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Going Back To Acoustic

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  • Going Back To Acoustic (Pure Pleasure) Going Back To Acoustic (Pure Pleasure) Quick View

    $34.99
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    Going Back To Acoustic (Pure Pleasure)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    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. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Goin' Back Goin' Back Quick View

    $24.99
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    Goin' Back

    Pull up a porch chair, lean it back on two legs and enjoy the music of Kansas City blues legend Little Hatch on Goin Back. They love the little man in Kansas City - where the traditional blues harmonica player's birthday has been proclaimed Little Hatch Day in honor of his broad fan support - and you'll love the sound that has been lighting up the KC nightclub sky and other venues for years.


    APO owner Chad Kassem first heard the harmonica player in the early 1980s at the Grand Emporium in Kansas City - when Kassem was still flipping burgers and not even thinking about the music business - and was amazed at how few recordings Little Hatch had made (one at the time, The Little Hatchet LP in 1972).


    Little Hatch (who was once nicknamed Little Walter Jr. but changed it becuase his music deserved a name of its own), made this unplanned and unrehearsed recording for Kassem's APO label at Blue Heaven Studios when Hatch found himself as a spectator during another recording session. He couldn't help himself and cut loose while the tape rolled along with the masterful guitar accompaniment of longtime associate Bill Dye.


    In about three hours, Little Hatch completed 15 cuts, most on the first take. The result was traditional, raw, dirty blues at its finest with hamonica and slide guitar. The acoustics of the grand old church make it sound like Little Hatch is, indeed, playing just for you on your back porch or in your living room.


    So go on back to the porch. Pull up that chair and take a listen.

    1. Rock Me baby
    2. Woke Up This Morning
    3. She's Nineteen Years Old
    4. Fannie Mae
    5. Baby, Scratch My Back
    6. Buzz On
    7. Your Friends
    8. I Got A Woman
    9. Glory Glory
    Little Hatch
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Connect (On Sale) Connect (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

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    Connect (On Sale)

    Sick Puppies is a three piece rock band that formed in Australia in the late 1990s. The current lineup for the band is Shimon Moore on guitar, Emma Anzai on bass and Mark Goodwin on drums. In the early 2000s the band, which at the time did not include Mark, moved to the states to start their career as a professional rock band. They were signed to Virgin Records and released their second album, Dressed Up As Life which has sold over 200,000 copies in the United States and abroad since it's release in 2007. The band furthered their career and released their third full length album Tri-Polar in 2009 which featured hits such as, You're Going Down, Riptide, Maybe and Odd One.


    Connect is an album that takes all types of Sick Puppies sound and combines it all into one. You have hints of Welcome To the Real World, Dressed Up As Life and Tri-Polar in the album. You have the hard rock and heavy bass songs such as, Die To Save You, There's No Going Back, Walk Away, Gunfight and The Trick The Devil Did; and you have the ballads, Poison, Where Did The Time Go, Telling Lies, Connect, Run, Healing Now and Under A Very Black Sky. The album comes together really well and isn't the bad kind of overpowering. Fans, if you've been anxiously awaiting this album to see if it's good; I'm here to tell you that this album is very good and worth the wait.


    My Favorite Song Is... There's No Going Back. The song starts right off the bat with a very rhythmic acoustic guitar. The chorus then comes in and hits you with very strong lyrics. There's no going back / when life's a loaded gun / you pull the trigger, trigger / There's no going back / the past is in the past / thank God it doesn't last forever /. The use of Emma as a backup vocalist has always been something I wanted the band to do in every song, and this song, her small presence gives it such a bigger presence on the album. There's No Going Back is also the band's first single off the album.


    - aNewRisingDesign

    1. Die to Save You
    2. There's No Going Back
    3. Walking Away
    4. Gunfight
    5. Poison
    6. Where Did the Time Go
    7. Telling Lies
    8. Connect
    9. Run
    10. The Trick the Devil Did
    11. Healing Now
    12. Under a Very Black Sky
    Sick Puppies
    $19.99 $15.79 Save $4.20 (21%)
    Vinyl LP - Sealed Buy Now
  • Boys Outside Boys Outside Quick View

    $20.99
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    Boys Outside

    Steve Mason was the mastermind behind The Beta Band and one of the Britpop generation's few genuinely brilliant and original songsmiths. Having previously recorded as both King Biscuit Time and Black Affair, both largely electronic based projects, Mason enlisted the help of producer Richard X and consciously made a decision to go back to basics on his new solo album Boys Outside. The album was written entirely on acoustic guitar with many of the finished tracks stripped back to reveal his undoubted songwriting talent. Very much indicative of the fragile, stripped down, haunting sound of the album, All Come Down was released as a download only single in December of last year and was roundly praised for it's beauty and simplicity drawing numerous comparisons to his early work with the Beta Band on the 3 EPs album.
    1. Understand My Heart
    2. Am I Just A Man
    3. The Letter
    4. Yesterday
    5. Lost & Found
    6. I Let Her In
    7. Stress Position
    8. All Come Down
    9. Boys Outside
    10. Hound On My Heel
    Steve Mason
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sextant Sextant Quick View

    $32.99
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    Sextant

    Reissued for the First Time Since 1973!


    Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.


    Sextant from 1973 was recorded just before Head Hunters, and can be seen in the same vein, but it's more than just an introduction to a masterpiece. It features a kind of post-modal, free impressionism while gracing the edges of funk. Three long instrumental tracks explore how far minimalism in jazz can go.

    1. Rain Dance
    2. Hidden Shadows
    3. Hornets
    Herbie Hancock
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sinister Urge The Sinister Urge Quick View

    $35.99
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    The Sinister Urge

    Picture Disc


    Hard rock's brightest shock rocker avoids the sophomore slump on the fun and energetic The Sinister Urge. Zombie's trademark growl is still in fine form, roaring over the 11 tracks with his unique blend of acid-throated venom. But most interesting are the directions he tries to bring to his familiar sound, which he has been cultivating since the hardcore punk days of White Zombie. Never Gonna Stop (The Red, Red Kroovy) is the most apparent example of this, a song that borders on pop with its groovy handclaps and acoustic guitars. But not to be worried, the chorus kicks back into classic Zombie, complete with sampled crowd chants and his trademark yeah. Going to California has a similar vibe, albeit darker and with a Welcome to My Nightmare-era Alice Cooper showbiz quality to it. But when it comes time to rock out, Zombie is more than ready. Dead Girl Superstar is probably the best of the bunch, raging along at lightning speed and featuring an awesome guest appearance by Slayer guitarist Kerry King. Iron Head is also quite good, matching Zombie's bark with guest singer Ozzy Osbourne's trademark banshee wail over a swaggering beat and chugging riff. And finally there is House of 1000 Corpses, the theme from the film Zombie directed that apparently offended Universal Studios so much that they refused to release it. The song is a nice departure for him, like a Leonard Cohen song filtered through Violator-era Depeche Mode. It is the slow burn of this last track that shows the most promise; after years of making good heavy metal, he finally expands the boundaries of his own sound. Few metal musicians kept their sound fresh for as long as Zombie, and this album is no exception. This may not win any new fans, but anyone who enjoyed his old material will probably find this to be a welcome addition to their collection.

    - Bradley Torreano (All Music)

    1. Sinner's, Inc
    2. Demon Speeding
    3. Dead Girl Superstar
    4. Never Gonna Stop (The Red, Red Kroovy)
    5. Iron Head
    6. (Go To) California
    7. Feel So Numb
    8. Transylvanian Transmissions Pt. 1
    9. Bring Her Down (To Crippletown)
    10. Scum Of The Earth
    11. House Of 1000 Corpses/Unholy 3
    Rob Zombie
    $35.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Beulah Beulah Quick View

    $18.99
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    Beulah

    Beulah. It's a small, complicated word with a tangle of meanings.


    It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.


    Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."


    Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."


    And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."


    Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.


    "Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."


    Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."


    White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.


    One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.


    At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.


    The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."


    Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."


    Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."

    1. Black Leaf
    2. What's So
    3. The Once And Future Queen
    4. Make You Cry
    5. Fight For You
    6. Hope I Die
    7. I've Been Over This Before (Feat. The Secret Sisters)
    8. The Martyr
    9. Hate The Way You Love Me
    10. I'll Get Even
    John Paul White
    $18.99
    Vinyl LP - Sealed Buy Now
  • Blood On The Tracks (On Sale) Blood On The Tracks (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Blood On The Tracks (On Sale)

    Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain


    Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear



    Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond


    Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain


    The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity


    Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.


    A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.


    For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.


    Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.


    Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for further discount.

    1. Tangled Up in Blue
    2. Simple Twist of Fate
    3. Youre A Big Girl Now
    4. Idiot Wind
    5. Youre Gonna Make Me Lonesome When You Go
    6. Meet Me in the Morning
    7. Lily, Rosemary and the Jack of Hearts
    8. If You See Her, Say Hello
    9. Shelter From the Storm
    10. Buckets of Rain
    Bob Dylan
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strong Persuader Strong Persuader Quick View

    $34.99
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    Strong Persuader

    One of the most popular and successful blues albums ever released!


    200-gram vinyl, pressed at Quality Record Pressings!


    Mastered from the original analog tape by Ryan Smith at Sterling Sound


    Robert Cray is a musician that critics describe as one of the all-time great blues guitarists, and small wonder. No less than Rolling Stone describes his playing as distinctive and razor-sharp. They go on to say that Strong Persuader introduced a new generation of mainstream rock fans to the language and form of the blues. As much as anyone next to Stevie Ray Vaughan, Cray helped the blues not only survive, but thrive, says Acoustic Sounds' owner Chad Kassem.

    Cray, a five-time Grammy winner, originally released Strong Persuader, his fifth studio album, in 1986 - his major label debut. Stinging urban blues by way of Texas and Memphis distinguish Cray's guitar mastery - since the release of Strong Persuader, Cray has gone on to record 15 Billboard-charting studio albums and has written or performed with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker. Inducted into the Blues Hall of Fame at the age of 57, he is one of the youngest living legends to receive the prestigious honor. And although Cray can look back over an astonishing three decade-long career, punctuated by his trademark sound and distinct playing style, he is far too busy moving forward as the amazing journey continues. 2012 saw Robert release his 16th studio album, Nothin' But Love and embark on yet another world tour.

    1. Smoking Gun
    2. I Guess I Showed Her
    3. Right Next Door (Because Of Me)
    4. Nothin' But A Woman
    5. Still Around
    6. More Than I Can Stand
    7. Foul Play
    8. I Wonder
    9. Fantasized
    10. New Blood
    Robert Cray
    $34.99
    200 Gram Audiophile Virgin 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
  • Another Life Another Life Quick View

    $16.99
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    Another Life

    James Maddock affirms his status as a fixture in downtown Manhattan's folk and Americana scene with his album 'Another Life.' As NPR says of the British transplant, "his timeless songwriting style, which seems to draw from great songwriters of every era, conveys quiet confidence and lovely intimacy."


    Nodding to '70s rock with shimmering acoustic guitars, an understated rhythm section and flourishes of fiddle, mandolin, piano and dobro, 'Another Life' bridges the mainstream appeal of songwriters like Jesse Harris and Norah Jones and the quirkier sensibility of Loudon Wainwright. With funding entirely from fan contributions through PledgeMusic, Maddock worked with producer Matt Pierson, multi-instrumentalist Larry Campbell (who's played with Bob Dylan and Levon Helm) and bassist Tony Scherr (who plays with Norah Jones).


    The 13 songs on 'Another Life' paint a portrait of a man reaching the midpoint of his life, a natural progression from themes in Maddock's earlier releases. He's looking back on roads not taken, and isn't always sure he chose the right one. On the title track, Maddock wants an extra 50 years to try "acting, white-water rafting," "some illegal substances," even having a kid or three. "I've Been There Too," built around an indelible guitar riff, shows Maddock's knack for instrumental hooks as well as lyrical ones. "Don't Go Lonely," in a well-timed moment of levity, hints at reggae with dub bass, bubbling organ and the chorus's entreaty to "go get high, go get found, go crazy on this town / don't go lonely."


    After fronting the Columbia Records band Wood, whose debut 'Songs From Stamford Hill' was featured prominently on TV shows such as "Dawson's Creek," Maddock moved from England to New York City in 2003. His 2009 album 'Sunrise On Avenue C' won a New York Music Award for Best Americana Album, while follow-up 'Wake Up And Dream' ranked among the top albums of 2011 in WFUV's (NYC) Listener Poll. He's performed with Bruce Springsteen, Willie Nile, Aaron Comess (Spin Doctors) and David Immergluck (Counting Crows), sang on an album with Susan McKeown, and is a resident artist at Rockwood Music Hall. According to radio legend Vin Scelsa, Maddock's heartbreakingly beautiful and exquisitely crafted music touches the soul.

    1. Another Life
    2. Arizona Girl
    3. Timing's Everything
    4. Ive Been There Too
    5. That's Heavy
    6. What I Miss
    7. Easy To Give
    8. Don't Go Lonely
    9. What Have I Done?
    10. Strategies For Life
    11. Better On My Own
    12. If I Had A Son
    13. Making Memories
    James Maddock
    $16.99
    Vinyl LP - Sealed Buy Now
  • Something Special Something Special Quick View

    $22.99
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    Something Special

    The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the boy/girl" songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when "These Boots Are Made For Walkin'" made him a star songwriter) had become.


    The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label-experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like "Little War" and "Hands," the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.


    The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his "expensive demos. I'm sure that MGM thought that they would be successful." Little chance of that with Something Special -it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best-and most varied-work.

    1. Shades
    2. This Town
    3. Child
    4. Stone Cold Blues
    5. Little War
    6. Them Girls
    7. Fort Worth
    8. Hands
    9. Mannford, Oklahoma
    10. Summer Night
    11. Moochie Ladeux*
    12. The Lone Ranger Ain t My Friend Anymore*
    Lee Hazlewood
    $22.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 (Pre-Order) Deer Tick Vol. 2 (Pre-Order) Quick View

    $19.99
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    Deer Tick Vol. 2 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Deer Tick Vol. 1 (Pre-Order) Deer Tick Vol. 1 (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 1 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Sound Of Change Sound Of Change Quick View

    $18.99
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    Sound Of Change

    The Sound of Change can't come from external forces, it has to emanate from within. For Dirty Heads, evolution beyond their reggae-rock roots has developed over time and is manifested on their new album "Sound of Change." Due out summer 2014 via Five Seven Music, the album boasts some of the groups' most diverse and ambitious work to date. "Sound of Change" takes a literal meaning with the production of this album, as the band links up with Grammy award winning producer Supa Dups (Nina Sky, Bruno Mars), Buddah Shampoo (Ty Dolla $ign), Niles (of hip hop duo, The Cataracs), Ward 21 (311, Major Lazer reggae collaborators) and long-time friend and collaborator, Rome (Sublime).


    The feel-good vibe associated with their sound was not forgotten. Sonically, "Sound of Change" amps up the groundwork laid by previous albums. Fine-tuned alternative choruses work harmoniously with hip-hop influenced production that seams the songs together. Universal themes of compassion, reflection and happiness are at the core of "Sound of Change." "We wanted the songs on this album to touch on the things we deeply care about and the people we are inside" front man Jared (Dirty J) Watson asserts, "but then we want to address the other side - when the weekend comes and we need to let go and just rage." Who can't relate to that feeling?


    Vocalist/Guitarist Dustin Bushnell (Duddy B) is constantly looking to connect the dots between the live show with the album tracks, often mentally mapping out the live elements as the songs are being recorded. For the touring cycle surrounding the release "Sound of Change" the band plans to bring a live show that will energetically compliment each new track. Dirty Heads have racked up their miles bringing that live experience to fans across the globe for over a decade. "Now that our lives are touring we get to see the world," both Watson and Bushnell agree, "we're taking stories and vibes from around the world and making this album is the culmination of that."


    The band's breakout 2008 album "Any Port In The Storm" included the chart-topping hit track "Lay Me Down" which features current Sublime frontman, Rome. The track had an incredible run for eleven weeks at #1 on the Billboard charts, laying a solid foundation for their follow up sophomore album "Cabin By The Sea" which was released in 2012. Dirty Heads then began their musical metamorphosis with their 2013 acoustic album "Home - Phantoms Of Summer," allowing time for their metamorphosis embodied in "Sound of Change." Their previous work featured contributions from talent such as Del The Funky Homosapien, Matisyahu, Rome (Sublime) and guitar legend Slash.


    "Sound of Change" is a melting pot of all the band members' experiences and musical persuasions, addressing both serious and lighthearted subject matter in their signature way. On the lighter side of the spectrum, "Burn Slow" (Produced by Rome, featuring rapper, Tech N9ne) showcases the hip-hop oriented side of the band. With anthemic choruses and a feel-good aura, Watson boasts the song is the perfect soundtrack for those times when you're "having a good time, going out with friends and realize that sometimes you just need to chill." The retro sound and sexy lyrics of "Hear You Comin," highlights Watson's soaring vocals in its hook. The first single, the metaphorical "My Sweet Summer" (produced by Niles from The Cataracs) is, in reality, a song for all seasons. An undeniable groove underlines the lyrical lament. The title track "Sound of Change" is the key manifestation of the artistic maturation of the band. "The world is always changing political and social outlooks and on a broader scale, look at the changes within yourself" Watson reflects, "the song is about embracing the change life is going to bring no matter what, because that change is inevitable." Though there is diversity on "Sound of Change," as a body of work, it is cohesive in a way only Dirty Heads can achieve.


    As a full six-piece unit, frontmen Watson and Bushnell are joined by keyboardist/vocalist Shawn Hagood, percussionist Jon Olazabal, drummer Matt Ochoa and bassist David Foral. This lineup is hell-bent on grabbing new ears with "Sound of Change." Their own journey can be heard within the album- all you have to do is sit back and listen.

    1. Sound Of Change
    2. My Sweet Summer
    3. Medusa (feat. Ward 21)
    4. Burn Slow (feat. Tech N9ne)
    5. Franco Eyed (feat. B-Real of Cypress Hill)
    6. End Of The World
    7. One Hand
    8. Radio
    9. Burials
    10. Hear You Coming
    11. Silence
    12. Dark Days
    13. Running For Your Life
    The Dirty Heads
    $18.99
    Vinyl LP - Sealed Buy Now
  • Heart Heart Quick View

    $32.99
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    Heart

    First Time 180 Gram Audiophile Vinyl Release


    Mastered Impeccably By Joe Reagoso


    First Time Gatefold Cover Artwork


    Ann and Nancy Wilson have been continually hammering out some of the greatest rock recordings over the last several decades. Their staying power is second to none, and their status as one of classic rock's premier icon acts is legendary.


    After a major explosion with their first releases like Dreamboat Annie and Little Queen, Heart roared back to the top of the charts a decade later with their astounding debut Capitol album Heart. The mega-platinum 1985 smash contained their most successful 80's hit singles and rock tracks like the guitar blazing What About Love, the rock belters Nothing At All and Never, plus the acoustic powerhouse classic ballad These Dreams.


    Note for note, song for song, Heart's self-titled masterpiece Heart is recognized as one of the classiest, hippest and equally creative musical affairs ever waxed and continues to be one of their most loved albums in their very long and captivating catalog.


    It is with much respect and honor to continue the Heart /Friday Music 180 Gram Audiophile Vinyl series with the summer release of their incredible masterwork Heart. Impeccably mastered from the original Capitol Records tapes by Joe Reagoso, Heart is truly a classic masterpiece now impeccably revisited in the audiophile domain.


    For this limited edition first time 180 Gram Audiophile vinyl release, we are also including a first time rare gatefold cover, which includes all of the original graphics as you remember them. It's just another special extra to go along with the amazing excitement that this HQ vinyl release delivers.


    Heart by Seattle's favorites Heart .. From your friends at Friday Music 180 Gram Audiophile Vinyl WHAT ABOUT LOVE!

    1. If Looks Could Kill
    2. What About Love
    3. Never
    4. These Dreams
    5. The Wolf
    6. All Eyes
    7. Nobody Home
    8. Nothin' At All
    9. What He Don't Know
    10. Shell Shock
    Heart
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Little Queen (Colored Vinyl) Little Queen (Colored Vinyl) Quick View

    $32.99
    Buy Now
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    Little Queen (Colored Vinyl)

    Pressed On 180 Gram Translucent Gold Vinyl


    First Time With Gatefold Cover Art


    Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.


    Ann and Nancy Wilson have been continually hammering out some of the greatest rock recordings over the last several decades. Their staying power is second to none, and their status as one of classic rock's premier icon acts is legendary.


    After a major explosion with their first release Dreamboat Annie in 1976, Heart bounced back to the top of the charts again a year later with their astounding second album Little Queen. This multi-platinum 1977 smash contained their most successful seventies hit singles and rock tracks like the guitar blazing Barracuda, the shouter Kick It Out and the acoustic rock power ballad Love Alive. Note for note, song for song, Heart's Little Queen is recognized as one of the classiest, hippest and equally creative musical affairs ever waxed and continues to be one of their most loved albums in their very long and captivating catalog.


    It is with much excitiment to announce the Friday Music 180 Gram Audiophile Translucent Gold Vinyl release of this incredible masterwork. Mastered impeccably by Joe Reagoso and manufactured at RTI, Little Queen is truly a classic masterpiece now impeccably revisited in the audiophile domain.


    For this limited edition Gold Vinyl summer tour release, we are also including a the rare Friday Music gatefold cover, which includes all of the original lyrics and graphics as you remember them. It's just another special extra to go along with the aural excitement that this HQ vinyl release delivers. Heart- Little Queen from your friends at Friday Music 180 Gram GOLD Audiophile Vinyl KICK IT OUT!!!!!

    1. Barracuda
    2. Love Alive
    3. Sylvan Song
    4. Dream of the Archer
    5. Kick It Out
    6. Little Queen
    7. Treat Me Well
    8. Say Hello
    9. Cry to Me
    10. Go on Cry
    Heart
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Reaching Into Infinity Reaching Into Infinity Quick View

    $33.99
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    Reaching Into Infinity

    Pressed On 2x Colored Vinyl


    Long running Grammy-nominated extreme melodic power metal band DragonForce are set to release their seventh album, 'Reaching Into Infinity.' Once again recorded with Jens Bogren (Opeth, Katatonia, Soilwork), the producer extraordinaire who helmed the UK-based group's now three-year-old previous record 'Maximum Overload,' it will be available via Metal Blade Records in the United States.


    'Reaching Into Infinity' introduces Italian drummer Gee Anzalone, who joined the band for their first ever 'best-of' collection, 'Killer Elite: The Hits, The Highs, The Vids', released in 2016. It's the third DragonForce album to feature frontman Marc Hudson, whose reign at the mic now enters its sixth year.


    Musically speaking, 'Reaching Into Infinity' continues where DragonForce left off with 'Maximum Overload', the band's faster material becoming even faster still, while the melodic parts head even further in that particular direction. The band offers no apologies for the inclusion of a 1980s rock-style ballad entitled 'Silence' and, at the other end of the spectrum, there's even an 11-minute multi-tempoed monster called 'The Edge Of The World'.


    "'The Edge Of The World' is DragonForce's longest ever song," says Li proudly. "In some ways, this album is more epic than anything we've done before."'The Edge Of The World' is extremely ambitious, channeling growled vocals from Hudson and fusing them with a stunning arrangement that twists and turns like the proverbial dragon's tail. The 'Force go prog-rock, anyone?


    "Why not?" Li responds. "Marc's favorite style of music is prog, and I'm a massive fan of Dream Theater, so there's an element of that going on. With each album that we make, the band reveals more and more if its influences, constantly adding to what we can do."


    "We have proven that playing fast is something we were good at, so this time I wanted to bring even more diversity into our music," Fred elaborates. "It's great to challenge ourselves instead of staying in a comfort zone, and I really wanted to experiment with Marc's vocals. I think people are going to be surprised at his brutality."


    The title corresponds with the album's highly impressive sleeve art, which features a dragon bursting through a wormhole into a hi-tech, futuristic cityscape.


    "The dragon represents us - DragonForce - and a form of music that's been around for a very long time, emerging into an outside world that's infinitely more crazy and chaotic than it was ten years ago," Li explains, using considerable understatement. "Everyone is saying that there's no future and there's a lot of fear and uncertainty, especially for younger people, but our music is an escape from it all."


    The bulk of the album was laid down at Fascination Street Studios in Sweden, though additional parts were cut in studios around the UK and in California. They had to be - "Since 'Killer Elite' it's been non-stop for us," Li comments.


    Adds Leclercq: "We flew out, played a festival, headed back into the studio, then went back out again. It was very intense and tiring. I obviously played bass but also a lot of rhythm guitar, electric and acoustic, and lost my temper a few times - I think we all did at some point because we wanted to deliver nothing but the best."


    Expect many of these songs to become firm live favorites, particularly the super-fast 'Midnight Madness' (feted as the album's second video track), when DragonForce hit the road again. As usual, their itinerary will take them to the four corners of the world.

    LP 1
    1. Reaching into Infinity
    2. Ashes of the Dawn
    3. Judgement Day
    4. Astral Empire
    5. Curse of Darkness
    6. Silence
    7. Midnight Madness


    LP 2
    1. War!
    2. Land of Shattered Dreams
    3. The Edge of the World
    4. Our Final Stand
    5. Hatred and Revenge (Bonus Track)
    6. Evil Dead (Bonus Track)

    Dragonforce
    $33.99
    Colored Vinyl LP -2 LPs Sealed Buy Now
  • Party Of One Party Of One Quick View

    $21.99
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    Party Of One

    Rounder Records announces the first-ever solo album release from legendary guitarist/vocalist George Thorogood, titled PARTY OF ONE. The album will feature 14 cuts of traditional blues, classics, and modern blues songs, from John Lee Hooker's One Bourbon, One Scotch, One Beer to Hank Williams' Pictures From Life's Other Side, and The Rolling Stones' No Expectations.

    PARTY OF ONE was produced by Grammy-winner Jim Gaines (John Lee Hooker, Luther Allison, and Stevie Ray Vaughan), who reunites with Thorogood on the debut solo project, having produced several of Thorogood's biggest albums to date (RIDE 'TIL I DIE, THE HARD STUFF, THE DIRTY DOZEN). The album's primarily acoustic instrumentation - including slide, Dobro, and harmonica - is performed entirely by Thorogood, raw and stripped down, with an intimate one-on-one feel.

    Says Thorogood: I think this is a project that's long overdue. Maybe it should have been the very first album I ever made. After playing with the band for all these years, I had to kind of reverse my hands and my head in order to do this thing justice. Thorogood continues, But I think Destroyers fans - and hardcore blues fans, too - are ready for the unexpected. My whole career, I've always said, 'Just give them what you are, and they're either going to dig it or not.' This record is what I was, what I am, and what I always will be.

    PARTY OF ONE is Thorogood's return to Rounder Records, the roots label with which he first signed in 1976 to record the three hit albums that launched his recording career, beginning with his debut, GEORGE THOROGOOD AND THE DESTROYERS. Says Rounder co-founder Ken Irwin: George's coming back is a nice completing of the circle. This record shows his talent as a storyteller in a very different setting, with all the emotion in his guitar and vocals. It's a really intimate record, but it's unmistakably a George Thorogood record, too.

    Co-founder Marian Levy adds, You'd think it would be almost impossible to recapture, but there's immediacy to this record that harks back to the radicalism of the early Destroyers. In many ways, I think this record is a summation of George's career.

    Rounder Records Vice President of A&R Scott Billington, also the album's executive producer, says: This wasn't an easy record for George to make. He had to viscerally reconnect with a time in his life when he was discovering who he was. But as you listen to these songs, you realize that he is, and always has been, an authentic blues player. This album is George Thorogood claiming his legacy.

    Over the course of the last four decades, George Thorogood, with his longtime legendary band, The Destroyers, has sold more than 15 million albums, released 16 studio albums - including six gold and two platinum discs - and performed more than 8,000 live shows. George Thorogood and the Destroyers' catalog of hits include: Who Do You Love?, I Drink Alone, One Bourbon, One Scotch, One Beer, Move It On Over, Get A Haircut, and the anthemic Bad To The Bone.

    1. I'm A Steady Rollin' Man (Robert Johnson)
    2. Soft Spot (Gary Nicholson and Allen Shamblin)
    3. Tallahassee Women (John Hammond Jr.)
    4. Wang Dang Doodle (Willie Dixon)
    5. Boogie Chillen (John Lee Hooker)
    6. No Expectations (The Rolling Stones)
    7. Bad News (Johnny Cash)
    8. Down The Highway (Bob Dylan)
    9. Got To Move (Elmore James)
    10. Born With The Blues (Brownie McGhee)
    11. The Sky Is Crying (Elmore James)
    12. The Hookers (If You Miss 'Im I got 'Im) (John Lee Hooker)
    13. Pictures From Life's Other Side (Hank Williams)
    14. One Bourbon, One Scotch, One Beer (John Lee Hooker)
    George Thorogood
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Lower Side Of Uptown (Pre-Order) The Lower Side Of Uptown (Pre-Order) Quick View

    $15.99
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    The Lower Side Of Uptown (Pre-Order)

    Toadies will release their next album The Lower Side Of Uptown via Kirtland Records. This will be the band's seventh studio album and a 'return to form' as explained by frontman Vaden Todd Lewis: This album is 'roots Toadies, full of riffs and time shifts.' The Lower Side Of Uptown is the follow up to 2015's Heretics which saw the band taking a change of pace with a stripped down sound and mostly acoustic. When they were preparing to enter the studio this time around there was no set idea for what was to come but, the process ultimately had the band going back to their signature sound: I feel that subconsciously we thought that this record would have ended up incorporating some of that quieter sound, but that didn't happen. When we got to the studio with nothing more than a pile of riffs, what came out of the band was really loud and heavy music. So not only is this album louder than Heretics, I think it's louder and heavier than the last couple Toadies albums guitarist Clark Vogeler said of the sessions, which were recorded Arlyn Studio, a favorite of the legendary Willie Nelson, and The Bubble in Austin.
    1. When I Die
    2. Take Me Alive
    3. Polly Jean
    4. You Know the Words
    5. Mama Take Me Home
    6. Keep Breathing
    7. Amen
    8. Human Cannonball
    9. Broke Down Stupid
    10. I Put a Spell on You
    11. Echo
    12. Sentimental
    Toadies
    $15.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Scorpion Child Scorpion Child Quick View

    $24.99
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    Scorpion Child

    Black Double-LP in Gatefold

    Includes Bonus Track and Poster. Side D: Etched!


    Hooks: a musical idea or short riff, passage, or phrase that catches the ear of the listener. Some bands have 'em, most don't. Austin-based five-piece SCORPION CHILD have 'em in spades. Whether it's an extended blues jam or a short slice of bombastic heavy rock "The Child" lay a hook so tasty everyone bites. SCORPION CHILD come from lots of different places, not only logistically but musically. Their sound heralds back to early 70's kraut and psych-rock with a modern twist and lists PENTAGRAM, HAIRY CHAPTER and LUCIFER'S FRIEND as influences. They originally formed in 2006 and have spent the last few years perfecting both their songwriting and stage presence. Aryn Jonathan Black fronts the outfit with a siren-like voice reminiscent of a young Robert Plant. Guitarists Christopher Jay Cowart and Tom Frank layer high-energy twin-guitars over the band's driving rhythm section fueled by Shaun Avants (bass) and Shawn Alvear (drums). "Our influences are diversified as classic 80's thrash metal to the old school southern blues of Blind Willie Johnson, Lemon Jefferson and Willie McTell," says Black. "We came to Austin to form a band with a single vision and though we've played in different bands with a range of styles, after jamming together, we found our footing in what we do best." Balancing full-time jobs at coffee shops and bars around town forced the group to be very disciplined. "Austin's a great city to develop and hone your skills musically," admits Black. "Every genre can be found here from blues and jazz to punk and hardcore." In 2010, after years of slogging it out in the Austin scene, SCORPION CHILD gained peer recognition with critical praise from local and regional press while selling out high profile gigs at SXSW. The stage was set for the band's recording debut. After songwriting sessions in Nashville, the band spent last year recording their self-titled album with Grammy-nominated producer Chris "Frenchie" Smith known for his work with THE ANSWER, JET, AND YOU WILL KNOW US BY THE TRAIL OF DEAD, DAX RIGGS, and many others). The result is a hybrid of nine, hook-filled heavy-psych classics that breathe new life into a stale hard rock market. Their music erupts with big drums, thunderous guitar riffs and dangerous soul ridden bass lines. Black's powerful rock vocals convey a sexiness and swagger not heard since the days of FREE and HUMBLE PIE. A surge of electricity bursts from the first notes of "Kings Highway" to the pummeling drive of "The Secret Spot" and the highly addictive open-chord "Liquor". Built for the big stage is "Salvation Slave" which hearkens back to a time when guitar rock ruled the airwaves and made going to a concert the ultimate main event. Building on dynamic tension comes the acid-infused "Antioch", a progressive number with hypnotic beats and subtle shades of light that build into a blinding guitar duet. A galloping pulse distinguishes "In The Arms of Ecstasy" as a celebration of groove that is followed by the raw unchained riffage of "Paradigm". The album concludes with the slow building "Red Blood (The River Flows)" which continues to attract comparisons to LED ZEPPELIN. "We do have this whole acoustic side that sounds very ZEPPELIN III with a lot of gospel", says Black. "ZEPPELIN were very innovative and not afraid to go outside the usual confines of electric blues. I guess that's where the comparison comes from." Recently signed to legendary metal label Nuclear Blast the band has pulled "Polygon of Eyes" as their lead single. A nod to DIO-era RAINBOW, the song is four minutes of power-heavy rock plowing through an ancient storyline of swords and mystics. Says Black, "I've always wanted to hear new musical ingredients within a classic heavy sound. We want to maintain spontaneity while putting special emphasis into integral hooks." As vinyl continues to gain momentum, SCORPION CHILD with Nuclear Blast have plans to release their debut in June 2013 as a glorious gatefold edition with different colored vinyl in each pressing. Building up to the debut release was a large-scale tour with CLUTCH and UK's ORANGE GOBLIN the perfect event to introduce SCORPION CHILD to the masses. Several summer festivals are to follow including Rock The Range and Rocklahoma. The band join an elite few including THE SWORD, GRAVEYARD, WOLFMOTHER and RIVAL SONS who celebrate a warm Marshall and liquid feedback while still pushing boundarie

    1 Kings Highway
    2 Polygon Of Eyes
    3 The Secret Spot
    4 Salvation Slave
    5 Liquor
    6 Antioch
    7 In The Arms Of Ecstasy

    8 Paradigm
    9 Red Blood (The River Flows)
    10 Keep Goin' (LUCIFER'S FRIEND cover)
    Scorpion Child
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Voices In A Rented Room (Discontinued) (On Sale) Voices In A Rented Room (Discontinued) (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

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    Voices In A Rented Room (Discontinued) (On Sale)

    Sometimes it's best to see the world in black and white. Shades of grey are for p**s, right-and NEW BUMS have ridden the hard road all the way to this, their album debut. They've played around and they've hit the singles scene (haven't you turned up "Slim Volume"? 7EP of the year, man!), but Voices in a Rented Room tells their whole life story and probably more of yours than you'd care to admit. The voices are two, spinning harmonies both heavenly and salt-pickled. Picking their direction and floating along on a pair of acoustics, New Bums are the sound of old drunk America, dancing out of the shadows, coming forth again to stand in the light, in the hopes of repopulating those sad old single-occupancy hotels before they're all torn down. New Bums is the grudging match-up of DONVAN QUINN (SKYGREEN LEOPARDS) and BEN CHASNY (SIX ORGANS OF ADMITTANCE, COMETS ON FIRE, 200 YEARS, RANGDA). They didn't like each other at first, but now make sweet and sour music together over the light of the magical Sterno (if there's anything left in the can, that is!). The ideas go back and forth between Ben and Donovan in what seems to be a true partnership. Their songs are all that: songs, with lyrics set in a space to speak to the human buried in you. People's music, with all the stark confessions, tall tales, bleak humors and punch lines that the people can bear. Behind the acoustics and voices is lots of space, but there are a few extra instruments that come and go and tinge the scrim as the boys move from stately processional to streetcorner sing-around to bluesy weeper to low-rolling rock n roll and back again, with slide-guitar lines erupting in the dark night air and classical-tinged filigrees curling around the tarnished and rusting edges throughout.
    1. Black Bough
    2. Pigeon Town
    3. Your Girlfriend Might Be a Cop
    4. Sometimes You Crash
    5. The Killers and Me
    6. Your Bullshit
    7. It's The Way
    8. Welcome to the Navy
    9. Burned
    10. Town on the Water
    11. Mother's Favorite Hated Son
    12. Cool Daughter
    New Bums
    $19.99 $15.79 Save $4.20 (21%)
    Vinyl LP - Sealed Buy Now
  • Mystery Girl Expanded Mystery Girl Expanded Quick View

    $39.99
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    Mystery Girl Expanded

    Everyone involved with Mystery Girl sensed the magic in Roy Orbison, who, in 1988, was enjoying a full creative renaissance and resurgence of popularity. One of Roy's classic recordings, "In Dreams," memorably lip-synched into a hurricane lamp by Dean Stockwell, had served as a key thematic element in David Lynch's "Blue Velvet," igniting a renewed interest in the Big O.


    In a series of bold aesthetic moves, Orbison directly addressed his legacy, first with Class of '55 (a 1986 reunion album with fellow Sun Records alumni Johnny Cash, Jerry Lee Lewis and Carl Perkins) and then, In Dreams: The Greatest Hits, where Orbison recut many of his biggest songs, using 1980s technology to produce results often surpassing his original recordings.


    At this same time, Roy Orbison became a founding member of the Traveling Wilburys, the roots rock supergroup also featuring Bob Dylan, George Harrison, Jeff Lynne, and Tom Petty. It was during work with the Wilburys that the vision for Mystery Girl, a new Roy Orbison album made of original songs from a variety of writers-including Roy Orbison, Diane Warren, Elvis Costello, Wesley Orbison and U2s Bono and the Edge (among others)-began taking shape.


    "When he sang it, it was absolutely magnificent," said Jeff Lynne, who would produce tracks for Mystery Girl. "His voice, I had never heard a voice like that live, you know, in the studio, ever . He had this wonderful spirit, almost like a kid in many ways.


    He was just a happy guy. I love him . One of the proudest things I've ever done is to have become his friend. I'd look at him and just go, 'Wow, it's him. The Big O.'"


    Roy's core group of musicians on the original Mystery Girl recordings included Jeff Lynne (guitar, piano, bass, backing vocals), Tom Petty (acoustic guitar, backing vocals), Mike Campbell (guitar, bass, mandolin), Jim Keltner (drums), Howie Epstein (bass, backing vocals), and Benmont Tench (piano, organ, cheap strings). Contributing artists on the album include Barbara Orbison, Roy Orbison, Jr., Al Kooper, George Harrison, Bono, T Bone Burnett, Steve Cropper, The Memphis Horns, and more.


    "I was just taken by how amazing this guy was. Just sitting, singing softly, sitting on the sofa with an acoustic guitar, his voice was unbelievable." remembers Tom Petty. "The music will live on, you know; it's very timeless music."


    Mike Campbell added, "Any time I hear one of Roy's songs, wherever I am, I just stop and listen to it and he's there, you know. His artistry and his voice and his spirit and the depth of his soul is so unique and it just connects with you in such a deep way . He just had a way of getting into your heart."


    "He was a real innovator, truly a great singer," said Bono. "The real rebels to me always had manners. Elvis, you know, and Roy, Roy was a true gentleman. And that's a scary thing in a man, do you know what I mean? A man that's so sure in himself that he can be polite."


    The legendary guitarist Steve Cropper confided that, "I've only met basically three, maybe three-and-a-half, of what I call 'light bulbs' in my life. And what I mean by 'light bulbs' is they're the brightest one in the room and when they walk in the door every head turns. Every head. Not just a few, not some people still talking in the corner. It's like everyone stops what they are doing. Elvis Presley, Otis Redding and Roy Orbison. And I saw that happen to Bill Clinton. So, there you go and I've never seen that happen to anybody else, ever."

    LP1
    1. You Got It
    2. In the Real World
    3. (All I Can Do Is) Dream You
    4. A Love So Beautiful
    5. California Blue
    6. She's a Mystery to Me
    7. The Comedians
    8. The Only One
    9. Windsurfer
    10. Careless Heart


    LP2
    1. The Way Is Love
    2. She's a Mystery to Me (Studio Demo)
    3. (All I Can Do Is) Dream You (Studio Demo)
    4. The Only One (Studio Demo)
    5. The Comedians (Studio Demo)
    6. In the Real World (Studio Demo)
    7. California Blue (Studio Demo)
    8. Windsurfer (Work-Tape Demo)
    9. You Are My Love (Work-Tape Demo)

    Roy Orbison
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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