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Long May You Run'
Long May You RunLong May You Run is an album credited to the Stills-Young Band, a collaboration between Stephen Stills and Neil Young, originally released in 1976 on Reprise Records. It peaked at #26 on the Billboard 200 and certified gold in the U.S. by the RIAA.1. Long May You Run
2. Make Love To You
3. Midnight on the Bay
4. Black Coral
5. Ocean Girl
6. Let It Shine
7. 12/8 Blues (All the Same)
9. Guardian Angel$20.99Vinyl LP - Sealed Buy Now
Official Release Series Discs 8.5-12 (Box Set)Box Set Contains 5 Albums On 6 180-Gram LPs
Neil Young's Official Release Series continues with the next set of chronological titles to include: Long May You Run (The Stills-Young Band - 1976), American Stars 'N Bars (1977), Comes A Time (1978), Rust Never Sleeps (1979), and Live Rust (1979). Each pressed on 180-gram black vinyl.LP 1: Long May You Run (The Stills-Young Band)
1. Long May You Run
2. Make Love To You
3. Midnight on the Bay
4. Black Coral
5. Ocean Girl
6. Let It Shine
7. 12/8 Blues (All the Same)
9. Guardian Angel
LP 2: American Stars 'N Bars
1. The Old Country Waltz
2. Saddle Up the Palomino
3. Hey Babe
4. Hold Back the Tears
5. Bite The Bullet
6. Star of Bethlehem
7. Will to Love
8. Like a Hurricane
LP 3: Comes A Time
1. Goin' Back
2. Comes a Time
3. Look Out for My Love
4. Lotta Love
5. Peace of Mind
6. Human Highway
7. Already One
8. Field of Opportunity
9. Motorcycle Mama
10. Four Strong Winds
LP 4: Rust Never Sleeps (Neil Young & Crazy Horse)
1. My My, Hey Hey
3. Ride My Llama
5. Sail Away
7. Welfare Mothers
8. Sedan Delivery
9. Hey Hey, My My (Into The Black)
LP 5: Live Rust (Neil Young & Crazy Horse)
1. Sugar Mountain (Live)
2. I Am a Child (Live)
3. Comes A Time (Live)
4. After the Gold Rush (Live)
5. My My, Hey Hey (Out of the Blue) [Live]
6. When You Dance I Can Really Love (Live)
7. The Loner (Live)
8. The Needle and the Damage Done (Live)
9. Lotta Love (Live)
10. Sedan Delivery (Live)
1. Powderfinger (Live)
2. Cortez the Killer (Live)
3. Cinammon Girl (Live)
4. Like a Hurricane (Live)
5. Hey Hey, My My (Into the Black) [Live]
6. Tonight's the Night (Live)$149.99180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
Long May You SingDirect Metal Master Cut Vinyl
Paul O'Brien is a songwriter with deep roots and broad horizons. An English-born child of Irish immigrants, he cut his teeth on Irish music. A natural story teller, Paul O'Brien has developed an eclectic folk style that is broadly appealing and not easily categorized.
A working class poet from British Columbia with a knack for straightforward language held aloft by a sweet gift of melody ... - Boulevard Magazine
The second studio album from Stockfisch records is an album of Canadian classics plus a brand new song written by Paul. On this album Paul O'Brien is joined (among others) by master Canadian guitar player and composer Don Ross. On the album there are songs written by Gordon Lightfoot, Joni Mitchell, Neil Young, and Leonard Cohen to name but a few.
There's something which connects all the songs on this album: all are by Canadian composers. This is much more than a mere collection of hits - thanks to the poetic, strong and never sentimental interpretations of Paul O'Brien.
Canada is often not taken so seriously - particularly in Europe it is often regarded as a mere extension of the USA, a secret 51st federal state, at the most a paradise for sled dogs and canoe enthusiasts. Paul O'Brien breaks with these clichÉs on his album Long May You Sing and opens up a whole new perspective. He openly admits to have felt like a child in a sweet shop, picking out these songs by the great Canadian composers.
Paul O'Brien about this recording: This collection of songs is the audio equivalent of the "big kid in the candy store". To be able to choose my favourite songs written by Canadian writers was one of the most enjoyable experiences I as a singer could have. On the other hand however, it was the most frustrating because there were so many songs I could have, and perhaps should have chosen. I have a feeling this will be but Volume 1 of a long labour of love.
All of these songs have in some way touched me more than the fact they are amazing pieces of art. It was not simply cherry picking (although when I look now at the track list it looks just like cherry picking). I have taken a few artistic liberties with these tunes, and I truly hope I do not offend anyone, but it seemed to me that I had to try at least to add a little of me to the performances.
Paul O'Brien was brought up in England, received an Irish-Catholic education and formed his own musical identity in pubs and at festivals, with the inevitable mixture of positive & strengthening, but also negative and sobering experiences. In 2004, enough was enough - he shut his guitar away in its case and moved with his family to Canada, settling high up in the North-West - a barren landscape, the beauty of which he often documents with photos on Facebook (including pics of the beloved family Labrador Dooley).
Even at the risk of sounding sentimental: this country and this landscape changed him - changed the musician within - in a very positive and creative sense. He took the banished guitar out of its case and the music flowed. This artistic output reached new heights on his album for Stockfisch Records Walk Back Home. The more recent album, Long May You Sing, could even top that - it is a hymn to his new way of life.
All songs are by Canadian writers - from Bruce Cockburn, Gordon Lightfoot and Paul O'Brien right up to Neil Young, whose long Long May You Run inspired the title of the album. The original impulse for this project is not a secret. The idea came while thinking about doing something for Joni Mitchell's 70th birthday. As a tribute Paul decided to record a version of Big Yellow Taxi.
A big part in this production was played by Canadian master-guitarist and composer Don Ross, who also contributed two solo instrumental pieces. One particular piece just had to be on the album, for all those who wish to celebrate Canada's independent musical integrity: Leonard Cohen's Hallelujah. All these songs move Paul emotionally - in his own words more than just in their function as fantastic works of art. This project is for him a mixture of thankfulness, fascination and positive energy from the heart of a very special country. the album has the greatness, the potential and the chance as volume one of a long labour of love' to go to the top of Paul's personal hit-parade.
This title is not eligible for discount.1. Long May You Run
2. Silvia's River
4. Cold Missouri Waters
6. Big Yellow Taxi
7. If You Could Read My Mind
8. I Will Remember You
9. Pacing The cage/Creation Dream
10. Northwest Passage
11. Sonny's Dream$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$24.99 $19.74 Save $5.25 (21%)
Life's Too Short Not To Hold A Grudge (On Sale)As the founder, guitarist and driving influence behind Black Flag, Greg Ginn defined the west coast punk sound and the DIY ethos of punk rock. Through his record label SST, Ginn has tirelessly performed, produced and released new music by himself as well as from an eclectic array of independent artists.
Professional skateboarder and musician, Mike Vallely first saw Black Flag perform at City Gardens in Trenton, New Jersey in 1984. Crediting it as a life changing experience, Mike set forth from that show on an uncharted course of self-expression
through his skating. Discovered by Stacy Peralta in 1986, Mike turned pro in 1987 and has had an un-paralleled skateboard career. His first band Mike V And The Rats was formed in 2001.
Greg and Mike first met in Long Beach, CA in May of 2003 when Mike V And The Rats started a supporting run of shows for Greg that would eventually lead
to Mike doing a guest vocal spot at the Black Flag Reunion Shows in September 2003. A friendship was formed and the two have kept in touch through the years with the intention of collaborating on new music at some point.
In February of 2012 Greg presented Mike with some music. Mike spent the next 5 months filling notebooks with lyric ideas that would eventually become the debut release from Good For You, Life's Too Short (To Not Hold A Grudge).
Recorded in Taylor, Texas Life's Too Short... is an angst ridden recording of high energy rock songs blistered with themes of betrayal, regret, disillusionment as well as resolve, determination and independence.1. I'd Rather Die
2. No Plan B
4. Hanging Around
5. Knife in the Face
6. Stupid Me
7. Good Sport
8. It's Just Business
10. Blaze of Glory
11. True Companion$24.99 $19.74 Save $5.25 (21%)Vinyl LP - Sealed Buy Now
$17.99 $14.21 Save $3.78 (21%)
The Commandments According To SCAC (On Sale)In 2016, Slim Cessna's Auto Club is releasing its new album The Commandments According to SCAC. It has been twenty-four years since Slim Cessna parted ways with The Denver Gentlemen, that grand progenitor of the peculiar strain of Gothic Americana unique to the Mile High City, to form Slim Cessna's Auto Club with a group of talented peers. Many bands with a long and successful run like that would stick close to its roots. But rather than rest on well-earned laurels, the Auto Club challenged itself to break with well worn modes of operating for the new record.
Wallace Stenger may have captured the spirit of the west in his 1971 novel Angle of Repose. Jim Thompson surely exposed the lurid underbelly of the Western experience. Cormac McCarthy definitely evoked the conflicted, tortured spirit of small town life on the frontier. William Faulkner and Flannery O'Connor informed all of them with a humor and soulfulness. It is that literary tradition that imbues the harrowing and celebratory sound and riveting stories of Slim Cessna's Auto Club. And for a full twenty years it was largely in that realm of art that the Auto Club reveled and garnered a loyal cult following well beyond the boundaries of The Queen City of the Plains.
But no band can be satisfied with treading the same territory that it helped to define forever. The Commandments According to SCAC, will be the first full length album of original material released on the Auto Club's own imprint, SCACUNINCORPORATED. The title evokes the themes of cosmic punishment and redemption that have served the band's songwriting engine so well in the past. But this set of songs sounds more hopeful and expansive, a quality that was always there but this time out the brighter sides of the songwriting are emphasized. Hints of this saw early full-flown expression on 2008's Cipher and Unentitled from 2011. With The Commandments, however, the Auto Club seems to step forward into the promise of its own possibilities. It remains capable of the heady darkness and celebratory intensity with which it made its name. Now that charmingly dusky and spare sound breathes with a color and delicacy of feeling that perhaps sat in the background in times past. Maybe it's partly due to the greater creative contributions from longtime collaborator Rebecca Vera and The Peeler or the inclusion of upright bass player Ian O'Dougherty. But the core of the band's songwriting and sound is anchored firmly in the vision of Slim, Munly Munly and Lord Dwight Pentacost.
Whatever the true source of this transformation, The Commandments According to SCAC sounds like a band marshalling its creative inspiration to mark out a new chapter of its existence. When you get to see the Auto Club tour following the album's release, you'll get to see an already mighty band reinvigorated by this new spirit as well as by the fire that has long burned in its collective belly.1. Commandment 1
2. Commandment 2
3. Commandment 3
4. Commandment 4
5. Commandment 5
6. Commandment 6
7. Commandment 7
8. Commandment 8
9. Commandment 9
10. Commandment 10$17.99 $14.21 Save $3.78 (21%)Vinyl LP - Sealed Buy Now
Pictures Of Saint Paul StreetThe songs on "Pictures of Saint Paul Street" are lush & beautiful autopsies of society's underbelly, with stark and brutally honest ruminations on humanity. Songs like "A Sea of Suckers" & "Pursue The Nightlife" pull no punches, while "Jailbirds & Vagabonds" and "Blues For A Pecan Tree" carouse on a more abstract, human (almost romantic) level. By the time you've hit the album's centerpiece; "Bullshit Society", Ashley's songs move from ballads of hopeless misery to rallying anthems for the dispossessed. The people & artists who move further to the fringe as power and greed overtake our planet, a situation all too familiar to Ashley as he was forced to relocate his long-running Creamery Studio from it's long time home due to the rampant gentrification of the Bay Area (the former studio building now houses luxury lofts).
"Pictures of Saint Paul Street" isn't always an easy listen, but that's the point; the journey to salvation isn't easy or pretty. The protagonist in many of Ashley's songs may be Ashley himself - a true artist willing to admit he's nowhere near perfect, and honest enough to document his sunrises & sunsets no matter if they occur in his own backyard, or on a barroom floor.1. A Sea of Suckers
2. Goodbye Saint Paul Street
3. Blues For A Pecan Tree
4. Two Person One Man Band
5. Bullshit Society
6. Jailbirds and Vagabonds
7. Self-Destruction Derby
8. Medication #9
9. Pursue the Night Life
10. Six A.M. at the Black and White$18.99Vinyl LP - Sealed Buy Now
Rachmaninoff: Symphonic DancesSergei Rachmaninoff was one of the most beloved composers of the 2oth century. His music is redolent of his Russian homeland, and it sings long, lush melodies that define the term romantic. Everyone who knows and loves his piano concertos will enjoy these lyrical and dynamic works for orchestra. The Symphonic Dances in recent years have become one of Rachmaninoffs most-performed scores. Vocalise is one of the great classical melodies, and is hummable by everyone. Grammy nominated in 2003 for Best Engineered Album - Classical; Keith O. Johnson, engineer.
This may be some of the best sound Keith Johnson has ever gotten out of Symphony Hall in Minneapolis, and certainly Oue's most convincing work with the Minnesota players, who sound for all the world more like the Philadelphia than that orchestra does these days. How Johnson got that huge climax at the end of the Dances cleanly onto tape transcends engineering and goes into the realm of magic. - Harry Pearson, The Absolute Sound
No one can approach Reference Recordings' unparalleled sound in this music. The sweet liquid presence of the high end, especially the critical massed strings, approaches perfection when it blends with RR's characteristic ambient soundstage, fine inner detail and bass impact. - Arthur B. Lintgen, The Absolute Sound
Even by the exalted standards one has come to expect from Reference Recordings, this is something extraordinary. This is the kind of recording that gives one renewed faith in the possibility of reproducing the power and beauty of an orchestra in a home environment, the kind of thing that makes audio worthwhile. Not to be missed. - Robert E. Greene, The Absolute Sound
The recording is once again absolutely stunning, brilliant and plushy at the same time, unequaled by another label in this piece. Peter Aczel, The Audio Critic
Overall, the sound is the best Ive ever heard from Reference Recordings. That also means that overall theres none better that you can currrently purchase. You don't need any more details, just trust me and run out and buy it. Karl Lozier, www.enjoythemusic.com
Once again, Keith Johnson has raised the bar of excellence in the recording of a symphony orchestra. It's a fabulous recording and a super performance of the Symphonic Dances, and a testament to the brilliance of Keith Johnson and his associates. - Anthony Kershaw, Audiophilia.com1. Symphonic Dances - Non Allegro
2. Symphonic Dances - Andante Con Moto (Tempo di valse)
3. Symphonic Dances - Lento Assai
6. Etudes-Tableaux - The Sea And The Seagulls
6. Etudes-Tableaux - The Fair
7. Etudes-Tableaux - Funeral March
8. Etudes-Tableaux - Little Red Riding Hood And The Wolf
9. Etudes-Tableaux - March$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I'm Not The DevilCody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."
Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."
His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"
Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."
"All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."
"No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."
With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."
It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."
Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."
It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."1. The Same
2. I'm Not the Devil
3. No Guarantees
4. No Words
5. Give All You Can
6. She's All Mine
7. The Way I Am
8. Chase That Song
9. Heavy Load
11. Church at Gaylor Creek
13. Hand Me Down$24.99Vinyl LP - Sealed Buy Now
Lift A SailAfter more than a decade, the men behind Yellowcard are reinventing themselves. In "Illuminate," Ryan Key sings: "We hope to run from what's been done/Look for a future no one else has sung." This is a message that the band clearly took to heart. Lift A Sail is Yellowcard's biggest album yet, a sweeping and illustrious rock album no one could have foreseen. And it's safe to say that this one is a game changer.
Opener "Convocation" prepares listeners for the journey they are about to embark on - its openness is as beautiful and bright as it is tender and stirring, and it is a sign of what's to follow in the next twelve tracks. Not because of the tone or the lightness, but because of how big the track truly is. And while many fans are sure to draw comparisons between this and its Lights and Sounds counterpart, it is worth nothing that "Three Flights Up" closes in upon its piano centric melodies, whereas the layers of elegant strings in "Convocation" continue to swell until its conclusion.
"Transmission Home" picks up where "Convocation" leaves off: with hollow, booming drums before diving into a crunchy guitar melody. The verses are grounded and clear-cut, contrasting with the spacious choruses that have Key pleading into the void: "I will send a transmission home/To say that I've been out here too long alone/And I wanna come down now." The bridge brings him back down with its sweet piano melody and soothing violins, while the synths sparkling just beneath the surface lend an ethereal awareness.
Those synths play larger roles in later tracks, a truly new and unexpected look for Yellowcard. "Make Me So" makes use of electronic drums and bubbling, futuristic melodies to underscore the verses, building up one of the album's fastest tracks and leading into an explosive chorus. Meanwhile in "MSK," the track's synth-driven tunes coalesce with Sean Mackin's enlightened violins in what becomes a mash up of all that Yellowcard has been and all that the band has yet to become.
Throughout Lift A Sail, listeners will hear Key push his vocals further than he has in the past. He plays around with falsetto and short riffs on songs like "Transmission Home" and "Illuminate," and as longtime fans listen through the album, there is sure to be one common thought: "I didn't know he could do that!" Surprising as it is, Key sounds stronger and more confident as a result and that's what is sure to resonate most.
Noticeably missing through most of the album are the violins that have so long been a commanding force in Yellowcard's music. Their appearances in Lift A Sail are often subtler, just a gentle ringing in songs like "Madrid" and "Lift A Sail." But those moments when the strings take center stage are all the more touching for their rarity: a soaring solo in "Fragile and Dear," a "Believe"-esque melody in "MSK." Mackin's skills have by no means been put on a backburner for this album; rather, they have been refined and focused so they are at their most effective.
Ryan Mendez has also continued to hone his talents, and produces some of his most impressive work since first joining Yellowcard over nine years ago. "One Bedroom," which starts with electronic drums and a soft acoustic melody, opens up in the bridge and sets Mendez up for a towering and defiant solo that rings out as the track gradually fades away.
"The Deepest Well," featuring Matty Mullins of Memphis May Fire, is home to some of the heaviest tones found on Lift A Sail. The guitars cascade beneath the bold and rebellious verses ("And I will not be fooled again/I took my means and found my end/And all the days from then till now/Were steps I climbed to show you how"), and lead the charge into the final rounds of the chorus.
Though much is different on Lift A Sail, it is the personal and honest reflection within the songs that makes this a true Yellowcard album. From meeting his wife ("Madrid") to the aftermath of an accident that left her paralyzed ("One Bedroom"), to the loss of his grandparents ("My Mountain"), Key pours himself into every line. And when all is said and done, his promise: "I've left myself in every song in every note/And if you need me I will never be too far," holds true for fans and family alike.
Lift A Sail isn't the Yellowcard album we were all expecting - I'm not even sure the band knew what would come from this one. But now that it's been laid out, you can be damn sure it's the Yellowcard album we all needed.
- Becky Kovach (Property Of Zach)1. Convocation
2. Transmission Home
3. Crash The Gates
4. Make Me So
5. One Bedroom
6. Fragile and Dear
9. The Deepest Well
10. Lift A Sail
12. My Mountain
13. California$19.99Vinyl LP - Sealed Buy Now
RAMLadies and gentlemen, this is an album from a long, long time ago, when the world was different. This is an album that is part of my history, it goes back to the wee hills of Scotland where it was formed. It's an album called RAM. It reminds me of my hippie days and the free attitude with which it was created. I hope you're going to like it, because I do! - Paul McCartney (2012)
Following the successful recent reissues of McCartney, McCartney II, and 2012's Grammy winner for 'Best Historical Album, Band on the Run, RAM is the latest album from Paul's iconic back catalog to get the deluxe Paul McCartney Archive Collection treatment. As with the previous releases in the series, Paul has personally overseen every aspect of the project and the result is spectacular!
RAM, originally released in May of 1971, is the only album to be credited to both Paul and Linda McCartney and was Paul's second post-Beatles LP. It was overshadowed at the time by the drama of the dissolution of The Beatles, as played out in the world's media. The album topped the charts hitting #1 in the UK and #2 in the US. While RAM polarized critics upon its release, music fans and critics alike since have overwhelmingly embraced it, with Rolling Stone, for example, revising their original review up to 4 stars. Recently RAM has enjoyed even further re-appraisal and acknowledgement including a number of tribute albums.
RAM was written by Paul and Linda, mostly at their Scottish farm on the Mull of Kintyre. In the autumn of 1970 they flew to New York to start the recording process. Without a band in place they auditioned and drafted musicians, who included future Wings drummer Denny Seiwell and guitarists David Spinozza and Hugh McCracken. RAM gave Paul his first solo US #1 single with Uncle Albert/Admiral Halsey and a Grammy win for 'Best Arrangement Accompanying Vocalists.'
The band completed the album in early 1971 along with non-album tracks Another Day and Oh Woman, Oh Why which were released together as Paul's first post-Beatles single ahead of the release of RAM and became a Top 5 global hit. This remastered 180g 2LP, gatefold vinyl reissue includes both songs as bonus tracks along with additional material that didn't appear on the original release.LP1
1. Too Many People
2. 3 Legs
3. Ram On
4. Dear Boy
5. Uncle Albert/Admiral Halsey
6. Smile Away
7. Heart of the Country
8. Monkberry Moon Delight
9. Eat At Home
10. Long Haired Lady
11. Ram On (Reprise)
12. The Back Seat of My Car
1. Another Day
2. Oh Woman, Oh Why
3. Little Woman Love
4. A Love For You (John Kelly Mix)
5. Hey Diddle (Dixon Van Winkle Mix)
6. Great Cock and Seagull Race (Dixon Van Winkle Mix)
7. Rode All Night
8. Sunshine Sometime (Earliest Mix)$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Wall Of SoundI thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.
Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.
I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.
It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.
The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.
This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.
Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.
I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.
Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what
Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.1. Self Pollution
2. Sorrow and Madness
5. For A Friend
6. Pussy Ghost
7. The Blackest Rose
8. Something to Fight
9. The Soldier
11. The Last Lament$23.99Vinyl LP - Sealed Buy Now
It Takes A Nation Of Millions To Hold Us BackRanked 78/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.
I hated that record, said Public Enemy's Chuck D. Believe it or not, he's referring to Bring the Noise, the frenetic first track of It Takes a Nation of Millions to Hold Us Back, the group's 1988 agit-rap masterpiece and breakthrough album. Public Enemy had recorded the song in October 1987 for the soundtrack of the forgettable Less Than Zero. When Chuck (a.k.a. Carlton Ridenhour) first heard the final version, he said, I practically threw it out the window.
He changed his mind later that year when Public Enemy were on tour in England. I kept hearing people ask, 'What's this record you've got out? People are going crazy over it,' he remembered. I was like 'OK, pull that acetate out, and let's play it [in concert].' People went berserk.
Bring the Noise, along with Rebel Without a Pause and Don't Believe the Hype - all conceived in 1987 at the group's Hempstead, Long Island, studio, Spectrum City - would become the foundation of It Takes a Nation of Millions, an album that's loud, obnoxious, funky, avant-garde, political, uncompromising and hilarious all at once. Chuck may have been disgruntled over Bring the Noise, but he always liked Rebel Without a Pause, the track that introduced Public Enemy's trademark sirenlike horn squeals. Hank Shocklee of PE's production team, the Bomb Squad, says that Rebel started out as a response to Eric B. and Rakim's I Know You Got Soul. We were going for something that had the same feel but with more aggression, Shocklee said. Because we were angry.
For Rebel, PE coupled piercing squeals (a snippet from the J.B.'s' The Grunt played backward) with James Brown's Funky Drummer (Because that song was my milk, said Shocklee). Then it fell on Chuck to write the lyrics. I remember locking myself in the house for 24 hours, Chuck said. He emerged with verses that emulated Rakim's off-the-rhythm flow but stayed true to his own booming-baritone persona (Soul, rock & roll, comin' like a rhino); Chuck also dropped the name of black activist Joanne Chesimard, hinting at the political direction that his rhymes would soon take.
Don't Believe the Hype, recorded just before Bring the Noise, was Chuck's first foray into full-fledged polemics, in this case against the media. The lyrics were inspired by a slight against Chuck by New York-area radio DJ Mr. Magic. PE had serious doubts about that song, too. We thought 'Hype' was just garbage, said Shocklee. Again, they saw the response the song got when DMC (of the group Run-DMC) blasted the track out of his Bronco in Harlem on a Saturday night. The whole block was grooving to it, says Shocklee.
In January 1988, it all fit together. You had the combination of the noise from 'Rebel,' says Chuck, the tempo of 'Bring the Noise' and the subject matter of 'Don't Believe the Hype.' It set off Takes a Nation pretty nice.
- Rolling StoneLP 1
1. Countdown To Armageddon
2. Bring The Noise
3. Don't Believe The Hype
4. Cold Lampin' With Flavor
5. Terminator X To The Edge Of Panic
6. Mind Terrorist
7. Louder Than A Bomb
8. Caught, Can We Get A Witness?
1. Show 'Em Whatcha Got
2. She Watch Channel Zero?!
3. Night Of The Living Baseheads
4. Black Steel In The Hour Of Chaos
5. Security Of The First World
6. Rebel Without A Pause
7. Prophets Of Rage
8. Party For Your Right To Fight$24.99Vinyl LP - Sealed Buy Now
Front Porch SessionsSouthern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.
That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.
"It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."
The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."
I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."
We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.
"We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."
That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.
Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.
"This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."
The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"
Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.
"In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.
"Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."
The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.
"I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."
With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.
"I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."1. We Deserve a Happy Ending
2. When My Baby Left Me
3. Shakey Shirley
4. What You Did to the Boy Ain't Right
5. One Bad Shoe
6. It's All Night Long
7. One More Thing
8. Flying Squirrels
9. Let Your Light Shine
10. When You Lose Your Money
11. Cornbread and Butterbeans$18.99Vinyl LP - Sealed Buy Now
UNIM-GLA-2695xLittle Green Cars
Absolute ZeroAbsolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.
"This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."
"These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "
The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.
The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?
"That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.
"The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.
The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."
In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.1. Harper Lee
2. Angel Owl
3. My Love Took Me Down to The River to Silence Me
4. The Consequences of Not Sleeping
5. Big Red Dragon
6. Red and Blue
7. The Kitchen Floor
8. The John Wayne
11. Goodbye Blue Monday$19.99Vinyl LP - Sealed Buy Now
Masterpieces (45 RPM)
A Historic Record - Recorded Just Four Years Removed From The Dawn Of The Analog Tape Era!
Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes
Recorded On An Ampex 200, Using 3M-111 Magnetic Tape Running At 15 Inches Per Second
Gatefold Old-School Tip-on On Jacket By Stoughton Printing Plated And Pressed At Quality Record Pressings!
Named A 2015 Record To Die For By Stereophile Magazine.
Remastered by Ryan Smith at Sterling Sound from the original analog tapes, the record was plated and pressed at Quality Record Pressings. The depth and space when those rich chromatic harmonies create a wide and well-defined soundscape, the timbre of the orchestra as a whole as well as individual instruments, and the thick, wooden sound of Wendell Marshall's bass are among the aural pleasures provided when you drop a needle on this platter; expect goose bumps. - Music = 5/5; Sonics = 4.5/5 - Jeff Wilson, The Absolute Sound, May-June 2015.
I chose the CD reissue of this album as one of my R2D4s for 2012, but now from Chad Kassem's Analogue Productions comes this QRP LP, and it's an occasion for popping corks. Released in 1950, this was Ellington's first LP, and he used the new medium to stretch out four of his biggest hits. The arrangements are jaw-droppingly gorgeous and the sound just slightly less so. Recorded by Fred Plaut, who later miked Kind of Blue and other Columbia classics, it has the dynamics, depth, and in-your-face tonal realism of a modern (mono) audiophile thumper. Among the best jazz albums ever. - Fred Kaplan, for Stereophile - Records To Die For - February 2015.
This new re-issue slays my vintage copy in every way. Every dimension of the recording was much better...dynamics, harmonics, frequency response, detail, jump...all just leaped out at me! The recording sounded like it had been made that morning...absolutely fresh-sounding. No veiling. No roll-off. In fact, it's so good that it doesn't matter that this is a mono recording! Listen to it on a great turntable...you'll hear mono that fools you into thinking that it's not mono. Just wait until you hear Yvonne Lanauze sing, Mood Indigo amigos, after a long instrumental build-up...she'll take you there! ... The pressing itself was impeccable: flat, and free of noise, tics and pops...a genuine masterpiece of the pressing-plant arts. The Hyperion OCL, the finest cartridge that I've ever heard, revealed how superbly these grooves were carved! Commendable, reference-grade analog...very, very close to master tape sound. Very damned close! Kissing cousins close! Hell, maybe even closer than that. In fact, I now consider the Analogue Productions re-issue of Masterpieces by Ellington to be one of the very finest Jazz records ever released. (Sorry Miles! Move over, Kind of Blue!). - David W. Robinson, editor-in-chief, Positive Feedback Online.
Most highly recommended (the record is now on the QRP presses). It's one of my 'Records to Die For' in the February 2015 Stereophile. A true classic both musically and sonically and a historical work of art you can now own. - Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com.LP 1
1. Mood Indigo
2. Sophisticated Lady
1. The Tattooed Bride
2. Solitude$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
To The Happy FewEighteen years after they called it quits as a working band, 2013 finds the original members of Medicine reunited and proudly offering a newly recorded LP on Captured Tracks. "To The Happy Few" is the sound of a highly inspired group reclaiming its creative legacy, thoroughly immersed in the practice of mixing harsh noise with obsessive melodic detail and heavily groovy rocking.
Returning is the core trio of lead singer/ chanteuse Beth Thompson, guitarist / vocalist Brad Laner, and drummer Jim Goodall, the same team which created the still vital, influential and controversial LPs "Shot Forth Self Living" (1992) , "The Buried Life" (1993) and "Her Highness" (1995) as well as a stand-out appearance in the 1994 film "The Crow".
As it happens, it's really all the fault of Captured Tracks. In 2012 C/T pulled off the seemingly
impossible and secured the rights to reissue the aforementioned two original Medicine LPs in loving and expanded fashion. This was a rather emotional moment for the original band members. So much so that upon meeting up at Brad's home studio in May 2012 for the first time since 1995 in order to divide up the vinyl goodies and ultra-limited box sets, the trio laid down the basic track for what became the final song on the new LP. Emboldened by the natural ease with which they slipped back into Medicine mode, the trio spent the remainder of the year leisurely recording the new LP and enjoying each other's company far removed from the stress and turmoil of their original early 90's run. The resulting LP is not your parent's Shoegaze record. The sonic palette and the hands, feet and mouths that utilize it may be the same, but the end result more subtly reflects the amassed life experiences and refined aesthetics of three mature artists only just now approaching the peak of their powers.
The members of Medicine stayed quite busy with music in the interim between 1995 and 2012: Jim Goodall recorded and toured with his legendary evil country western band Jon Wayne which had its first LP reissued by Jack White's Third Man label. He also toured as a member of UK noise gods Whitehouse and recorded with Current 93. Beth Thompson made a collaborative album as The Shway and performed with The Furry Things. Brad Laner has released a bunch of solo and collaborative LPs under various names and recorded with the likes of Brian Eno, M83, Caribou and Blinker The Star.
"Long As The Sun," the first single from Medicine, simultaneously references the origins of the band and explodes into brand new territory. An exuberant, belligerently pounding carnival of sound and harmony. A joyful acceptance of something that just simply works. Noise for beauty's sake. You know, Medicine1. Long As The Sun
2. It's Not Enough
3. Burn It
4. Holy Crimes
5. The End Of The Line
6. Butterfly's Out Tonight
7. All You Ne ed To Know
8. Find Me Always
9. Pull The Trigger
10. Daylight$19.99Vinyl LP - Sealed Buy Now