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Innocence Mission

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  • We Walked In Song We Walked In Song Quick View

    $15.99
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    We Walked In Song

    The members of the innocence mission were still in high school when they met and started making music together. Through 18 years of recordings and tours, both of their own and with Natalie Merchant, Joni Mitchell, Emmylou Harris and 16 Horsepower, the band has gained legions of devoted listeners. And they have grown immeasurably as songwriters, singers and musicians. Their new album We Walked In Song is being hailed as one of their strongest works. With 11 new songs that are memorable and genuinely moving, the album continues the innocence mission's progression toward intimate recordings where each note played and sung seems essential.
    1. Brotherhood of Man
    2. Happy Birthday
    3. Love That Boy
    4. Into Brooklyn, Early in the Morning
    5. Lake Shore Drive
    6. Song for Tom
    7. Since I Still Tell You My Every Day
    8. A Wave Is Rolling
    9. Colors of the World
    10. Over the Moon
    11. My Sisters Return from Ireland
    12. Shooting Star (Sketch)
    the innocence mission
    $15.99
    Vinyl LP - Sealed Buy Now
  • Pleasure Boy Pleasure Boy Quick View

    $22.99
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    Pleasure Boy

    Music often comes from a deep place, and in the case of Hannah Cohen's stunning and heartrending second album, it's very deep indeed. Mainly inspired by a painful break-up and the anxieties that loss can trigger, Pleasure Boy cushions its sadness in an exquisitely nuanced soundscape of aching melancholy and lush melody where Hannah's vocal conveys all the different shades of heartbreak. Following the album's completion, she's survived the calamity and found a new level of happiness, but to paraphrase the classic Sixties hit, there will always be something there to remind her with Pleasure Boy.


    'Pleasure Boy', like her debut 'Child Bride', was produced by Thomas Bartlett, aka Doveman, whose work with artists such as The National, Antony Hegarty and David Byrne singles him out as one of America's current finest producers and collaborators, though he's also a talented pianist. The dynamics of 'Pleasure Boy' was the result of Hannah and Bartlett, "bunkering down with my songs, experimenting with different tones and sounds, and layering them. My first record was so airy and roomy, I didn't have patience for that again, I wanted more movement, something more mysterious and witchier, so we created this sound wall together."


    "I wanted the music to hurt, to have a visceral effect," Hannah says. Her voice sometimes sounds delirious or icy; other times she recalls the vulnerable, piercing beauty of Harriet Wheeler (The Sundays) and Karen Peris (The Innocence Mission). But Pleasure Boy's sound wouldn't exist without the vision that launched it. The album title arrived as the record took shape. "Pleasure Boy is a character of who it's about, someone who represents gluttony and decadence and richness," Hannah explains. She admits it was a tough record to make, given she was aiming to heal emotionally while feeling "devastated and hurt. But it wouldn't be the record it is if I hadn't done that."

    1. Keepsake
    2. Lilacs
    3. Watching You Fall
    4. Fake It
    5. Claremont
    6. Queen Of Ice
    7. Just Take The Rest
    8. Baby
    Hannah Cohen
    $22.99
    Vinyl LP - Sealed Buy Now
  • All Summer Long (Mono) All Summer Long (Mono) Quick View

    $34.99
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    All Summer Long (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    Bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    All Summer Long was notable not only for racheting up the Beach Boys' standards and essentially bidding farewell to the surf songs that inspired both their name and reputation, but also for going toe-to-toe with one of rock's most explosive phenomena - Beatlemania - and coming away victorious, with the single 'I Get Around' soaring to No. 1 in the spring of 1964. Essentially another loose concept record (revolving around the innocent hedonistic pursuits of an idyllic SoCal summer) that takes its cue from the effervescent title track, it also documents Brian's restless creativity pushing the band toward its performing peak. - Amazon.com

    1. I Get Around
    2. All Summer Long
    3. Hushabye
    4. Little Honda
    5. We'll Run Away
    6. Carl's Big Chance
    7. Wendy
    8. Do You Remember?
    9. Girls On The Beach
    10. Drive-In
    11. Our Favorite Recording Sessions
    12. Don't Back Down
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Gord Downie, The Sadies, And The Conquering Sun Gord Downie, The Sadies, And The Conquering Sun Quick View

    $22.99
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    Gord Downie, The Sadies, And The Conquering Sun

    Gord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:


    Hello there / Gentle Son / A crater / We're creating!


    Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:


    Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing


    Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.


    It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.


    The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.


    Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun


    Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.


    Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.


    Drive it like we stole it / Through the snowflakes, into the cold of the sun


    On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:


    Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!


    The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:


    You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough


    One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:


    And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?


    Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:


    You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs


    Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:


    It is the work, day is your word, night is the glue.


    by Jonathan Shedletzky

    1. Crater
    2. The Conquering Sun
    3. Los Angeles Times
    4. One Good Fast Job
    5. It Didn't Start To Break My Heart Until This Afternoon
    6. Budget Shoes
    7. Demand Destruction
    8. Devil Enough
    9. I'm Free, Disarray Me
    10. Saved
    Gord Downie, The Sadies, and The Conquering Sun
    $22.99
    Vinyl LP - Sealed Buy Now
  • Shadows Shadows Quick View

    $19.99
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    Shadows

    From the Press Release:I felt very free going into making this album. It was a solo mission, on my terms, my time, my choices, says Lenka. Previously my music was focused on being uplifting and energizing. For this album, I shifted to create a lullaby soundtrack for myself, my child and everyone out there. I have always loved albums that one can fall asleep to; an experience I enjoyed a lot growing up. Those songs drift into your unconscious like no others.


    Tracks like Nothing Here But Love, an unbridled paean to the power of love, and After the Winter, a celebration of spring and the hope it holds that features Tracy Bonham on violin, offer a welcome respite from a rattled world. Two Heartbeats is an ethereal slice of life written from the perspective of an unborn child (and features the in utero heartbeat of Lenka's son)
    The album has is soothing moments, to be sure, but Shadows also grapples head-on with separation (Faster With You), loss (the heartbreaking Nothing) and the fears that keep young and old awake at night (Monsters). The Shadows are imprints and remnants of the big life stuff happening to me right now, she explains. I have been reflecting a lot as things change around me. Birth, death, love, regrets, innocence, dreams, independence, connection.


    Lenka plays a variety of instruments throughout, including keyboards, wurli, glockenspiel and vibraphone, and recorded the album in New York, Montreal, Toronto and her hometown of Sydney.


    In Australia, Lenka reunited with Tom Schutzinger, whom she had originally worked with when both were members of acclaimed Australian electronic/ambient band Decoder Ring. Schutzinger produced No Harm Tonight as well as Heart To The Party, a track he and Lenka co-wrote.


    After leaving Decoder Ring and moving to the States, Lenka released her self-titled debut album in 2008. It entered Billboard's Heatseekers chart at #3 and contained The Show, a No. 1 single at radio in three countries that has had a very long life. It was the pivotal song in the 2011 film Moneyball and Billy Crystal sang The Show during his opening monologue for the 2012 Oscars. The Show has also been heard in promotional spots for Ugly Betty, Old Navy, Coca-Cola, Apple and Crate & Barrel commercials, and on Dancing With The Stars and Grey's Anatomy.

    1. Nothing Here But Love

    2. Faster With You

    3. Heart To The Party

    4. After the Winter

    5. Find A Way to You

    6. Honeybee

    7. No Harm Tonight

    8. Two Heartbeats

    9. Monsters

    10. Nothing

    11. The Top Of Memory Lane
    Lenka
    $19.99
    Vinyl LP - Sealed Buy Now
  • Document (Awaiting Repress) (On Sale) Document (Awaiting Repress) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Document (Awaiting Repress) (On Sale)

    Ranked 470/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Urgent 1987 Breakthrough Catapulted Band to Stardom: Includes Classics Such as "The One I Love" and Unforgettable "It's the End of the World As We Know It"


    Half-Speed Mastered From the Original Master Tapes: RTI-Pressed 180 gram LP Abounds With Incredible Dynamics, Faithful Tonalities, and Tremendous Imaging


    Scott Litt-Produced Set Overflows With Mature Creativity, Fiery Intent, Catchy Hooks, and Stellar Songwriting


    The last album R.E.M. made before migrating to Warner Bros., and very arguably the last start-to-finish masterpiece the band created in its acclaimed career, Document turned Georgia's celebrated sons into mainstream stars. Musically unadulterated and sonically pure, the group's 1987 work epitomizes the unmistakable sound and feeling of college rock during a period where innocence, experimentation, and adventurousness freely collided before being co-opted and branded as "alt-rock." Document is the record to which everyone refers when citing R.E.M. as the premier example of how a respected band is expected to behave, evolve, and maintain its integrity after experiencing mass success.


    Mastered from the original master tapes and carefully pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP edition of this breakthrough set explodes with unrivaled instrumental signatures, deep soundstages, and faithful tonalities that allow listeners insight into the actual makes and models of the guitars utilized on the recording. Sharp and clean, Scott Litt's widescreen production throws the band into clear relief, magnifying its razor-edged melodies and drummer Bill Berry's foundation-establishing beats. R.E.M. has never sounded so muscular or righteous.


    Indeed, the quartet plays as if on a mission, its electrified energy teeming with a contagious fervor that helps fuel political numbers such "Welcome to the Occupation," "Exhuming McCarthy," "Disturbance at the Heron House," and "King of Birds." R.E.M. comes into its own, peeling back the layers on vagueness and utilizing Michael Stipe's biting lyrics and Mike Mills' amped-up guitar riffs to punctuate its catchy fare. Aptly, songs dance around a central image of fire.


    The group's hallmark jangle-pop motifs and swooning refrains remain, yet they exhibit a determined attitude and wily quality that brings everything up to another notch. Toss in surf-rock fills, feedback accents, deep-South rootsiness, and subversive undertones, and Document stands as near-flawless statement: A reaction to the social and material currency of its era, a call-to-arms to overcome trauma via hope, humor, and justified anger.


    All these characteristics bleed into the manic anthem "It's the End of the World As We Know It (And I Feel Fine)," a renegade shot of beat poetry, delirious delivery, punk-infused vitality, and bounce-around-the-room chaotic abandon that never grows stale. Is R.E.M. serious or joking? Or both? Part of the genius is that it's still impossible to tell. R.E.M. delights in taking listeners for a ride on Document, the swerving, drifting, stylistic interplay, and brief detours all of a whole, the group relishing in the fun of going for broke and succeeding at all of its goals.


    We don't need to go on about R.E.M.'s standing as a group that's influenced countless artists and inspired millions of listeners. If you own just one of the quartet's albums, it should be Document.


    This title is not eligible for further discount.

    1. Finest Worksong
    2. Welcome to the Occupation
    3. Exhuming McCarthy
    4. Disturbance at the Heron House
    5. Strange
    6. It's the End of the World As We Know It (And I Feel Fine)
    7. The One I Love
    8. Fireplace
    9. Lightnin' Hopkins
    10. King of Birds
    11. Oddfellows Local 151
    R.E.M.
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Are We Not Men? We Are Diva! Are We Not Men? We Are Diva! Quick View

    $15.99
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    Are We Not Men? We Are Diva!

    In that mythical era known as the 90's, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now, seven records, scores of singles and nearly a thousand years later, having tackled every genre under the sun, the bold young knaves known colloquially as the Gimmes have ridden their success hard, and decayed into desiccated, old divas. Yet, the diva, she is immortal. And thus, imbued with the old-world, Mystic Pizza-esque swagger of Cher, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston, Me First and the Gimme Gimmes have returned from their beauty rest, busting out of their sequined gowns, and throwing vases at their assistants in order to present you with their latest opus, entitled Are We Not Men? We Are Diva!, slated to be released on none other than Fat Wreck Chords. And you'd best believe, whether because of their tantrums or their virtuosity, once you hear these fat ladies sing, there's not gonna be a dry eye in the house.


    For the uninitiated, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike, and incomparable crooner Spike Slawson. Together, Me First and the Gimme Gimmes-an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band-contain so much hot air, so much pomp, so much attitude, that it's a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot, put their differences aside and belt out the ballads without clawing each other's eyes out. But they do, for the love of the fans, the music, and of course, the applause.


    In the past, The Gimmes have tackled such disparate genres as Motown, country, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired, feeling the wind of other, lesser bands beneath their wings. So this time, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di'int!) among others. And as Spike's baritone somehow manages to make Whitney Houston's (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You'll buy tickets to see 'em on tour.


    Because that's right folks! Nothing says 'diva' like coming to your town to bask in the torrential, gushing blasts of your love, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!, except maybe Mike, who's such a diva that he's got substitutes on hand! So grab those flowers off of your grandma's grave and head out now, to check out Me First and the Gimme Gimmes on wax and in your town, before these five outrageous harpies either kill each other or wind up as a Vegas destination act, bloated, high on pills and uh, nevermind that last part. Just go see em, eh? It's a helluva time.


    - Troy Michael (Innocent Words)

    1. I Will Survive

    2. Straight Up

    3. Believe

    4. Beautiful

    5. My Heart Will Go On

    6. I Will Always Love You

    7. Top of the World
    8. Speechless

    9. Karma Chameleon

    10. Crazy for You

    11. On the Radio

    12. The Way We Were

    Me First & The Gimme Gimmes
    $15.99
    Vinyl LP - Sealed Buy Now
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