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  • Kill Bill Volume 2 Soundtrack Kill Bill Volume 2 Soundtrack Quick View

    $34.99
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    Kill Bill Volume 2 Soundtrack

    One of the great pleasures of a Quentin Tarantino soundtrack is knowing that it won't be a standard modern-day soundtrack, filled with filler and acts that the label is trying to break. Instead, it will consist of music that even hardcore record collectors will find unusual or at least ripe for revival. The soundtrack to the first volume of his revenge epic Kill Bill blended those two inclinations, but the soundtrack to the second film is almost nothing but unusual music. Some names are familiar, but the music isn't -- there are three selections from Ennio Morricone, rockabilly cult hero Charlie Feathers makes his second Kill Bill appearance, Johnny Cash's latter-day A Satisfied Man is here, and Malcolm McLaren's About Her is a clever trip-hop spin on the Zombies' She's Not There. The rest is devoted to music that sounds like the soundtrack to a Mexican spaghetti Western, which really isn't all that far off from what large parts of Kill Bill, Vol. 2 actually is. This makes for a unified soundtrack album, but one that lacks the immediate impact of Kill Bill, Vol. 1, since nothing is as gripping upon the first listen as the haunting Twisted Nerve, the mesmerizing funk of Battle Without Honor or Humility, or the crazed intensity of the 5.6.7.8's' version of Woo Hoo. That said, it is cinematic, unpredictable, and absorbing, gaining resonance after a viewing of the film, as all good soundtracks do; it only pales in comparison to its predecessor, which was good not just as a soundtrack, but as an album of its own account.

    -All Music Guide
    1. A Few Words from the Bride - Uma Thurman
    2. Goodnight Moon - Shivaree
    3. Il Tramonto - Ennio Morricone
    4. Can't Hardly Stand It - Charlie Feathers
    5. Tu Mira - Lole Y Manuel
    6. Summertime Killer - Luis Bacalov
    7. The Chase - Philip Brigham / Alan Reeves / Phil Steele
    8. The Legend of Pai Mei - David Carradine / Uma Thurman
    9. L'Arena - Ennio Morricone
    10. A Satisfied Mind - Johnny Cash
    11. A Silhouette of Doom - Ennio Morricone
    12. About Her - Malcolm McLaren
    13. Truly Utterly Bill - David Carradine / Uma Thurman
    14. Malaguena Salerosa - Chingón
    15. Urami Bushi - Meiko Kaji
    Various Artists
    $34.99
    Vinyl LP - Sealed Buy Now
  • Kill Bill Vol. 2 Soundtrack Kill Bill Vol. 2 Soundtrack Quick View

    $21.99
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    Kill Bill Vol. 2 Soundtrack

    One of the great pleasures of a Quentin Tarantino soundtrack is knowing that it won't be a standard modern-day soundtrack, filled with filler and acts that the label is trying to break. Instead, it will consist of music that even hardcore record collectors will find unusual or at least ripe for revival. The soundtrack to the first volume of his revenge epic Kill Bill blended those two inclinations, but the soundtrack to the second film is almost nothing but unusual music. Some names are familiar, but the music isn't -- there are three selections from Ennio Morricone, rockabilly cult hero Charlie Feathers makes his second Kill Bill appearance, Johnny Cash's latter-day A Satisfied Man is here, and Malcolm McLaren's About Her is a clever trip-hop spin on the Zombies' She's Not There. The rest is devoted to music that sounds like the soundtrack to a Mexican spaghetti Western, which really isn't all that far off from what large parts of Kill Bill, Vol. 2 actually is. This makes for a unified soundtrack album, but one that lacks the immediate impact of Kill Bill, Vol. 1, since nothing is as gripping upon the first listen as the haunting Twisted Nerve, the mesmerizing funk of Battle Without Honor or Humility, or the crazed intensity of the 5.6.7.8's' version of Woo Hoo. That said, it is cinematic, unpredictable, and absorbing, gaining resonance after a viewing of the film, as all good soundtracks do; it only pales in comparison to its predecessor, which was good not just as a soundtrack, but as an album of its own account.

    -All Music Guide
    1. A Few Words from the Bride - Uma Thurman
    2. Goodnight Moon - Shivaree
    3. Il Tramonto - Ennio Morricone
    4. Can't Hardly Stand It - Charlie Feathers
    5. Tu Mira - Lole Y Manuel
    6. Summertime Killer - Luis Bacalov
    7. The Chase - Philip Brigham / Alan Reeves / Phil Steele
    8. The Legend of Pai Mei - David Carradine / Uma Thurman
    9. L'Arena - Ennio Morricone
    10. A Satisfied Mind - Johnny Cash
    11. A Silhouette of Doom - Ennio Morricone
    12. About Her - Malcolm McLaren
    13. Truly Utterly Bill - David Carradine / Uma Thurman
    14. Malaguena Salerosa - Chingón
    15. Urami Bushi - Meiko Kaji
    Various Artists
    $21.99
    Vinyl LP - Sealed Buy Now
  • The 5, 6, 7, 8's The 5, 6, 7, 8's Quick View

    $16.99
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    The 5, 6, 7, 8's

    Weve been sitting on this one so long it feels good to finally let it free like some doves at a wedding.



    You may know them from Kill Bill but let it be known that for many years prior the 5.6.7.8s toiled away in their own 1960s gold-glitter garage universe without the slightest notice from those outside a small circle a like-minded anoraks.



    Thats why Third Man is overjoyed to reissue the self-titled LP from Japans finest female garage rockers. As its first-ever domestic US release, this album is a long-time personal favorite of Jack Whites and hes been known to break into I Walk Like Jayne Mansfield (a veritable classic included on this LP) without notice during White Stripes live performances. Couple that with impeccable covers of Harlem Nocturne, Long Tall Sally as well other originals and what you get is as close to a modern garage must-have as there is.



    Third Man spared no expense with this project with the gold-foil embossing on the old-style, tip-on LP cover (something the band wanted on the original issue of the record but which was not feasible at the time) ...this project was a labor of love.

    1 Harlem Nocturne 1:19
    2 Oriental Rock 2:28
    3 I Walk Like Jayne Mansfield 3:48

    4 Arkansas Twist 2:22
    5 Handsome Man 2:35
    6 Rockin' Rochester 2:18
    7 One Potato 1:55


    1 Long Tall Sally 2:57
    2 Cat Fight Run 2:19
    3 I Don't Need You No More 2:11
    4 Highschool Witch 2:57
    5 Teenage Cleopatra 3:26
    6 Tallahassee Lassie 2:29
    7 Scream 2:05

    The 5, 6, 7, 8'S
    $16.99
    Vinyl LP - Sealed Buy Now
  • Kill Bill Vol. 1 Soundtrack Kill Bill Vol. 1 Soundtrack Quick View

    $19.99
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    Kill Bill Vol. 1 Soundtrack

    Fashion be damned: Pop culture is just one big Hometown Buffet for writer-director Quentin Tarantino. Nowhere has that sensibility been more apparent than on his hand-picked soundtrack choices, and this oft tongue-in-cheek tale of a female assassin's revenge (his first film in six years) is no exception. With dizzy, almost palpable glee, Tarantino evokes the international hall-of-mirrors influences that energize martial arts films and much of Asian pop culture in general. Thus the hip-hop of Wu Tang's RZA (who, along with composer Charles Bernstein, concocts what passes for the score's traditional cues) somehow finds itself but one ingredient in a heady souffle that includes vintage TV and film cue rarities (Al Hirt's main title from The Green Hornet, Bernard Herrmann's haunting theme from Twisted Nerve, the spaghetti western melodrama of Luis Bacalov's The Grand Duel, Isaac Hayes in full blaxploitation mode on Run Fay Run), Charlie Feathers' vintage rockabilly and a pan-kitsch sensibility that encompasses Zamfir, Nancy Sinatra's angst-in-the-pants take Bang, Bang and Santa Esmeralda's disco-era workout of Please Don't Let Me Be Misunderstood. Tarantino's contemporary Japan-Pop selections are no less giddy, ranging from Meiko Kaji's sultry Flower of Carnage to The 5.6.7.8's loopy Woo Hoo. It's everything we've come to expect from a Tarantino score (including dialog excerpts and a few sound fx stingers), with a madcap trip around the pop music world thrown in for good measure. -- Jerry McCulley
    1. Bang Bang (My Baby Shot Me Down) - By Nancy Sinatra
    2. That Certain Female - By Charlie Feathers
    3. The Grand Duel (Parte Prima) - By Luis Bacalov
    4. Twisted Nerve - By Bernard Herrmann
    5. Queen Of The Crime Council - By Kill Bill Soundtrack
    6. Ode To Oren Ishii (feat. The RZA) - By Vincent Tempera & Orchestra
    7. Run Fay Run - By Isaac Hayes
    8. Green Hornet - By Al Hirt
    9. Battle Without Honor Or Humanity - By Tomoyasu Hotei
    10. Don't Let Me Be Misunderstood - By Santa Esmeralda
    11. Woo Hoo - By The 5.6.7.8's
    12. Crane/White Lightning - By The RZA/Charles Bernstein
    13. The Flower Of Carnage - By Meiko Kaji
    14. The Lonely Shepherd - By Zamfir
    15. You're My Wicked Life - By Kill Bill Soundtrack
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Quentin Tarantino's Death Proof Soundtrack Quentin Tarantino's Death Proof Soundtrack Quick View

    $19.99
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    Quentin Tarantino's Death Proof Soundtrack

    Daredevil, cult-film hero-directors
    Quentin Tarantino (Reservoir Dogs, Pulp
    Fiction, Kill Bill) and Robert Rodriguez
    (Sin City, From Dusk Till Dawn, Desperado)
    have teamed up for Grindhouse, their
    double-feature homage to the '60s, '70s
    and '80s B-movie exploitation genres.
    Reviving original tracks from those
    decades and more, the soundtrack album
    for Quentin Tarantino's Death Proof
    reaches back with the same hip, offbeat
    attitude that has helped make Tarantino
    and Rodriguez two of the most admired
    auteurs of the MTV generation.
    1. The Last Race - Jack Nitzsche
    2. Baby, It's You - Smith
    3. Paranoia Prima - Ennio Morricone
    4. Planning & Scheming - Eli Roth & Michael Bacall
    5. Jeepster - T Rex
    6. Stuntman Mike - Rose McGowan & Kurt Russell
    7. Staggolee - Pacific Gas & Electric
    8. The Love You Save (May Be Your Own) - Joe Tex
    9. Good Love, Bad Love - Eddie Floyd
    10. Down In Mexico - The Coasters
    11. Hold Tight - Dave Dee, Dozy, Beaky, Mick & Tich
    12. Sally and Jack (From the Motion Picture Blow Out) - Pino Donaggio
    13. It's So Easy - Willy DeVille
    14. Whatever-However - Tracie Thoms & Zoe Bell
    15. Riot In Thunder Alley - Eddie Beram
    16. Chick Habit - April March
    Various Artists
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Piaceri Proibiti I Piaceri Proibiti Quick View

    $34.99
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    I Piaceri Proibiti

    This is the soundtrack to the documentary I Piaceri Proibiti by Piero Umiliani. Umiliani was born in Florence, Tuscany. Like many of his Italian colleagues at that time, he composed the scores for many exploitation films in the 1960s and 1970s, covering genres such as spaghetti western, Eurospy, and Giallo.


    Although not as widely regarded as, for example, Ennio Morricone or Riz Ortolani, he helped form the style of the typical European 1960s and 1970s jazz influenced film soundtrack, that later experienced a revival in films such as Kill Bill and Crepuscolo Sul Mare in Ocean's Twelve.

    1. Storie Proibite
    2. Paparazzo's Jump
    3. Paparazzo's Cha Cha Cha
    4. Baby Don't Kiss Me
    5. Notte In Algeria
    6. Notte Di Nozze
    7. Night Twist
    8. Alienazione
    9. Carlo E Sofia
    10. Gospel's Song
    11. Chitarra Spagnola
    12. L'orgia
    13. One O'Clock Rock
    Piero Umiliani
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nobody But Me Nobody But Me Quick View

    $22.99
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    Nobody But Me

    The Human Beinz were a rock band from Youngstown Ohio who are most famous for their soul
    rock tune "Nobody But Me" which peaked at #8 on the Billboard Hot 100 in 1968.


    The iconic tune has been featured in many films (The Departed, Kill Bill) and television (The Office)


    This album, originally released on the Gateway label, features 5 tunes from the Human Beinz along with six songs from Pittsburgh based band The Mammals. The version of Nobody But Me on this album was cut before the version that hit the Top 100.

    The Human Beinz:
    Pied Piper
    My Generation
    Gloria
    The Times They Are A Changing
    Nobody But Me


    The Mammals:
    I Say Love
    Hey Little One
    Stop In The Name Of Love
    Hold On, I'm Comin
    Ooo Baby Baby
    Up Tight

    Human Beinz & Mammals
    $22.99
    Vinyl LP - Sealed Buy Now
  • Blood Pressures Blood Pressures Quick View

    $21.99
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    Blood Pressures

    The Kills, Jamie Hince and Alison Mosshart, are back with the new studio album, Blood Pressures, the highly anticipated follow-up to their critically acclaimed third album, Midnight Boom.


    For the sessions that became Blood Pressures, Jamie Hince and Alison Mosshart returned to Key Club Studios in Michigan where they reunited with Midnight Boom engineers Bill Skibbe and Jessica Ruffins. Produced by Jamie Hince, the album was mixed in London by Tom Elmhirst.


    With their basic sound intact; searing guitars, driving rhythms and sexually charged lyrical savvy, the 11 tracks on Blood Pressures find The Kills embracing a fuller sound and becoming more adventurous in the studio, while the lyrics are honest, heartfelt and sometimes just plain heartbreaking. Departing from the sparse, angular sound of Midnight Boom, the duo explore complex textures on Blood Pressures with heavier instrumentation and layered, huge-sounding harmonies. Alison and Jamie play all the instruments on the album, including piano and mellotron.

    1. Future Starts Slow
    2. Satellite
    3. Heart Is A Beating Drum
    4. Nail In My Coffin
    5. Wild Charms
    6. DNA
    7. Baby Says
    8. The Last Goodbye
    9. Damned If She Do
    10. You Don't Own The Road
    11. Pots and Pans
    The Kills
    $21.99
    Vinyl LP - Sealed Buy Now
  • Olympia Olympia Quick View

    $21.99
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    Olympia

    Olympia is an album of transformation. Though it has only been two years since Austra's 2010 debut
    Feel It Break, it presents a quantum evolution in the Toronto-based band's sound, structure and style.


    After three years of non-stop international touring with the likes of The xx, Grimes and the Gossip,
    when it came time to record Olympia, Austra had evolved into a complex collaborative effort between
    its six members. "Previously, I would flesh out songs before I brought them to the band, but this time
    I left them bare and let the others fill them in" explains Katie Stelmanis, the principal songwriter/vocalist.


    Olympia is also the first confessional record for Stelmanis as evidenced by the heartfelt lyrics of piano
    driven lead single "Home." The album touches on a range of sentiments that stem from a relationship
    ending, a relationship beginning, and friends' struggles with addiction and motivation. Despite the
    sometimes dark lyrics written in collaboration with band member Sari Lightman, Olympia is bubbly
    and buoyant- fundamentally a dance record, which Stelmanis says was the band's aim all along. "We
    are really into dense harmonies and big beautiful melodies, but I also love techno and dance music. I
    wanted to bring those elements together."


    Though Olympia is filled with electronic and synthetic sounds that reference everything from Trax
    Record classic cuts to Yazoo's Upstairs At Eric's, it's free of programming and loops. Everything was
    played live by the band in the studio and all of the percussion including a wild set up of marimbas and
    congas performed by drummer Maya Postepski. "There is a major percussive element running through
    every song," Stelmanis laughs, "this is the album where we discovered rhythm."


    The album was produced by Austra with additional production by Mike Haliechuk (Fucked Up)


    Vocal production by Damian Taylor (Bjork, the Killers)


    Engineered by Leon Taheny and Bill Skibbe (the Kills, Wild Belle,
    Dead Weather)


    Mixed by Tom Elmhirst (Adele, Erasure, Hot Chip).

    1. What We Done?
    2. Forgive Me
    3. Painful Like
    4. Sleep
    5. Home
    6. Fire
    7. I Don't Care (I'm a Man)
    8. We Become
    9. Reconcile
    10. Annie (Oh muse, you)
    11. You Changed My Life
    12. Hurt Me Now
    Austra
    $21.99
    Vinyl LP - Sealed Buy Now
  • Glass Boys Glass Boys Quick View

    $19.99
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    Glass Boys


    "It's a punk rock rush, a fundamentally teenage blast
    of endorphins that, if you're wired a certain way,
    you can't help but feel every time their guitars lock
    into a riff and the drums get rolling. Even when it's
    complicated, it's simple."
    - Stereogum, "Behind the Scenes
    of Fucked Up's Fourth Album"



    On their fourth album Toronto's Fucked Up pare things
    back to a single LP. In contrast to the sprawling epic
    of their last album, the punk rock opera David Comes
    To Life, the new album returns to rock'n'roll basics,
    verse-chorus-verse-chorus. It also features guitar
    solos, mellotron and piano.


    Recorded for the first time in analogue, with Bill
    Skibbe (The Dead Weather, The Kills, Lower Dens,
    Andre Williams), the album is bathed in a warm,
    almost romantic glow. In particular, Jonah Falco's
    virtuosic drumming shines forth, each snare hit
    shattering the air. Damian Abraham's throaty growl is
    not less punk, but the overall effect is a more human,
    relatable Fucked Up.


    While the imagery still includes the usual high-concept refrences (not least to classical mythology),
    Abraham and Mike Haliechuk's lyrics mostly address
    the puzzle of being in a punk rock band while having
    children and being in their early 30s. "So this is what
    it'd be like? Everything bathed in a harsh bright light?
    Why is the impact so immense? Maybe I know it
    could have been me instead."


    J Mascis, Gord Downie and George Pettit are the
    guest-star vocalists.

    1. Echo Boomer
    2. Touch Stone
    3. Sun Glass
    4. The Art Of Patrons
    5. Warm Change
    6. Paper The House
    7. Det
    8. Led By Hand
    9. The Great Divide
    10. Glass Boys
    Fucked Up
    $19.99
    Vinyl LP - Sealed Buy Now
  • Check 'Em Before You Wreck 'Em Check 'Em Before You Wreck 'Em Quick View

    $16.99
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    Check 'Em Before You Wreck 'Em

    The Admiral Sir Cloudesley Shovell are the last of a dying breed of Grease Rock Bastard musicians who somehow, despite and in spite of the last 3 decades trying their best to kill off balls out, non-bullshit rock'n'roll music, somehow, against all the fucking odds, still exist, surviving on a steady diet of God sent gigs, hire vans, broken down amps, split drum skins, greasy spoon fry ups, patched up jeans, roll-ups, cheap leather jackets, booze, weed and bathtub speed.


    Spare them your sympathy - no-one made the silly bastards do it. They just NEED to!! Right??


    Facts to face - the Shovell are named after a 17th century English naval commander; Bill Darlington plays drums, Louis Comfort-Wiggett plays bass and Johnny Gorilla plays guitar and sings, they have been together as a band since 2008.


    Their debut 2011 Rise Above 7, Return To Zero'/'Day After Day, sold out instantly and now commands £100 plus a copy; their 2012 debut long-player DON'T HEAR IT FEAR IT received unilateral rave reviews and was described pretty accurately by one scribe as 'the aural equivalent of stumbling into an 18 year-old male's bedsit in 1973 - the kind of greasy hard-rock thrills rarely heard in this climate of blind nostalgia and misjudged authenticity. It's hard 'n' heavy, without the marshmallow; it's old-fashioned yet so NOW that it hurts!''
    They've toured and played with the likes of Orange Goblin, Uncle Acid and the Deadbeats, Incredible Hog, Gentlemans Pistols, Graveyard, Gonga and countless more, toured Europe and had chief Groundhog Tony McPhee playing on their first LP!


    On their new LP CHECK 'EM BEFORE YOU WRECK 'EM the Shovell somehow carry on the lineage of the truly golden age of British heavy rock whose dog shit stained road was paved by the likes of Budgie, Sabbath, early Motorhead, Quo, Lizzy, The Groundhogs, Stray etc. Chuck in a healthy chunk of U.S. and Aussie proto metallurgists Sir Lord Baltimore, Dust, Bang, The Litter and Buffalo, as well as a healthy Vertigo 'Swirl' of dew picked mushrooms bad trip psych.


    The Shovell thinks the world could do with another slice of no-nonsense re-gressive proto-rock 'n'metal - one that you don't need a Degree in doom-rock or a Masters in metal to appreciate - just a love of when music was F U N !!!!


    Remember kids - CHECK 'EM BEFORE YOU WRECK 'EM!!!

    1. Do It Now
    2. 2 Tonne F*ckboot

    3. Captain Merryweather
    4. Running From Home
    5. Happiness Begins
    6. Shaker Your Head
    7. Don't Hear It ... Fear It!
    8. Bulletproof
    9. The Thicker The Better
    10. Late Night Mornings
    Admiral Sir Cloudesley Shovell
    $16.99
    Vinyl LP - Sealed Buy Now
  • Shredder Orpheus (OST) Shredder Orpheus (OST) Quick View

    $32.99
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    Shredder Orpheus (OST)


    Unreleased Soundtrack - Vinyl Includes Full Length DVD Of The Original Movie


    Music by Roland Barker (Ministry, Revolting Cocks, Blackouts) and Bill Rieflin (Ministry, King Crimson, Blackouts)


    Remastered From The Original 24-Track Recordings


    Orpheus' journey to the underworld is reworked as a post-apocalyptic skate rock-opera in this 1989 cult classic. The mortal world faces imminent destruction when Hades unleashes an evil television signal that sublimates and kills its viewers. These hypnotic broadcasts from the EUTHANASIA BROADCAST NETWORK are seducing the masses - except skateboard-guitarist Orpheus and his band of "SHREDDERS" who can see through this nefarious scheme. To save the world and his kidnapped wife Orpheus must penetrate the world of the dead and free the television airwaves. Armed with a futuristic guitar and a skateboard from hell, Orpheus storms onto the EBN stage to liberate the airwaves and rescue his wife.


    Shredder Orpheus features many Seattle performance luminaries including Seattle poet/performance artist Steven Jesse Bernstein (Sub Pop), and Robert McGinley in the title role. The 17 music cues weave together a blend of Barker's hypnotic synthesizer compositions with blistering skate rock tunes featuring virtuosic guitar work by Dennis Rea and precision percussion and bass by Rieflin and Amy Denio.

    1. Ramp Out
    2. Overture: Skate Percussion
    3. Worm Song
    4. Orpheus and Eurydice Love Scene
    5. Lazy River Styx
    6. It's Art Dear
    7. Don't Look Back
    8. Interlude
    9. Flying Guitars
    10. Magic Waters
    11. Oracle Arrives
    12. Ripping the Tarmac
    13. To The Underworld
    14. Together At Last
    15. Blowing Up EBN Signal
    16. Head In Water
    17. Ramp Out Reprise
    Roland Barker
    $32.99
    Vinyl LP + DVD - Sealed Buy Now
  • Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Quick View

    $469.99
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    Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)


    Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.


    800 Newly-remastered Digital Tracks, Representing 175 Artists


    90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender


    6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image


    250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale


    400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography


    Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism


    First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive


    Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.


    Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).


    As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.


    But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.


    Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.

    6 LPs feature tracks from the collection.


    USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
  • Hell Below (Box Set) Hell Below (Box Set) Quick View

    $49.99
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    Hell Below (Box Set)

    Soul, funk and rock recorded by US Army Servicemen during the height of the Vietnam War and released as albums by the US Army as recruitment tools.


    United States Army soldiers made the music contained in this three album box-set during the politically turbulent early 70s, towards the end of the Vietnam War. East of Underground, The Black Seeds and The Sound Trek were bands comprised of soldiers stationed in bases across Western Germany. While little is known about the bands, the players, and the milieu they came from - other than what can be pieced together from a handful of photos and documents found in a box in the New York Public Library, and the vague recollections of some of those involved we at Now-Again Records have worked diligently with the United States Army and researchers the country over to present this important document and some damn good soul and funk music.


    Only one former band member has come forward during the assembly of this anthology, which has lead us to question: where did these talented performers land after their winning performances in Army-sponsored Battle Of The Bands contests afforded them (musical) tours across European Army bases? Perhaps some are still around somewhere: perhaps some are still involved in music; perhaps some were killed in action; perhaps some passed on after returning to the States. We've assembled vestiges - a show band contest entry form, a list of names, a couple of photographs, a playlist to embellish this sonic time capsule, a capsule that functions as a snapshot of American culture during this politically charged era.


    Each of the two double-billed albums contained in this box-set is presented as an exact reproduction of the original United States Army issue. The extensive, full-color booklet features essays, annotation and a collection of Army ephemera from the creation of these albums. Also included is a full-color, exact reproduction of East Of Underground's 1971 tour poster.

    LP1 - East Of Underground
    1. Higher
    2. Smiling Faces
    3. Hell Below
    4. People Get Ready
    5. Getting Over
    6. Bet'ya Never Lose My Love / California Dreamer
    7. Popcorn / Santana
    8. I Love You
    9. Java Girl
    10. Walk On By


    LP2 - Soap
    1. I Just Want To Celebrate
    2. Yo've Got A Friend
    3. Southern Man
    4. Medley : Will The Circle Be Unbroken / I Don't
    5. Know How To Love Him
    6. Ticket To Ride
    7. I Feel The Earth Move
    8. Uncle Albert
    9. Gypsies, Tramps And Thieves
    10. Never My Love
    11. Walk Away
    12. Get Together


    LP3:
    Side One - The Black Seeds
    1. Go Outside In The Rain
    2. Ain't No Sunshine
    3. Black Magic Woman
    4. Do Your Thing
    5. Backstabbers


    Side Two - The Sound Trek
    6. Intro (Kool And The Gang)
    7. Walking In The Rain
    8. Backstabbers
    9. Coldest Day Of My Life
    10. If Loving You Is Wrong
    11. I Love Everything About You

    East Of Underground
    $49.99
    Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Hug Of Thunder Hug Of Thunder Quick View

    $25.99
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    Hug Of Thunder

    "I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.

    They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.

    Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."

    Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.

    "He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."

    As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."

    Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"

    Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.

    The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.

    The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".

    Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."

    But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.

    "The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."

    Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"

    That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.

    "My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"

    So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."

    1. Sol Luna
    2. Halfway Home
    3. Protest Song
    4. Skyline
    5. Stay Happy
    6. Vanity Pail Kids
    7. Hug of Thunder
    8. Towers and Masons
    9. Victim Lover
    10. Please Take Me With You
    11. Gonna Get Better
    12. Mouth Guards of the Apocalypse
    Broken Social Scene
    $25.99
    Vinyl LP - Sealed Buy Now
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