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Look SharpIncludes Smash Hits Is She Really Going Out With Him, One More Time, Sunday Papers
100% Analog Mastering From Real Analog Tapes!
Jacket: Old Style Debossed Single-Jacket Printed By Stoughton on Heavy Stock
100 Best Debut Albums of All Time- Rolling Stone
Okay, I know that Joe Jackson isn't exactly an unknown, but how many of you revere (or even own) this, his first album. And what an album it is! As well as the timeless Is She Really Going Out With Him? you get One More Time, Sunday Papers, Happy Loving Couples, Baby Stick Around and Fools In Love, most of them on a first side that hits it out of the park. Indeed, if it wasn't for Fools (possibly the best song here) many a record out there would be mint condition on side two. Happy coincidence meant that Jackson's poignant and acerbic observations on life and love, along with his impressive musical training and heritage collided headlong with the UK New Wave, opening wide the opportunities for his bitter-sweet songs.
His material and delivery draw inevitable comparisons with Elvis Costello, but for me, Jackson is a cut above our Declan. Of course, that might be home-town familiarity speaking and Joe and the boys were an ever-present part of the live music wall-paper while I was at college, but then The Cure, The Banshees and The Attractions were too, if on a more revolving basis, so he had plenty of competition for my attention and affections. But what makes this album stick is the sheer quality of the lyrics. Even an out and out rocker like One More Time has an observant intelligence and almost painful honesty, while Fools and Is She have stood the test of time, shored up by the barbed familiarity of their outsider's stance and subtly twisted viewpoint. These are songs that speak not just for their generation but all the generations that have followed.
The vocal is all angst and attitude, with driven riffs, bass that goes deep and drums that stay hit. What's not to like about a record that captures the life and energy of a classic four-piece rock band in full, uninhibited, unabashed overdrive. Me - I love it! -Roy Gregory,
Look Sharp! is sourced from the best tape currently available, a beautifully preserved ½" "safety copy" of the original stereo master. When mastering this LP we compared what we were getting off the tape to an original A&M UK LP. While great sounding overall, the original LP is of course a very edgy sounding New Wave, post-punk record with a brashness that borders on being outright bright sounding. Where the aggressive top -end energy is concerned, the tapes showed no discernible age! We were able to maintain that grungy edge, but also restore the driving bass lines and bottom-end foundation that were on these tapes. The result is the best-sounding Look Sharp! anyone's ever heard, with all the drive and pop of the original UK release, but with superb tonal balance, imaging and clarity. The definitive issue of this iconic New Wave classic!
This title is not eligible for discount.1. One More Time
2. Baby Stick Around
3. Sunday Papers
4. Look Sharp!
5. Is She Really Going Out With Him?
6. Fools In Love
7. Happy Loving Couples
8. (Do The) Instant Mash
9. Throw it Away
10. Pretty Girls
11. Got the Time$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Night And Day
100% Analog Mastering From Real Analog Tapes!
Mastered By Kevin Gray At Cohearent Audio
Dead Quiet 180-Gram Vinyl Pressed At RTI
Exquisitely Restored Cover Art Printed By Stoughton
Intervention Records is thrilled to announce the addition of the smash hit Night and Day to its series of 100% analog vinyl reissues of Joe Jackson's early catalog. Night and Day joins IR's AAA reissues of Jackson's 1979 New Wave classics Look Sharp! and I'm the Man.
Jazzy and sophisticated, Night and Day was Jackson's breakout hit with the MTV staple Steppin' Out and the achingly pretty Breaking Us in Two providing the sharpest highlights. This is a brash, stylish and kinetic big city record!
All three titles were mastered 100% analog by Kevin Gray at Cohearent Audio from phenomenal sounding 1/2 safety copies of the original stereo master tapes. All of the top-end energy and "snap" of the original LPs is preserved, while the bass foundation is fully restored to make these new Intervention reissues the definitive listening experience for these classic LPs!
By working with artist Tom Vadakan and the artisans at Stoughton Printing IR insures that the album art is as stunning as the superlative sonics. Night and Day's original-release gatefold has been faithfully and beautifully restored, and Look Sharp! and I'm the Man are substantially upgraded. Look Sharp! features a debossed cover on heavy stock that not only imitates the rough texture found on only the earliest UK pressings, but improves on those rare originals. I'm the Man's original inner sleeve lyrics and images have been expanded to the interior of a gorgeous single-pocket gatefold.
This title is not eligible for discount.1. Another World
3. T.V. Age
5. Steppin' Out
6. Breaking Us In Two
8. Real Men
9. A Slow Song$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I'm The ManIncludes New-Wave Classics: It's Different for Girls, On Your Radio and Kinda Kute
100% Analog Mastering From Real Analog Tapes!
Deluxe Old Style Single-Pocket Gatefold Printed By Stoughton
Great tunes, edgy vocal performances, and cutting lyrics. -Ultimate Classic Rock
Astonishingly released within months of Jackson's 1979 debut album Look Sharp!, I'm the Man is another tight and inspired set of power-pop that features some of Jackson's best and most timeless tunes. Many of the songs here like "On Your Radio," "Kinda Kute," and the title track "I'm the Man" fall right in line with the punchy guitar riffs and pounding bass that made Look Sharp! such a driving force. In fact, this was the last album Jackson would make in this new-wave vein for over 20 years. Jackson followed I'm the Man with only one more album featuring the tight ensemble featured here- Graham Maby (bass), Gary Sanford (guitar) and Tony Houghton (drums)- and creatively restless soul that he is didn't return to this brand of power pop until reuniting that lineup for 2003's underrated Volume 4.
I doubt it was possible to listen to I'm the Man in 1979, and predict the subsequent ska-inspired Beat Crazy or 1982's ode to jazz, Night and Day. But we do hear the songwriter growing into his powers with "It's Different for Girls," one of his strongest and most lyrically perceptive songs, and one with decades of staying power; one of Jackson's great live set pieces today is a solo piano arrangement of that song that's as arresting as the original in some ways. Jackson would famously broaden his influences in later albums and his catalog is nothing if not diverse. While Jackson's greatest commercial success was Night and Day, Look Sharp! and I'm the Man are new-wave classics that improve with every listen!
I'm the Man is sourced from the best analog tape currently available, a beautifully preserved ½" "safety copy" of the original stereo master. When mastering this LP we compared what we were getting off the tape to an original A&M UK LP. While great sounding overall, the original LP is of course a very edgy sounding New Wave, post-punk record with a brashness that borders on being outright bright sounding. Where the aggressive top -end energy is concerned, the tapes showed no discenible age! We were able to maintain that grungy edge, but also restore the driving bass lines and bottom-end foundation that were on these tapes. The result is the best-sounding I'm the Man anyone's ever heard, with all the drive and pop of the original UK release, but with superb tonal balance, imaging and clarity. The definitive issue of this iconic New Wave classic!
This title is not eligible for discount.1. On Your Radio
2. The Band Wore Blue Shirts
3. Geraldine and John
4. Don't Wanna Be Like That
5. Kinda Kute
6. Amateur hour
7. It's Different For Girls
8. Get That Girl
9. I'm the Man
10. Friday$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Joe Jackson - Collected
180-Gram Audiophile Vinyl
High-Quality PVC Protective Sleeve
Featuring ''Fools In Love'', ''Is She Really Going Out With Him?'' And ''It's Different For Girls''
Joe Jackson's debut single, ''Is She Really Going Out With Him?'', was not an immediate hit; however, by the time his debut album Look Sharp! was released, the song had reached charts in the U.K. and U.S., earning him a gold record. For the follow-up, he produced the top 5 hit ''It's Different For Girls'', Joe received the highest musical accolade of the Netherlands, the Edison Award.
After two edgy new wave pop records, his next tracks included some reggae influences such as the tracks ''One to One'' and ''Mad At You'', while ''Jumpin' Jive'' - recorded with jazz musicians - was full of old jump blues and swing tunes.
The huge commercial success came with his crafted pop songs ''Steppin' Out'' and jazzy ''Breaking Us In Two'' climbing the charts worldwide. Joe Jackson produced even jazzier hits in 1984 such as ''Happy Ending'', (a duet with Elaine Caswell), ''Be My Number Two'' and ''You Can't Get What You Want''.
The album Big World (1986), a live album of entirely new material including ''Home Town'', was recorded during six concerts. It is not a regular live album though, the audience was asked to be quiet during the songs and the applause was edited out.
The pop song ''Nineteen Forever'' was part of a larger construction from the album Blaze Of Glory, designed to tell a semi-autobiographical story. In 1991 Joe Jackson decided to abandon pop once and for all in favor of more serious music. It spawned the track ''Stranger Than Fiction''.
Joe Jackson - COLLECTED is a comprehensive series of sounds Joe Jackson has gone through, from old to new, this collection will never get boring!LP 1
1. Fools In Love
2. Is She Really Going Out With Him?
3. Look Sharp!
4. Got The Time
5. Sunday Papers
6. It's Different For Girls
7. I'm The Man
8. Mad At You
9. Beat Crazy
10. One To One
11. The Harder They Come
12. Jumpin' Jive
13. Another World
14. Steppin' Out
1. Real Men
2. A Slow Song
3. Breaking Us In Two
4. Be My Number Two
5. You Can't Get What You Want (Till You Know What You Want)
6. Happy Ending (feat. Elaine Caswell)
7. (He's A) Shape In A Drape
8. Nineteen Forever
9. Stranger Than Fiction
10. Home Town (Live)
11. Is She Really Going Out With Him? (A Capella Live)$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Summer In The City: Live In New York (Pre-Order)First Time Ever On Vinyl!
Remastered From New High-Res Master Files By Kevin Gray At Cohearent Audio
Double LP Set, Ultra-Quiet 180-Gram Vinyl Pressed At RTI
Beautiful ''Old-Style'' Gatefold Printed By Stoughton
Intervention Records is thrilled to bring Joe Jackson's Summer in the City Live in New York to vinyl for the very first time! Previously available only on CD, Summer in the City joins IR's wildly successful vinyl reissues of Jackson's early New Wave classics Look Sharp!, I'm the Man and Night and Day.
Summer in the City's repertoire is an amazing bridge that spans the greatest hits of Jackson's early canon with stunning new arrangements and covers from other great songwriters. Jackson classics like ''Fools in Love,'' ''You Can't Get What You Want'' and ''It's Different for Girls'' meet with covers as diverse as Duke Ellington's ''Mood Indigo,'' The Beatles' ''Eleanor Rigby'' and Steely Dan's ''King of the World.''
Summer in the City was mastered to vinyl by Kevin Gray at Cohearent Audio from brand-new high-res master files. Summer in the City was recorded live in New York City in August of 1999 by Steve Remote and Co-Producer Sheldon Steiger. Sony's archivists and Battery Studios' Mike Piacentini compiled new high-res digital master files from the original DATs with the final mixes, and IR consulted with Remote and Steiger on key aspects of the recording to ensure the best possible source files were used. The result is an absolute sonic stunner, brought to new life on this double LP set!
Summer in the City's original album art has been rebuilt into a beautiful gatefold jacket by IR's art director Tom Vadakan.
This title is not eligible for discount.LP 1
1. Summer in the City
2. Obvious Song
3. Another World
4. Fools in Love / For Your Love
5. Mood Indigo
6. The In Crowd / Down to London
1. Eleanor Rigby
2. Be My Number Two
3. Home Town
4. It's Different For Girls
5. King of the World
6. You Can't Get What You Want
7. One More Time$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
$19.99 $15.79 Save $4.20 (21%)
One Kiss Ends It All (On Sale)In their decade-plus existence, Saturday Looks Good To Me has never taken a typical path: endless line-up changes, shifts in sound from lo-fi 60's pop to experimental noise rock, a twisting discography heavy on one-off singles and bizarre package tours with afrobeat and freakfolk bands.
In 2012, bandleader and songwriter Fred Thomas returned with a fresh new line-up, including new vocalists Carol Catherine and Amber Fellows, but also with old friends from previous SLGTM incarnations like bassist Scott DeRoche and drummer Ryan Howard showing up for the fun.
The band's fifth proper album, One Kiss Ends It All, came together following the group's first tour after getting back in action, however the four years since their last full-length weren't spent cultivating this new batch of songs.
Instead, a spontaneous and breezy vibe flows through the album's 12 selections, drawing on the reference points of 60's pop and early indie rock, all filtered through the band's skewed pop lens.
Thomas' songs are always bittersweet, but short, uptempo rockers like Invisible Friend and Break In recall the open-hearted running melodicism of New Zealand kiwi-pop while more groove-oriented numbers like Polar Bear or Sunglasses meld electronic elements with the same sharp-edged attitude of the first Strokes album.
Even former SLGTM lead vocalist Betty Barnes (who now lives in Sweden) sings lead on two tracks: the doo-wop piano lament of Negative Space and the spare indie rock road trip The Ever-present New Times Condition.
Saturday Looks Good To Me's albums in the early 2000's (All Your Summer Songs, Every Night) predicted the reverb-saturated production and girl-group revisitations that indie rock would embrace several years down the road.
One Kiss Ends It All expands on those early lo-fi marvels and feels more like a revelation than a continuance.
With more sophisticated arrangements and melodies more direct and engaging than anything the band has ever done, the album feels like re-telling the details of a dream minutes after waking. Something new colliding with something that shouldn't make sense in a beautifully strange collage. And always more details hidden in the corners.1. One Kiss
2. Invisible Friend
3. Empty Beach
4. Negative Space
5. New City
6. The Everpresent New Times Condition
7. Break In
8. Polar Bear
9. Are You Kissing Anyone?
12. Space Children$19.99 $15.79 Save $4.20 (21%)Vinyl LP - Sealed Buy Now
FainRecorded in a beautiful and isolated house in the Yorkshire Dales, Fain is the sound of a band at the peak of their creative powers. It's an honest and natural album that allows its stories, its melodies, its themes and structures to breathe. The album draws on more traditional English and Scottish folk melodies than anything they've done before, but not straying from the drop-out fuzz-rock route they've made their own, the influences are vast - British rock bands like Groundhogs, Dark, Mighty Baby and Peter Green's Fleetwood Mac are evident in the swirling and distorted guitars throughout Fain, along with the 60s revival folk of Fairport Convention, Nic Jones, and Trees. Additionally they have looked towards Scandinavian's rich psychedelic tradition both new and old - you can hear the likes of Mecki Mark Men, Mikael Ramel and contemporaries Dungen. You can even hear the band's teenage forays into Hip-Hop in the drums of 'Thief' and 'Athol'.
It rained constantly throughout the recording process and the house was so packed with gear and recording equipment the band were forced to sleep in tents and caravans parked outside. Whilst performing, they could look out into the vast countryside and catch sight of buzzards, hares, curlews and hundreds upon hundreds of crows and gulls. The fire was on permanently, overnight and throughout the day. A serene experience that informs every track on the album. It was mixed and finished in the equally rainy London, with additional performances from Olivia Chaney on piano and backing vocals, plus Nic Kearey and Rachel Davies of Stick in the Wheel and Various (XL). Jace Lasek (Besnard Lakes) recorded backing vocals in Vancouver remotely for All Returns.
As evidenced by the first single All Returns, Fain is more lyrically focused than anything they've previously recorded.. The song tells the story of a dream Jack Sharp (guitars/vocals) had during which an acquaintance had looked into his eyes and seen into his soul whilst calmly describing his faults and inner demons, a truly cathartic experience. However, says Sharp, his life is largely too banal for material and he largely draws upon snapshots of history to furnish him with the ideas for lyrics. Stand out track Thief is taken from various stories of highwaymen that had been made famous by broadsheet ballads and plays - the likes of Charles Peace, William Nevison, Jonathan Wild and Jack Sheppard. He delivers this story in first person, almost as if he is playing the part of a complete degenerate with little or no conscience or morals. As Sharp says, It's like a form of tourism. You can visit but not live in the mind of an appalling human being.Empty Vessels
When the Fire is Dead in the Grate
NRR$17.99Vinyl LP - Sealed Buy Now
You're Going To Make ItMates of State's new self-produced EP, You''re Going To Make It, is nothing but choice cuts: five anthemic and emotionally-rich songs that will quickly take up residence in your mental jukebox; five anthemic songs that wriggle into your every waking hour like the ear worms they are. This new batch of tunes is Mates of State in its purest form. The razor sharp harmonies,shimmering new wave synth melodies, an internal warmth that can only come from a couple that has been musically and romantically involved for nearly two decades, and lyrics that speak to both personal and universal concerns.On "Beautiful Kids," the band speaks to how,even though we are connected to one another 24/7 thanks to modern technology, a sense of loneliness still pervades. Or as Hammel puts it: "We all just want to be seen, but we won't look up from our screens so that we can be seen." "Gonna Get It" and "I Want To Run" build off the same inspiring notion of the EP''s title, encouraging both themselves and their fans to keep striving no matter what the odds. And fist-pumping opener "Staring Contest" speaks to that delicious ache of schoolyard crushes and youthful love.1. Staring Contest
2. Beautiful Kids
3. I Want To Run
4. Gonna Get It
5. Sides Of Boxes$13.99Vinyl LP - Sealed Buy Now
$279.99 $249.99 Save $30.00 (11%)
Crosley C200A-BK Direct Drive Turntable (On Sale)
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
With more control than ever over the speed of your discs, this sleek, powerful turntable was built to mix it up. Spin into the next generation of the vinyl revolution with the Crosley C200, mixing Crosley's vintage-inspired, synth style with high tech, hi-end features.
Crosley's first direct drive turntable motor brings records up to speed quickly and smoothly. Rock the built-in preamp, or bring your own into the mix to make the greatest mashup ever.
The C200 is equipped with a sharp Audio-Technica magnetic cartridge, adjusted to perfection. Or, choose your own beat with another cartridge and balance the sweet curves of the s-shaped tonearm with adjustable counterweights.
Line In, Line Out
This turntable was designed with mad style, sleek lines and cool technical details that are as functional as they are awesome to look at. The clear plastic case can even play with the lid shut, so that partying won't bump (and grind!) your precious records.$279.99 $249.99 Save $30.00 (11%)C200A-BK Turntable Buy Now
It Comes To You In A Plain Brown WrapperOne of the most exciting aspects of reintroducing so much rare and incredible music to the world is being able to finally make available material thats been in label-vault limbo since the day it was recorded, vital sounds locked away from the deserving ears of the legions of devoted music fans we at Sundazed count ourselves among. But when were able to present previously shelved material by one of the most visionary and influential artists of all time, in exceptional fidelity, with the look and feel of the packaging that the artist originally meant it to have? Well, then, that just takes everything to another level completelya level thats certainly been reached with the exclusive vinyl-only issue of Captain Beefheart and His Magic Bands mind-blowing lost 1967 sessions.
Recorded in part as the follow-up to Safe as Milk, Beefhearts debut from earlier that year, the world-shattering material on It Comes to You in a Plain Brown Wrapper was rerecorded, truncated, and issuedwithout the Captains approvalas Strictly Personal in 1968. Mastered directly from the original analog tapes and featuring a wealth of unedited takes never before on vinyl, Sundazeds stunning gatefold double-LP release of this infamously enigmatic opus comes to you wrapped in a sharp outer sleeve bearing specially commissioned artwork by Frank Zappa/Straight Records illustrator Cal Schenkel replicating the albums planned 67 design; inside are rare photos and fascinating, exhaustive liner notes by Magic Band drummer John Drumbo French.
So here, then, is Captain Beefheart and His Magic Bands second album of gloriously disjointed avant-rock/blues and free-jazz skronk, presented just as natureand the Captainintended. Even after more than 40 years, this music is still hopelessly ahead of its timeor, as one-time Magic Band member Ry Cooder once described it, right on time.1. Gimme Dat Harp Boy
2. Dirty Blue Gene
3. Beatle Bones 'n' Smokin' Stones Pt. 1 & 2
4. Trust Us (take 9)
5. Safe as Milk (take 12)
6. Moody Liz (take 8)
7. On Tomorrow
8. Big Black Baby Shoes
9. Flower Pot
10. Korn Ring Finger
11. Safe as Milk (take 5)
12. Trust Us (take 6)
13. Moody Liz (take 16)$36.99Vinyl LP - 2 LPs Sealed Buy Now
The Killing JarBlack Moth are four super talented individuals, Harriet Bevan - vocals, Jim Swainston - guitar, Dave Vachon - bass, and Dom McCready, battering the crap out of his drums. Formed 2 years ago out of the ashes of Leeds garage rockers The Bacchae, the band were seduced by the brutal and hypnotic lure of the riff, to emerge translucent skinned and bleary eyed from their cocoon as the ferocious kick-ass heavy rock outfit that is Black Moth (see attached scan). Taking a powerful chunk of influence from proto-punk acts such as Iggy and the Stooges, Motorhead and early Alice Cooper as well as a sliver of 90s grunge and stoner rock and a big dose of doom, Black Moth draw out the darker elements and combine them with the heaving riffs of heavy metal giants, Pentagram and Black Sabbath, with hooks so sharp you could hang a corpse on them. They also look to more current acts such as the Melvins, Sleep and Electric Wizard for inspiration, though singer, Harriet Bevan, still maintains a vocal style that evokes the haunting psychedelia of Grace Slick and psych-Satanist, Jinx Dawson from Coven: the woman responsible for the sign of the horns in rock'n'roll. Enter Mr Jim Sclavunos, the multi talented Grinderman and Bad Seed, not to mention the superbaaad connoisseur of the mixing console, fresh from producing the storming second Jim Jones Revue album. One of their shows was all it took. "Black Moth reminds me of my misspent youth" he said. And judging by the all out assault that he's crafted with the Moth, he must have been a very bad boy indeed. The Killing Jar is their debut from New Heavy Sounds and it rocks like a bastard.1. The Articulate Dead
2. Blackbirds Fall
3. Banished But Blameless
4. Spit Out Your Teeth
5. The Plague Of Our Age
6. Chicken Shit
7. Blind Faith
8. Plastic Blaze
9. Land Of The Sky
10. Honey Lung$24.99Vinyl LP - Sealed Buy Now
Fear Of Missing Out (Awaiting Repress)After two buzz-building EP's, SoCal punk quartet (and newest member of the Fat Wreck Chords family) THE BOMBPOPS are finally delivering with their highly-anticipated debut full-length, Fear of Missing Out. A handful of lineup changes over the past few years delayed progress, but co-founders and frontwomen Jen Razavi and Poli van Dam finally secured their dream rhythm section and haven't looked back since. The current iteration of the band finally allowed Jen and Poli to go full steam ahead and unlock the massive potential that's been tantalizing BOMBPOPS fans all along. Fear of Missing Out unleashes a sharp mix of intensity and poppiness, from the infectious harmonies of "CA in July" to the shotgun blast drive of "Brake Lights" and "I Can't". The album's blend of catchiness and energy is off the charts. THE BOMBPOPS teamed up with Chris Fogal of legendary pop-punk band The Gamits as producer, elevating their songs even further with his shine and polish. Although it was a long road to completion, this charged up pop-punk masterpiece was certainly worth the wait.1. Capable of Lies
2. CA in July
3. Be Sweet
4. Sweet for Sorrow
7. I Can't
8. Watch Me Fold
9. Forever Since
10. Brake Lights
12. All in a Day's Lurk$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Dust & Grooves: Adventures In Record Collecting (Book)
416-Page Photography-And-Interview Coffee Table Book About The
World's Most Fascinating And Accomplished Vinyl Collectors
Created By Noted Photographer Eilon Paz
The Second Revised Edition Of The Book Profiles Over 130 Vinyl Collectors,
Featuring A Foreword By The RZA And Interviews With
Questlove, Gilles Peterson, Four-Tet, The Gaslamp Killer, And More.
This Edition Has 20 More Pages Than The First Edition
"Dust & Grooves began as a labor of love but has become a worldwide phenomenon. Paz has gained access to the personal troves of well-known collectors from all over the globe, showcasing each collector as well as his or her collections."- ABC News
Eilon Paz's 416-page coffee-table book illuminates over 130 vinyl connoisseurs and their collections in the most intimate of environments - their record rooms. With a foreword by the RZA, compelling photographic essays are paired with in-depth interviews to illustrate what motivates record collectors to keep digging.
Readers get an up close and personal look at a variety of well-known vinyl champions as well as a glimpse into the collections of world-renowned and lesser-known DJs, producers, record dealers, and everyday enthusiasts. The book is divided into two main parts: the first features 250 full-page photos framed by captions and select quotes, while the second consists of 12 full length interviews that delve deeper into collectors' personal histories and vinyl troves.
It all started out several years ago as nothing more than a way for photographer Paz to engage in a personal project in his free time. Adrift in Brooklyn after emigrating from Israel, Paz - a record collector on the side - thought it might be fun to start taking photos of people whose record collections were both larger and weirder than his own. These portraits turned into the Dust & Grooves website, which quickly developed a global following that grew every time a new portrait was added to the mix. People all over the world seemed to dig not only the beauty of Eilon's photos, but the interviews with the collectors-a motley, if generally charming, crew of non-violent obsessives who turned out to be at least as intriguing as the records they collected.
Unearthing the very soul of the vinyl community, his book will appeal to a broad spectrum of readers, from die-hard record enthusiasts to fans of pop culture, sharp photography, and music history.
Eilon Paz has shot for Israel's top cultural publications and is a regular contributor for the US based food/travel magazine, Saveur, and his work appeared in worldwide publications such as Wax Poetics, Monocle, Conde Nast Traveler, Delta Airlines' Sky magazine, and the French music magazine Vibrations.$66.00Book - Sealed Buy Now
Ranked 3/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time!
Sourced From the Original Master Tapes!
Pressed on 180 gram vinyl
Cut at Abbey Road Studios
Their first psychedelic masterpiece, Revolver, represents The Beatles at their most creative and cohesive form, still a tight rocking unit firing on all cylinders but with a surging freedom of self-expression. It is arguably their greatest album, in which they introduce whole new vistas of sound yet still contain them within tightly structured and performed songs.
Recorded before The Beatles' personalities began to clash and in advance of the fog brought on by drug use, Revolver encompasses practically every imaginable style and then some. Gentle harmonic pop "I Want to Tell You," stained-glass acid rock "She Said She Said," upbeat soul "Got to Get You Into My Life," Indian "Love You To," and what, at the time (and in some ways still is,) the most cutting-edge pop composition ever devised, "Tomorrow Never Knows," -- a song that single-handedly re-imagined and rewrote the rules of production.
Before the woolly politics of flower power had really taken over psychedelia, Revolver remains sharp and acerbic, its cutting quality emphasized by great electric guitar-playing from both George and John. The band looked fantastic too, in hipster suits and dark glasses. Pound for pound and song for song, Revolver is as good as it gets, a real monster.
A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.1. Taxman
2. Eleanor Rigby
3. I'm Only Sleeping
4. Love You To
5. Here, There And Everywhere
6. Yellow Submarine
7. She Said She Said
8. Good Day Sunshine
9. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want To Tell You
13. Got To Get You Into My Life
14. Tomorrow Never Knows$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Cosmic LogicLos Angeles, California-based duo Aaron Coyes and Indra Dunis A.K.A.
Peaking Lights are thankfully back and set to release their new album Cosmic
Logic via Weird World Records / Domino Recording Co.
Cosmic Logic is a heady brew of dub, kraut, minimal house, disco and pop
influence all rendered in the inimitable Peaking Lights fashion. Recorded by
the band themselves in a couple of LA studios and then mixed by Matt Thornley of DFA, Cosmic Logic follows the outer space pop explorations of 2012's
critically acclaimed Lucifer and 936 before that. This time around, however,
the band have gone for a more concise, lean approach - abandoning some of
their psychedelic sprawl for a more pure pop experience.
Cosmic Logic opens with the guitar and drum-heavy "Infinite Trips," a song
which Coyes says is "an homage to the opening track 'Der Song von
Mandelay' on The Flying Lizards debut album - we wanted to come in from
left field." The mood of the record takes a sharp turn when the sputtering
drum machines and spacey keyboards kick in on "Telephone Call," a song that
tucks the cosmic into the quotidian. "It was influenced by ideas in the
Carpenters' version of the 1977 cover of Klaatu's 'Calling Occupants of
Interplanetary Craft,'" Coyes said. To which Dunis added: "It's about keeping
an open mind to cosmic messages that can come from anywhere."
The album traces a singular trajectory through Peaking Lights' current sonic
palette, full of coruscating synths and percolating drum machines. "I think
Aaron's rhythms are definitely influenced by whatever is on his mind:
reggae, dancehall, funk, Afrobeat, disco, etc." Dunis said of the beats that
power the album. Cosmic Logic both looks to other musical cultures as well
as up to the stars for inspiration, and is a beacon in dark times, a reminder to
be at once mindful of the terrestrial and the celestial, to be open-eared and
Or, as Dunis sings on "Telephone Call": "Use your heart and not your ears."1. Infinite Trips
2. Telephone Call
3. Hypnotic Hustle
4. Everyone And Us
5. Little Light
7. Eyes To Sea
8. Bad With The Good
9. New Grrrls
11. Tell Me Your Song$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pop Art Live (Pre-Order)Having waited this long to witness the impossible-Raspberries live-we showed up two hours early, parking our car in the empty parking lot . . . [and] moments before the house lights went down, we looked at each other and said the words that we never thought we would ever say: 'We're at a Raspberries concert.' Then it began . . . -Ken Sharp and Bernie Hogya from the liner notes to Pop Art Live.
November 26, 2004, the stage was set for a reunion most thought could never happen-the Raspberries Live In Concert! Over 30 years since the original four members of Raspberries last played together, Pop Art Live captures opening night, at Cleveland's House of Blues, as never before! You will experience the power and magic that led the group to a successful reunion tour in 2005. Founding members Eric Carmen, Wally Bryson, David Smalley, and Jim Bonfanti powerfully muscle through 28 slices of pure rock 'n' roll heaven, bringing to life the legacy of power pop's founding fathers.
Brilliantly mixed by longtime Raspberries' associate Tommy Allen, the Midwestern quartet has never sounded this good! Pop Art Live contains live versions of songs from all four of the Raspberries' classic original studio albums including the hits Go All The Way, I Wanna Be With You, Let's Pretend, and Overnight Sensation (Hit Record) as well as perfect renditions of timeless favorites by The Beatles and The Who.
The Raspberries are one of rock's most treasured bands influencing everyone from John Lennon to Bruce Springsteen to Paul Westerberg!. Pop Art Live is an essential document of that band, providing another chapter to their lasting impact! The Raspberries Live . . .they said it would never happen . . . they were wrong.LP 1
1. I Wanna Be With You
2. Play On
3. I Can't Explain
4. Nobody Knows
5. Overnight Sensation (Hit Record)
6. Go All The Way
7. Don't Wanna Say Goodbye
9. I Saw The Light
1. Starting Over
2. Baby's In Black
3. Might As Well
4. Hard To Get Over A Heartbreak
5. Let's Pretend
6. If You Change Your Mind
7. Last Dance
8. Should I Wait
9. No Reply
10. I Can Remember
1. I'm A Rocker
2. It Seemed So Easy
3. When You Were With Me
4. It's Cold Outside
5. Ticket To Ride
6. Party's Over
7. Come Around And See Me
8. Makin' It Easy
9. Drivin' Around / Cruisin Music
10. I Don't Know What I Want$54.99Vinyl LP - 3 LPs Sealed PRE-ORDER Buy Now
Between The DitchesRoaring out of the southern Indiana foothills comes Reverend Peyton's Big Damn Band playing a brand of Americana and Blues that stands alone. Delta blues and hillbilly fervor combine with musical acuity sharp as razor wire, this trio is a force to be reckoned with. Their new album Between The Ditches is a chronicle of this lifestyle. Their fifth album celebrates the growl of a good truck engine, the fiercest passion for their country home and the importance of family.
The uncanny ability to breathe new life into old forms of music gives the Big Damn Band a pedigree many Americana acts would kill for and an ironclad work ethic keeps them on the road playing for the people with hurricane force. Locked in with an audience, the band create their own community and welcome the crowd into it, transporting them away from their troubles to joyous release, the way great musicians have done for centuries. The Rev. J. Peyton, his wife Breezy and distant cousin Aaron "Cuz" Persinger are a living breathing embodiment of the traditions and hard work ethic native to their Brown County, Indiana home.
With a reputation for their incendiary live shows well established, The Big Damn Band set out to make the album that would finally capture the same heat. Recorded at White Arc Studio in Bloomington, Indiana, the album was produced by The Rev. Peyton and Paul Mahern (John Mellencamp, Iggy Pop) and mastered by Brian Lucey (Black Keys, Dr. John, Shins). For previous albums, the band had recorded live, straight through in the same mode as a live show. Between The Ditches came together more slowly, with care. "We approached it saying we were going to make a record this time, not just a recording," explained the Rev. He used a different guitar set up on almost every track, employing two '30s National guitars, a cigar box guitar, a custom shop Gibson flattop 1929 L2 and an Airline map electric guitar. The primary amps are custom Weber amps made by Weber speakers, both are one of a kind.
Between The Ditches features a new level of craftsmanship in both recording technique and songwriting. The guitar playing alone should put the Rev. in the same class with his much revered idols. The songwriting boasts an added maturity and runs the gamut in subject matter from the barn burning, tongue in cheek, "Shut the Screen," (where "It's too dang hot and the bugs are too dang mean") to the evils of strip mining, an issue close to the hearts of this Indiana band in, "Don't Grind It Down." There seems to be a theme expressed throughout the album and stated clearly in their first single "Devils Look Like Angels": "Devil don't live down in hell, the devil's right here doing very well."1. Devils Look Like Angels
2. Something For Nothing
3. We'll Get Through
4. Big Blue Chevy '72
5. Shut The Screen
6. Shake 'em Off Like Fleas
7. Easy Come Easy Go
8. I Don't Know
9. Don't Grind It Down
10. The Money Goes
11. Move Along Mister
12. Between The Ditches
13. Brokedown Everywhere
14. Brown County Bound$13.99Vinyl LP - Sealed Buy Now
Indoor LivingWith a lot of Superchunk products, it's easy to think there's a simple message because
the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
shout-sung tag lines that beg for an audience to croon along-"Let's burn last
Sunday"-are just the overarching structure of a record that moons over details:
"Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
twisting apart ("The arc of lights / above your head / is not to be believed").
"Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
space is mine / Yeah I hardly have the right to sing about it."
Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
can write a break-up record, anyone can color in a broken heart all black. It takes a
more sophisticated eye to find the light and perfect moments that happen even when
we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
for mercy comes across like an in-joke ("We both know that I've got bad knees") in
"Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
Popular Music," the record's angriest slice of heartache, has a protagonist that can't
quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
me to use," but "making mosaics of scenes from the parts of my life that you left me
Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
knowing you won't is hard. Adulthood is about forsaking the black and white
resolutions of youth for a more complicated, and resonant, resilience: From "Burn
Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
break / Well, they just bend." In music and with people, maturity happens when the
sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
Indoor Living shows that you don't have to lose a single joule of energy in becoming a
little more self-reflective. You just have to be willing to take it all in.
Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
wanted it to be. Though of course-of course!-I've listened to the record on and
off in the intervening time, I had forgotten how familiar this record is to me. I had
forgotten I knew all the words to every song, could anticipate every hesitant drop in
rhythm and wavering chorus. This record was the soundtrack of being 25 and because
of that, it does remind me of a really specific time; but that time is not so much the
late '90s as the turning point between adolescence and adulthood, which happens later
and later to me every year.
-Ana Marie Cox, 20131. Unbelievable Things
2. Burn Last Sunday
4. Watery Hands
5. Nu Bruises
6. Every Single Instinct
7. Song for Marion Brown
8. The Popular Music
9. Under Our Feet
10. European Medicine
11. Martinis on the Roof$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Straight Horn of Steve Lacy (Pure Pleasure)The only thing 'straight' about Steve Lacy's horn is its shape - as the soprano sax here is used in some extremely inventive and modern ways, especially for the date of the session! We don't think we're going out on a limb to say Lacy is one of the foremost melodic improvisors of his time, and easily one of the most talented soprano players too - and his early date as a leader shows both his forward looking involvement with the avant garde (he'd played with Cecil Taylor just before this date and does a couple of his compositions here) and a career-long fascination with Thelonious Monk. Although the group here is piano-less there's a definite Monk-like edge to many of the numbers, carried off especially by the sharp turns in Lacy's horn!
- Steve Lacy (soprano saxophone)
- Charles Davis (baritone saxophone)
- John Ore (bass)
- Roy Haynes (drums)
Recording: November 1960 in Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Louise
3. Donna Lee
4. Played Twice
6. Criss Cross$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
EgomaniacFollowing two successful years on the road supporting 2014's breakout Lunatic, KONGOS returned home in late 2015 with a bevy of ideas. The guys wrote initial demos separately and convened at Tokoloshe Studios-their full-scale production studio located in their hometown of Phoenix, Arizona. While sharing ideas, they collectively realized a thematic commonality, which would eventually inform the creation of Egomaniac.
"We started to see this theme of egomania in everyone's songs," explains Dylan. "It came from recognizing egomania in every aspect of life and throughout our surroundings. If you have any inkling of self-awareness, you also notice it inside yourself. It's so palpable in our world. By referencing another human condition in so many songs, we thought it was a nice follow-up to our last album Lunatic. If you're going to name an album Egomaniac, you have to incorporate big sounds and songs. The chorus of 'Take It From Me' embodies the entire record's theme perfectly."
Egomaniac boasts 13 new tracks from the group. These range from the blues guitar-driven accordion shuffle of "I Don't Mind," which instantly became a live favorite, to the skittering electronics and sharp commentary on "Autocorrect" and the epic send-off at the heart of "Look At Me."
In 2014, "Come With Me Now" from Lunatic put KONGOS on the map. The group became unanimously recognized as one of rock music's most infectious and invigorating new voices as the track went RIAA double-platinum for sales in excess of 2 million. It occupied the #1 spot at Alternative Radio for five weeks, marking the quickest ascent to the top by a new band in history. The song was heard everywhere with placements by The Expendables 3, Universal Studios, Dodge Ram, Samsung Galaxy, American Idol, The Originals, MTV Movie Awards, HBO, FX, CNN, NBC Sports, ESPN, NFL, WWE, Playstation 4 and more. The video has been viewed over 45 million times. They've hit the stage at Late Night With Seth Meyers, Jimmy Kimmel LIVE!, The Today Show and more and received acclaim from Rolling Stone, USA Today, and many others.
The brothers KONGOS-Johnny, Jesse, Dylan, and Danny-have music in their blood. Their dad John Kongos landed multiple chart hits in the seventies, and the boys picked up instruments at a young age. Now, they've got a musical legacy all their own.LP 1
1. Take It From Me
2. The World Would Run Better
3. I Want It Free
6. Where I Belong
7. Birds Do It
1. 2 In The Morning
2. Look At Me
3. I Don't Mind
4. Hey You, Yeah You
5. Repeat After Me
6. If You Could$26.99Vinyl LP - 2 LPs Sealed Buy Now
Motor City Scene
Offtimes a look back at the past is not a good thing, but in this case it is something to be fondly remembered. - Audiophile Audition
One of the most hard-hitting sessions ever recorded for the Bethlehem label - and a rare date for the imprint by the team of trumpeter Donald Byrd and saxophonist Pepper Adams! The style here is similar to work the pair recorded for Riverside and Blue Note at the same time - razor-sharp hardbop, played with a strong sense of imagination, and plenty of room for drawn-out, creatively-blown solos. Adams is especially great - playing the baritone here with the leanness of a tenor sax - but Byrd is wonderful too, and really starts to break out of some of the more staid modes of his work from a few years back.
The group's a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer Hey Lewis (another name for Mel Lewis?) - on titles that include Trio, Philson, Libeccio, and Bitty Ditty.1. Stardust
5. Bitty Ditty$19.99Vinyl LP - Sealed Buy Now
Strong PersuaderOne of the most popular and successful blues albums ever released!
200-gram vinyl, pressed at Quality Record Pressings!
Mastered from the original analog tape by Ryan Smith at Sterling Sound
Robert Cray is a musician that critics describe as one of the all-time great blues guitarists, and small wonder. No less than Rolling Stone describes his playing as distinctive and razor-sharp. They go on to say that Strong Persuader introduced a new generation of mainstream rock fans to the language and form of the blues. As much as anyone next to Stevie Ray Vaughan, Cray helped the blues not only survive, but thrive, says Acoustic Sounds' owner Chad Kassem.
Cray, a five-time Grammy winner, originally released Strong Persuader, his fifth studio album, in 1986 - his major label debut. Stinging urban blues by way of Texas and Memphis distinguish Cray's guitar mastery - since the release of Strong Persuader, Cray has gone on to record 15 Billboard-charting studio albums and has written or performed with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker. Inducted into the Blues Hall of Fame at the age of 57, he is one of the youngest living legends to receive the prestigious honor. And although Cray can look back over an astonishing three decade-long career, punctuated by his trademark sound and distinct playing style, he is far too busy moving forward as the amazing journey continues. 2012 saw Robert release his 16th studio album, Nothin' But Love and embark on yet another world tour.
This title is not eligible for discount.1. Smoking Gun
2. I Guess I Showed Her
3. Right Next Door (Because Of Me)
4. Nothin' But A Woman
5. Still Around
6. More Than I Can Stand
7. Foul Play
8. I Wonder
10. New Blood$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Last Days of OaklandFantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.
The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.
By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.
The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.
The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.
In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.
The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.
With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.
For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.
When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.1. Intro - The Last Days of Oakland
2. Working Poor
3. About A Bird
4. Scary Woman
5. Interlude - What Would You Do?
6. The Nigga Song
7. In the Pines (Oakland)
8. Hump Thru the Winter
9. Lost In A Crowd
10. Interlude 2 - El Chileno
11. The Worst
12. Rant Rushmore
13. Nothing Without You
14. Push Back
15. The Shadows$23.99Vinyl LP - Sealed Buy Now
Pull It TogetherPull It Together is Shannon Stephens' third album. Vulnerability has been replaced with a fierce confidence born of experience. Stephens sings out now with a voice free of youthful self-consciousness, filled instead with conviction, and no small amount of anger at the state of the world. She has always distilled powerful emotions into her music but this time the emotional dial is cranked.
From the sweetly swaggering "What Love Looks Like" to the searing "Your Fabulous Friends," she balances cynicism with generous quantities of warmth, humor and empathy. Never is this fine balance more apparent than on "Faces Like Ours" where Bonnie Prince Billy (Will Oldham) weaves his voice with hers in a duet that wryly dissects the injustice of racial and economic privilege.
The result of this new approach is an album that is gritty, fluid, and more accessible than her previous work. Call it pragmatic pop, optimism balanced with the sharp-edged reality of life in 2012.1. Wax and Feathers
2. Care of You
3. What Love Looks Like
5. Cold November
6. Out of Sight
7. Faces Like Ours
8. Your Fabulous Friends
9. Down the Drain and it's Gone
10. Buddy up to the Bully
11. Responsible Too Long$16.99Vinyl LP - Sealed Buy Now