world is still borderless and wide. The removal of conflict and establishment of peace has always been my global objective. It's a shame that lot of people, including some Muslims, overlook the name Islam, which actually comes from the word 'Peace' in Arabic.
The forthcoming album also showcases some songs from his upcoming musical Moonshadow. The story takes place on a planet of perpetual night where only the moon's shine lights the darkness; it is about a boy's meeting with his Moonshadow and the adventures they share in search for the a world of the sunlight and happiness. As well as having many new songs, the surrealistic musical, Moonshadow also weaves classic songs from his past, including Morning Has Broken, Wild World and The First Cut Is The Deepest.
Yusuf's return to his guitar came about when his teenage artist-musician son, Muhammad (aka Yoriyos), brought one home again. One morning, Yusuf was alone in the lounge when he looked over and felt a draw of curiosity overtake him. He slowly picked it up. I put my fingers on the fretboard to make a 'C' chord, he remembers, and surprised myself, It's still there! It felt right. So I started playing again. On the forthcoming album, Yusuf even plays electric guitar on a couple of tracks, along with keyboards. This part of my career feels similar in one sense to when I began, Yusuf reflects. I had to get past the songs on Mona Bone Jakon before I could move on to Tea For The Tillerman, etc. This time around it was the same story: I laid the groundwork with my debut album, An Other Cup, which inspired a great new collection of songs and scribblings. I had quite a few in my back pocket and again it was my son who sparked the next step. He said, 'Isn't it time to start recording a new album?' And it was.
1. Welcome Home
2. Thinking 'Bout You
3. Everytime I Dream
4. The Rain
5. World O'Darkness
6. To Be What You Must
7. This Glass World
9. All Kinds Of Roses
10. Dream On (Until...)
11. Shamsia$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sonny Is King (Out Of Stock)Although their styles were regions apart and theyd never performed together previously, Georgia harmonica ace Sonny Terry and Texas guitar titan Lightnin Hopkins fit like foot in sock when producer Kenneth S. Goldstein paired them at Rudy Van Gelders studio on October 26, 1960. As LeRoi Jones observed in the original album notes, There is a meeting of ways, where the light and the sad seem to come together simply as blues. Selections six through 10 were recorded the following year, and Terry was back in the more familiar company of another great guitarist, his longtime partner Brownie McGhee.
Terry was a remarkable mouth harp player, and these performances are first rateWhat makes this a truly stand out record is the fine sound, which just jumps out of the speakers. Although this is a stereo recording with rather hard left and right separation (especially on the McGhee songs), that anomaly distracts little from the performance. Recording = 7/10; Music = 8/10 Dennis Davis, Hi-Fi+, Issue 43
This title is not eligible for discount.One Monkey Don't Stop The Show
Changed The Lock On My Door
She's So Sweet
Diggin' My Potatoes
Callin' My Mama
Blues From The Bottom$49.9945 RPM 180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock