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Jaws SoundtrackJohn Williams composed the film's score, which earned him an Academy Award and was later ranked the sixth greatest score by the American Film Institute. The main shark theme, a simple alternating pattern of two notes became a classic piece of suspense music, synonymous with approaching danger. Williams described the theme as grinding away at you, just as a shark would do, instinctual, relentless, unstoppable. The piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound a little more threatening.Main Title (Theme From 'Jaws')
Promenade (Tourists on the Menu)
Out to Sea
The Indianapolis Story
Sea Attack Number One
One Barrel Chase
Preparing the Cage
The Underwater Siege
Hand to Hand Combat
End Title (Theme From 'Jaws')$24.99Vinyl LP - Sealed Buy Now
Be Slowly2013 saw the barely legal four piece distinguish themselves as one of the hardest working bands in the biz, releasing a steady stream of hook-laden, increasingly impressive and artful singles that have been featured in the unlikely cross section from Made In Chelsea to Match Of The Day, touring across the UK several times, and playing country-wide sold out shows to devoted audiences who sing back the lyrics to by now familiar favourites. The closing chapter to the year saw the band enter the studio with producer Dreamtrak [Foals, Swim Deep, Hot Chip] to record their debut album Be Slowly. Lead vocalist, and song writer, Connor Schofield said about the record: It's called Be Slowly because it just has a nice ring to it - even though it makes no grammatical sense what-so-ever. It basically means take a breather, theres no rush. I think a lot of people, especially myself build stuff up and start to panic. Its just a bit of a reminder that there is actually time to take it easy, and to do things step by step.1. Time
6. Be Slowly
7. Think Too Much, Feel Too Little
9. Sunset State
10. Surround You
11. NYE$17.99Vinyl LP - Sealed Buy Now
ADAD-SEC-9412xGardens & Villa
DunesOver the past three years,the Santa Barbarian comrades that make up Gardens &Villa -Chris Lynch,Adam
Rasmussen, Levi Hayden, Shane McKillop, and Dusty Ineman - went from playing local bills to being
veterans of the road.After releasing their self-titled debut on Secretly Canadian in 2011, they pushed their
van's odometer into the six-digit range, zigzagging North America and Europe with over 350 shows in just 2
years. Gardens & Villa emerged a wiser, crystallized version of themselves.
Those experiences planted the seeds for the band's new batch of cohesive, personal, and beautifully layered
pop songs - homegrown in the confines of the band's beach side practice space. When it came time to
record, they searched out acclaimed producer Tim Goldsworthy (Cut Copy, DFA Records, LCD
Soundsystem, Hercules & Love Affair) and these five surf-town natives found themselves traveling to the
unlikely locale of Benton Harbor, MI (pop. 10,040) in January. There they landed at the Key Club, located
deep in the recesses of a converted locksmith's building where they would record what would become their
second full-length, Dunes.
Gardens &Villa burrowed into the Key Club's retro-themed studio and living space, only leaving the facility
five times over the next month. The disconnect between Santa Barbara's familiar sunny beaches and
Michigan's snow-covered lake shore led to the group's creative unraveling in the studio. The band lost track
of the hours, days, and weeks as blinking analog machines captured the intense journey. In the process,
Dunes was poured through Sly Stone's original custom-built Flickinger recording console.
With just a week left before deadline, Gardens & Villa sought a brief refuge from the studio where their
progress had stalled. They went on a trip,traversing winding roads past frozen tundra and barren trees and
into the wilderness of the nearby state park's tall dunes. The group climbed to the top and collapsed into a
combination of sand and snow.Simultaneously reminded of home as well as their distance from it,their jaws
dropped as they turned to see Lake Michigan's majestic and surreal expanse stretching toward the horizon.
Supported by Goldsworthy's guidance, the band went back to the studio and ultimately emerged with a
record beaming with dystopian energy, subconscious lyrics, and uncompromising sincerity. Lynch has
seamlessly integrated his bansuri flutes and Rasmussen has fleshed out his looming synths alongside shades
of '80s cult films soundscapes that lurk just underneath the songs in an unnoticeable-yet-omnipresent
fashion.Like the awe-inspiring clarity of sitting atop Michigan's dunes,the band's forthcoming record shares
a clear and evocative vision of where Gardens & Villa's members have traveled, what they've learned, and
what lies ahead.1. Domino
2. Colony Glen
3. Bullet Train
6. Purple Mesas
9. Thunder Glove
10. Love Theme$17.99Vinyl LP - Sealed Buy Now
CharmerBetween the power pop melodies of early Saves the Day and the hard driving
folk rhythms of Fleetwood Mac lies TIGERS JAW, a band who's raw immediacy
is infectious and intoxicating. Shimmering organ textures, chunky guitar chords,
and male/female vocal harmonies show the Scranton, PA natives taking rural
rock music from its legendary past to its vibrant future. Among the more innovative acts on Run For Cover Record's star studded roster, TIGERS JAW have a
profound musical purity that is as equally stirring in a basement of 40 people as
it is in a club of 1,000.1. Cool
2. Frame You
5. Nervous Kids
6. I Envy Your Apathy
8. Slow Come On
9. Teen Rocket
11. Distress Signal
12. What Would You Do$15.99Colored Vinyl LP - Sealed Buy Now
Studio 4 Acoustic SessionScranton, PA indie punks Tigers Jaw have brought their talents to the studio for an intimate and rewarding experience on their new 12", Studio 4 Acoustic Session. Recorded in front of a live studio audience by Will Yip (Circa Survive, Title Fight), Ben Walsh and Brianna Collins bring listeners into an intimate space with renditions of fan favorite tracks from albums past. The record swells with melodic, acoustic versions of painful stories of heartbreak like "Hum" and "Plane vs. Tank vs. Submarine," and the hard-hitting life lessons found in "Never Saw it Coming," touching on new and old songs alike. Pensive riffs and quiet melodies teeter delicately between their raw alternative sound and their minimalist indie side. With only personal dedications,
poignant harmonies, and soft guitar by the two leads, Studio 4 Acoustic Session exposes Tigers Jaw to their fans in an unparalleled way.1. Hum
2. Distress Signal
4. Nervous Kids
5. Jimmy Piersall
6. Fake Death
7. Safe In Your Skin / Where Am I?
8. Never Saw It Coming
9. Carry You Over
10. Plane Vs. Tank Vs. Submarine
11. I Saw Water
12. Teen Rocket$17.99Vinyl LP - Sealed Buy Now
spinPressed On Turquoise Blue Vinyl
Recorded with producer and longtime collaborator Will Yip at Studio 4 in Conshohocken, PA, spin is the inaugural release from Black Cement Records, a new imprint under Atlantic Records.
spin sees Walsh and Collins trading off lead vocals which glow with sincerity on this collection of incredibly understated indie-pop classics.Tracks such as Guardian, June, and Escape Plan shine on spin, which follows TIGERS JAW's 2014 critically adored LP, Charmer. ...The sound of a band bravely moving forward, declared Pitchfork while Stereogum applauded Walsh and Collins', ...soul-baring lyrical honesty, adding, TIGERS JAW are a revelation... Profoundly personal and vibrantly textured, spin exhibits Walsh and Collins' remarkable ability to capture the sentiments and complexities of a moment through melody and introspection.1. Follows
4. Escape Plan
5. Blurry Vision
8. Brass Ring
9. Oh Time
10. Same Stone
11. Make It Up.
12. Window$19.99Colored Vinyl LP - Sealed Buy Now
Heels Over HeadTwenty years after Billy Martin asked Steven Bernstein to help him hatch a freaky avant brass band, Wicked Knee delivers their triumphant full-length debut. Heels Over Head brings together four of the downtown jazz scene's most legendary improvisers for a collection of tunes guaranteed to drop jaws and move feet from the New York juke joint to the New Orleans street corner.
Steven Bernstein - trumpets
Curtis Fowlkes - trombone
Marcus Rojas - tuba
Billy Martin - drums1. Ghumba Zumba
2. Theme One
3. Button to Button
7. Sugarfoot Stomp
9. Noctiluca$16.99Vinyl LP - Sealed Buy Now
Suicide SilenceAs evidenced most defiantly and definitively with the self-titled fifth album by SUICIDE SILENCE, the best in music, literature, and all creative arts is born from pain, birthed in truth, drawn from harrowing life experience. It mines the inner depths of the soul to snatch authentic beauty from the jaws of an otherwise certain death. Plenty of heavy bands pay lip service to the idea of overcoming the odds, persevering through adversity, and finding strength from within, but few live it as triumphantly as SUICIDE SILENCE.LP 1
4. Dying In A Red Room
1. Hold Me Up, Hold Me Down
3. The Zero
5. Don't Be Careful You Might Get Hurt$30.99Vinyl LP - 2 LPs Sealed Buy Now
Get Yer YaYa's Out
180 Gram Clear Vinyl
Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today. The live versions are reasonably different from the studio ones, but ultimately not as good, a notable exception being the long workout of Midnight Rambler, with extended harmonica solos and the unforgettable section where the pace slows to a bump-and-grind crawl. Some Stones aficionados, in fact, prefer a bootleg from the same tour (Liver Than You'll Ever Be, to which this album was unleashed in response), or their amazing the-show-must-go-on performance in the jaws of hell at Altamont (preserved in the Gimme Shelter film). Fans who are unconcerned with picky comparisons such as these will still find Ya-Ya's an outstanding album, and it's certainly the Stones' best official live recording.
- Richie Unterberger (All Music Guide)1. Jumpin' Jack Flash
3. Stray Cat Blues
4. Love In Vain
5. Midnight Rambler
6. Sympathy For The Devil
7. Live With Me
8. Little Queenie
9. Honky Tonk Women
10. Street Fighting Man$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Nobody's / The Same EyesIt should come as no surprise to the TMR faithful that Lillie Mae Rische is a complete bad-ass and an all-around powerhouse of melody. She first joined the TMR family a little over two years ago and ever since--whether onstage w/ Jack White and his band or in the studio--she's been, how you say, delivering us from evil with fiddle playing so stupefying as to propel listeners into the jaws of heavenly awe. Feel me on this, y'all?
Here we have Lillie Mae Rische center stage. Her contribution to our Blue Series showcases two original songs, charming and plaintive, with the B-side hitting us with a story of hearts on the road, having to reconcile distance and desire. Meanwhile, the A-side is a gentle yet stern anthem about the sweet and sour circumstances of being alone. All in a voice that's sweeter than peach brandy.
Joining her are some longtime Third Man contributors Carl Broemel, Dominic Davis, Jack Lawrence, and local drum god, Whip Triplet.1. Nobody's
2. The Same Eyes$6.997 Vinyl Single Buy Now
No WavesBody/Head is the duo of Kim Gordon (Sonic Youth, Free Kitten) and guitarist Bill Nace (Northampton Wools, Celyon Mange). They play experimental, free-form guitar drones highlighed by Gordon's unmistakable voice. Their sound is an immersive, three-dimensional experience and no two performances are similar.
No Waves was recorded on March 24th, 2014 during Big Ears Festival in Knoxville, TN at the Bijou Theater. This live album (don't jump to conclusions, please read ahead) captures Kim Gordon and Bill Nace at peak chemistry during the tour supporting 2013's critically lauded Coming Apart.
The band have not played many shows since forming, but those who have been able to see them live have left their jaws on the floor. This album is the piece of the Body/Head puzzle for those who have not seen the band live and for those that have, something they want to own.
Instead of presenting "tracks" or "songs" from the record, we present moments from this one pinnacle set that was luckily for us beautifully caught in time.
World-renowned artist and long-time friend of Kim Gordon, Raymond Pettibon has made an original piece of art for the cover of the album.1. Sugar Water
2. The Show Is Over
3. Abstract/Actress$21.99Vinyl LP - Sealed Buy Now
Father of Folk Blues (Awaiting Repress)This was the first such presentation of a Delta blues musician done by Columbia, which seemed like a pretty hip label at the time, since they had both Bob Dylan and Paul Revere and the Raiders. The man's picture on the front is mesmerizing, in a word; the white shirt, black string tie, and silver steel guitar just adding to the excitement. Perhaps this album picture was the first glimpse many young listeners had of such a style of guitar. It was decades before Dire Straits appropriated the image. Revisionist critical thinking has it that the later recordings by Son House can't match the music created during his '30s sessions for Paramount. Here, of course, we have the music as sports syndrome, an area where the elderly are always going to fail in someone's eyes. So much of music enjoyment, however, is a subjective reaction that so often involves many other factors, among them time and place. The sound of the metal slide quietly hovering over the strings can bring to mind only one thing in the mind of a westerner: an angry rattlesnake. And the way many listeners' jaws dropped upon hearing music such as this for the first time may not be quite as intense as a hiker's facial expression upon encountering such a creature, but it is close enough. There is a second blues legend appearing here as well. Guitarist and harmonica player Al Wilson was a founding member of Canned Heat, and a musician so good at what he did that he became a sterling example of the possibility that young white blues fans could actually learn to play this music really well, with intensity.
-All Music Guide1. Death Letter
3. Louise McGhee
4. John The Revelator
5. Empire State Express
6. Preachin' Blues
7. Grinning In Your Face
9. Levee Camp Moan$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Santa CruzReared on a hefty diet of 80's glam rock Americana á la Guns N' Roses and such, Santa Cruz are a rock 'n' roll sensation, who, despite their very young age have hosted numerous rock clubs of their own in their native Hellsinki Rock City, scoring hordes of stark-raving-mad fans and reaping attention and endorsements from peers and media alike. The German rock magazine Stalker even recommends it to their readers that they plan their Finnish vacations around Santa Cruz's tour dates.
If there ever was a band that looks completely out of place in their hometown, it would have to be Santa Cruz. Whereas contemplating suicide in a snowdrift, drunk out of one's skull, comes naturally for the inherently dark and brooding Finns, something as sunny, positive and unlawfully h-h-h-hot as Santa Cruz shouldn't probably be even possible on these semi-Arctic ice-ridden shores! It's just that tracks like "High on You" with its shimmering harmonies, rabidly energetic "Let's Get the Party Started" and "Aiming High" which probably possesses the sickest guitar riff in Finnish rock and metal this side of 1986, will prove to you, the Santa Cruz brand of rock 'n' roll works like an intravenous shot of Adrenaline! The top-notch songwriting and guitar chops from Hell will leave your jaws ajar and with Archie's unbridled yelps, at times you'd be willing to bet your cojones that it's the ghost of Bill Bailey singing - no small feat considering that Mr. Bailey is still very much alive! No wonder the Santa Cruz gigs are infamous of getting a wee bit unhinged at times!
Without further ado, let's round it out with the endorsement of a guy who knows what the f**k he's talking about: "Never mind that they are young, 'cuz the matter of the fact is, that Santa Cruz definitely sticks out from all these retro hair metal bands running around nowadays. Not only do they have the attitude and the looks, but most importantly they sure as hell know how to play and the songs along with the awesome guitar playing pretty much makes me wanna bang my head in two pieces when I see them play live. And after all that's what it's all about. End of fucking story!!!" -Alexi Laiho / CHILDREN OF BODOM1. Bonafide Heroes
2. Velvet Rope
3. My Remedy
4. 6(66) Feet Under
5. Bye Bye Babylon
6. We Are The Ones To Fall
7. Wasted & Wounded
8. Let Them Burn
9. Vagabonds (Sing With Me)
10. Can You Feel The Rain$18.99Vinyl LP - Sealed Buy Now
$19.99 $15.79 Save $4.20 (21%)
Those Who Didn't Run EP (On Sale)To say Colin Stetson has come into his own in 2011 would be an understatement. February of 2011 saw the release of Colin's highly acclaimed solo album New History Warfare Vol. 2: Judges broadly received as a sonic, conceptual, compositional and technical tour de force. Thanks to his trajectory as a session and guest player with a diverse crop of iconoclastic pop/rock practitioners (Tom Waits, Laurie Anderson, TV On The Radio, Arcade Fire) as well as his own tenure in bands like Sway Machinery and Bell
Orchestre, Stetson was poised to bridge the gap between contemporary rock and more rarified currents of avant jazz. With the Judges album, he did just that, garnering high praise from the both the jazz and pop/rock worlds.
Colin's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stetson is equally at home in the avant jazz tradition of players who have pushed the boundaries of the instrument through circular breathing, embouchure, etc. (i.e. Evan Parker, Mats Gustafsson) and at the nexus of noise/drone/minimalist music that encompasses genres like dark metal, post-rock and contemporary eletronics (i.e. Tim Hecker and Ben Frost both of whom have mixed or remixed Stetson recordings).
Stetson's non-stop gigging at SXSW 2011 (on the NPR, Pitchfork and Pop Montreal stages) led to hundreds of dropped jaws and just as many superlatives about the man's mind-altering, heart-rending music: how it defies both genre boundaries and the physical boundaries of what one person can sonically generate in live performance with a single acoustic instrument, without recourse to looping pedals or other effects.
Through the 30-odd solo performances delivered in the wake of the Judges release in the Spring of 2011, Colin continued delving into new compositions and especially more long-form trance/transcendental explorations. Having premiered a couple of these new songs at a small art gallery show in Montreal in May of 2011, Constellation was duly blown away and encouraged Colin to record them while still in their raw, staminatesting glory. He agreed and brought in good friend (and now Grammy-winning engineer) Mark Lawson (Arcade Fire, Islands) to help capture the performances in Stetson's own basement rehearsal/studio space.
The two pieces on this new EP both clock in at 10 minutes and are documented in direct fashion, using a handful of mic positions and, as usual, no looping or overdubbing of any sort. They are brilliant single-take performances that showcase Stetson's love for minimalism, a subtle pop sensibility, and a mesmerising, mantric, time-warping technical ability.
Those Who Didn't Run EP is an amazing addition to what will no doubt be an expanding Colin Stetson discography in coming years; a wonderfully realized portrait of Colin's solo playing before he embarks on a year's worth of touring as part of Bon Iver's live band.
Those Who Didn't Run EP is available as a 10 pressed on heavyweight audiophile vinyl and comes in a screenprinted jacket by Repetitive Press in Montreal, featuring an illustration by Nadia Moss.1. Those Who Didnt Run
2. The End of Your Suffering$19.99 $15.79 Save $4.20 (21%)10 Vinyl LP - Sealed Buy Now
REDI-THR-4913xBlack Twig Pickers, The
Ironto SpecialLimited Edition
Ironto Special is an album of traditional Appalachian old-time tunes (and two originals) that the Black Twig Pickers learned through study of both local old-time musicians and old-time records and field recordings. The instrumentation is all-acoustic and features some of the old-time usuals, fiddle/banjo/guitar, and some less-routinely-heard-in-today's-old-time-scene implements like washboard, bones, fiddlesticks, mouth harp and jaw harp. Plus (on one song) a one-of-a-kind baritone resonator 12-string guitar.
Old-time music served, and continues to serve, a variety of functions in Appalachian life from dance music to somber solo performance to raggier blues and everything in between. Ironto Special is an attempt to celebrate this variety in the old-time tradition through the band's process of learning and growth as they explore the music's many facets.
Recorded throughout 2009 in the Shred Shed in Ironto, Virginia, Ironto Special is entirely recorded in single takes. There are no overdubs on the record in any form. Ironto Special is the Black Twig Pickers contribution to the continuously flowing tradition that will eventually be passed on to the next generation of players.1. Don't Drink Nothing But Corn
2. Last Payday At Coal Creek
3. Dead Man's Piece
4. Smoker Wedding March
5. Lay Ten Dollars Down
6. Ducks On The Pond
7. Saro O Saro
8. Craig Street Hop
9. Fire On The Mountain
10. Old Jack Gillie
11. Bonaparte's March Into Russia
12. Love My Honey I Do
13. Pickin' Out The Devil's Eyes
14. Walls Of Jericho
15. Rockin' In A Weary Land$15.99Vinyl LP - Sealed Buy Now
REDD-VIC-8810xFall City Fall
VictusSeething left-field hardcore delivered from the heart with maximum passion and power. This band fucking kills!"- Hammer
Awed by experiencing FALL CITY FALL's wildly chaotic live show firsthand, VICTORY RECORDS quickly welcomed the Calgary sextet to their ever-growing family. Despite being the freshest faces on the label, FALL CITY FALL have been driven relentlessly over the past three years to continue building the underground hardcore scene from which they came. FALL CITY FALL are the next wave of disenfranchised and innately talented youth to emerge with a delightfully belligerent fusion of metal and hardcore. Victus is a 28 minute concentrated ambush of churning, dizzyingly ballistic songs. Their VICTORY RECORDS debut sinks its teeth in deep and doesn't let go until the very end.
FALL CITY FALL look to disrupt the monotonous landscape in their genre and do things differently. Far from generic, overdone, or stereotypical, FALL CITY FALL rise above the one note chugging breakdowns to command an unforgiving and intimate taste of something new. With the unveiling of Victus in January 2013 and backed by their jaw dropping performances, FALL CITY FALL will push boundaries, expand horizons, and leave fans with a lasting impression to be felt for years to come.1. St. James
3. Anxiety Attack
4. Bitter To End
6. Many Masters
7. Shallow Believer
8. Dead Saints
10, Victus$15.99Vinyl LP - Sealed Buy Now
Walt WolfmanAbout a year ago, Richard Swift horrifically fractured his left ring finger. For a moment his nimble guitar and piano work flashed before his eyes. Doctors were saying things like movement and feeling could eventually return, etc, etc. Certainly, not even a little blip on the sadness radar of humanity, but a massive bummer for a fellow who has carved out a niche as one of independent music's sought after session players and producers and especially in relation to the astounding Richard Swift solo output we all know and love.
So, it's with a great, collective sigh of relief that he's back to churning out new material like Whitman. It's chugging, chiming and triumphant, featuring Swift's always endearing falsetto and casual call-and-response lyricism. I've got my own Whitman...Farewell, farewell/I hope it did you good/To say the things/My father never could, Swift pines. The song is a cryptic salute to Walt Whitman, whose American lineage of primal, urgent art can be traced to include Kerouac and Dylan, Bo Diddley and Beefheart right on through to modern outsider-pop wunderkinds like Swift. And according to Swift, Whitman is a nice taste of what we can expect from his next longform recording.
The same can be said for the remainder of the Walt Wolfman EP. Conceived in the same spirit that gave us 2008's cult favorite Ground Trouble Jaw EP, these blown-out, basement R&B rippers are not for the faint of heart. They require movement and sweat, dancing with a cocktail glass in your grip until your shoes are soaked in booze. Highlight of the set, MG 333, is a raw and ghostly trance, a blast of kinetic energy and jazz cigarette smoke. Meanwhile, the neu-vintage jive of Drakula (Hey Man) and Zombie Boogie pack a timelessness that transcends their seasonal titles. And yeah, that's Swift himself on rapid-fire drums across the whole damn set. Shit, he might have been fine without that measly finger after all.1. Whitman
2. Mg 333
3. Laugh It Up
4. Zombie Boogie
5. Out & About
6. Drakula (Hey Man!)
7. St. Michael$14.99Vinyl LP - Sealed Buy Now
REDD-ISU-1520xI Hate Our Freedom
This Year's Best DisasterAvailable on Vinyl for the First Time in The United States!
With former members of Garrison, Texas Is The Reason, Thursday, and Milhouse making up the lineup of I Hate Our Freedom, there wasn't a doubt that the band's second release, This Year's Best Disaster, could be anything short of jaw dropping. The disc, which will be the first available vinyl in the States, is a nostalgic collection of post-hardcore from the '90s. Featuring loud, gritty and raw vocals, edgy grooves, sleek riffs and loud drums, "3am New York City" encompasses the attitude of the sleepless city. Seamless quarter glides into "Sans Sympathie," which is a bit mellower than the previous sucker-punching cut, but keeps the release moving. As This Year's Best Disaster continued on, it was nearly impossible to not get excited to see what the next track had to offer. The combined forces of the talented veterans created something that isn't seen too often lately.
This Year's Best Disaster peaks during the brash "Second Telling Of A First Degree." The number throttles the entire album into overdrive with its nimble and lively instruments, and Joseph Grillo's bold and rugged voice makes its mark on the listener. As much as each cut has its own unique qualities that add to their wow factor, "Letterbomb" lacks the extra oomph that the other pieces on the collection have. Despite the setback, which really doesn't severely impact the disc, I Hate Our Freedom makes a full recovery. Despite each song on This Year's Best Disaster having their own strong points, the final four cuts are some of the most intense on the album. Leaving two of the strongest pieces to close it out, I Hate Our Freedom creates the need to replay the angsty disc all over again.
- The Aquarian1. 3am New York City
2. Sans Sympathie
3. Cut You In
4. Second Telling Of A First Degree
6. Set It Off
7. The Poison And Pen
9. Add Suicide To The List Of Things You Failed At
10. You're Perfect, No Really$15.99Vinyl LP - Sealed Buy Now
Cowboy Worship EPAmen Dunes' Love took close to a year and a half, 16 musicians, and five different
studios to complete. It was a song cycle that required broad experimentation before
it was clear what was essential underneath the surface. In that process, much
of the sound that might have made it onto the album was lost. There was just too
much to say for one record.
Cowboy Worship is an attempt to give life to some of the music that didn't make
it past the scalpel. From a blown-out version of "Green Eyes" featuring Harvey
Milk's Stephen Tanner, to a darker and mellower "I Can't Dig It" as Damon
McMahon originally arranged it upon writing the song in China, many of the
original intentions for the music that were lost in the Love sessions are revived. In
addition is a band version of Through Donkey Jaw's "Lezzy Head," featuring Dunes
mainstays Jordi Wheeler and Parker Kindred, and most significantly, a shining
cover of This Mortal Coil's interpretation of the Tim Buckley classic, "Song to
the Siren," featuring Ben Greenberg (Hubble) on guitar.
Tim Buckley, along with several other singers, from Elvis Presley to Marvin
Gaye to Tim Hardin, were the beacons that guided the making of Love. McMahon's
cover of "Song to the Siren" is an homage to the spirit that directed those
One description that seemed to work for Love was that it was an album of devotional
music, and even more specifically, a type of devotional music McMahon
called cowboy worship.
Cowboy worship as a concept certainly did not begin with Love, but instead Love
began with cowboy worship, was born from it, and in turn added a new link to
the chain.1. I Know Myself (Montreal)
2. Song to the Siren
3. I Can't Dig It (China Street Blues)
4. Green Eyes (Music Blues)
5. Lezzy Head (Burial)
6. Love (Montreal)$15.99Vinyl EP - Sealed Buy Now
AmpsandSound Stereo 15 SE Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
AmpsandSound Products Are Handmade In Small Batches and Go Through Extensive Quality Control
The Stereo 15 Special Edition is an EL84 ultra linear amp with 15watts of tube bliss. 2 EL84 tubes in push-pull configuration with ½ of a 12AX7 and ½ of a 12BH7 per channel, just like our original Stereo 15. The Stereo 15 Special Edition is based on the famous Halfer circuit with cathode bias allowing trouble free operation. 8ohm and 4ohm taps with 8ohm and 16ohm combination as an option. The circuit used is widely famed for its stability and liquid midrange.
The Stereo 15 Special Edition produces perfectly stable 15watts RMS with 42watt peaks. The output transformers utilize massive cores which resist saturation and deliver jaw dropping low end performance. Like all ampsandsound amplifiers, it is dead quiet with reliable performance. When we say dead we mean put your ear to the mouth of your horn-loaded system and all you will hear is silence!
Never leaving well enough alone, the Special Edition is for those who demand the very last degree of performance. Where the Stereo 15 Special Edition differs is in the use of custom wound transformers made exclusively for ampsandsound. The power transformer is nearly twice as heavy as the unit used in the Stereo 15 and allows for greater current delivery/reserves and the use of a tube rectifier. We have specified the use of a GZ34, and can accommodate GZ37s; 5U4s allows NOS rectifiers. Tube set included.$2,800.00Stereo Amplifier Buy Now
Smart FleshIncludes CD
With its dreamy, rustic take on the idea of Americana, the Low Anthem's Smart Flesh builds on the promise of the group's universally praised 2008 Nonesuch Records debut, Oh My God, Charlie Darwin. As the Washington Post has put it, The Low Anthem isn't the first bunch of indie rockers to experiment with older string-band instruments and echoes of the songs of pre-1940 rural America. But no one has done it better than this Rhode Island trio... That's because very few bands have paid so much attention to detail, or to beauty.
To record Charlie Darwin, the three original band members-Jocie Adams, Ben Knox Miller, and Jeff Prystowskytook over a Block Island cabin in the dead of winter. To record Smart Flesh, the group now expanded to a quartet with the addition of drummer Mat Davidson-found a former pasta factory in Central Falls, Rhode Island, a cavernous loft space that became crucial to the shape of the album. Says vocalist Miller, We knew right away when we stepped into the factory that the space was really the main instrument for the whole record. The resonance was chilling. We were able to experiment with new recording techniques to capture the sound at different distances. Mics 100-200 feet away caught the sound barreling across the room. Additional tracks were recorded in a garage that had previously been home to a reptile breeder, another unconventional studio space that the quartet dubbed the gator pit.
The group self-produced Smart Flesh, bringing in Mike Mogis (Bright Eyes, Monsters of Folk, M. Ward) to mix the Pasta Sauce sessions and Jesse Lauter (Elvis Perkins, April Smith) to engineer. Instrumentation included jaw harp, musical saw, stylophone, oversized drum kits, and three antique pump organs that the band had found and restored. The exquisitely crafted, achingly spare arrangements at times recall the early recordings of Leonard Cohen, and Miller's voice, on a track like Burn, displays a similarly gruff yet plaintive timbre. The deeply melancholic mood the group favors, starting with a spellbindingly slow-motion rendering of George Carter's 1920's era Ghost Woman Blues, will appeal to fans of the backwoods musings of Bon Iver or the lovelorn southern balladry of the Avett Brothers, with whom The Low Anthem has toured.1. Ghost Woman Blues
2. Apothecary Love
3. Boeing 737
4. Love And Altar
5. Matter Of Time
8. Hey, All You Hippies!
9. I'll Take Out Your Ashes
10. Golden Cattle
11. Smart Flesh$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$13.99 $11.05 Save $2.94 (21%)
Beak & Claw (Discontinued) (On Sale)Comes with a digital download card! Stranger things have happened, but rarely do they make such beautiful music. The three esses that comprise the enigmatically titled s / s / s are as follows: Sufjan Stevens, he of the Fifty States Project and various baroque folk-pop opuses; Serengeti, the wry-witted rapper known for in-depth on-record character studies; and Son Lux, silken-voiced singer, studio wizard and singular beatsmith. The project's roots reach back to 2009's Dark Was the Night compilation, where Stevens and Geti met over a Buck 65 remix of a song written by psych-folkie Castanets. Continuing in the spirit of (unlikely) collaboration, the pair passed beats and raps back and forth, eventually enlisting Son Lux to dream Beak and Claw into fruition.
While this momentous EP comprises a mere four songs, each covers an immense stretch of sonic territory and emotional range. At six minutes, "Museum Day" may be the most adventurous and also the most satisfying, opening with a swath of AutoTuned heartache courtesy of Stevens, cresting with the darkly detailed raps of Geti, and closing in a hail of crashing cymbals, orchestral glitch and haunted coos from Son Lux. "Beyond Any Doubt" exchanges that taut splendor for deeper grooves whose farthest-out moments bring to mind Shabazz Palaces' cracked futurisms, albeit spiked with a falsetto'd pop hook. Fuzzy bass and industrial clang crash into lines about unrealized escapism and unpaid bills. Shara Worden of My Brightest Diamond lends "If This Is Real" its Andrews Sister-like chorus, an immaculate contrast to the aural chaos that eventually overtakes the song. Meanwhile, Doseone (Subtle, Themselves) lends a similar buoyancy to "Octomom," an electrospackled, mostly spoken piece that plays like a Laurie Anderson track for the reality television generation (also featuring jaw harp and harmonica by Ohio folk vet Hal Walker). Because of its subject matter, this final song goes a long way to illustrating Beak and Claw's strange magic and, ultimately, why s / s / s works at all. Geti's humor and humanity are matched by playfulness and poignancy every step of the way. In the end, sublime confluence prevails.1. Museum Day
2. Beyond Any Doubt
3. If This Is Real
4. Octomom$13.99 $11.05 Save $2.94 (21%)12 Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Stereo '57: Essential Elvis Vol. 2Double LP set cut at 45 RPM and pressed on 200-gram vinyl at Quality Record Pressings!
Mastered at Sterling Sound
The discovery of these 2-track masters comprising Stereo '57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!
From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.
A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.
Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: Jailhouse Rock, All Shook Up, Loving You, and Teddy Bear, are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.
Elvis would be right in the center of everything, at every recording session, Nogar would later recall. Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another.
The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.
Yet one day years later when Thorne was cleaning out his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.
These 2-tracks have erase clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film Loving You soundtrack. They're the only known ones surviving from the pre-stereo era.
RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.
The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing Peace in the Valley, you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!
There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of aw shucks charm in the process, goofing with band members and laughing through his and others', flubs.
Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.
For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of essential as well as the second: it's indispensable stuff.1. I Beg Of You (Take 1)
2. Is It So Strange (Take 1)
3. Have I Told You Lately That I Love (Take 2)
4. It Is No Secret (What God Can Do) (Takes 1,2,3)
5. Blueberry Hill (Take 2)
6. Mean Woman Blues (Take 14)
7. There'll Be Peace In The Valley (Takes 2,3)
8. Have I Told You Lately I Love You (Take 6)
9. Blueberry Hill (Take 7)
10. That's When Your Heartaches Begin (Takes 4,5,6)
11. Is It So Strange (Takes 7,11)
12. I Beg Of You (Takes 6,8)
13. There'll Be Peace In The Valley (Take 7)
14. Have I Told You Lately That I Love You (Takes 12,13)
15. I Beg Of You (Take 12)$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now