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Neil Young Comes A Time'
Comes A TimeLush arrangements, love lyrics and steel guitar solos rule on this 1978 album, which features harmony vocals by Nicolette Larson. Highlights include Four Strong Winds; Already One; Look Out for My Love and Lotta Love (with Crazy Horse); Comes a Time; Motorcycle Mama; Peace of Mind , and more, 10 in all.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$20.99Vinyl LP - Sealed Buy Now
Neil Young Greatest HitsAfter all these years we finally get a Greatest Hits which could be thought of more as a sampler of his many Hits even though it comes as a 2 LP
set with a bonus 7 single (Sugar Mountain (mono version) / The Loner). This was cut from complied 30 ips analog master tapes prepared by John Nowland at Neil Young's Redwood Ranch Studios and mastered and cut by Chris Bellman at Bernie Grundman Mastering. After listening tests at the Ranch Neil Young decided that Classic's 180g Super Vinyl Profile was to be used exclusively for this long anticipated release which includes favorites such as Cinnamon Girl, Helpless, Comes A Time, Harvest Moon among others. This LP belongs in every collection - enough said.
Pressed at Pallas1. Down By The River - from Everybody Knows This Is Nowhere, 1969
2. Cowgirl In The Sand - from Everybody Knows This Is Nowhere, 1969
3. Cinnamon Girl - from Everybody Knows This Is Nowhere, 1969
4. Helpless - with Crosby, Stills and Nash, from DÉjà Vu, 1970
5. After The Gold Rush - from After The Goldrush, 1970
6. Only Love Can Break Your Heart - from After The Goldrush, 1970)
7. Southern Man - from After The Goldrush, 1970)
8. Ohio - with Crosby, Stills and Nash, from Four Way Street, 1971
9. The Needle and the Damage Done - from Harvest, 1972
10. Old Man - from Harvest, 1972
11. Heart Of Gold - from Harvest, 1972
12. Like A Hurricane - from American Stars 'n' Bars, 1977
13. Comes A Time - from Comes A Time, 1978
14. Hey Hey, My My (Into The Black) - from Rust Never Sleeps, 1979
15. Rockin' In The Free World - from Freedom, 1989
16. Harvest Moon - from Harvest Moon, 1992$49.99180 Gram Audiophile Virgin Vinyl + Bonus 7 - 2 LPs 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
Bluenote CafeRecorded at various shows during Neil Young and Bluenote CafÉ's 1988 tour, this superb live set documents one of Neil's most funky and heartfelt periods, featuring 7 unreleased songs - Soul of a Woman, Bad News Comes to Town, Ain't it the Truth, I'm Goin', Crime of the Heart, Doghouse, Fool for Your Love, - and a searing 19+ minute version of the immortal Tonight's the Night at The Pier in New York City. It was a wild night.
One of the most influential artists of all time, Neil Young has set a standard of artistic integrity and iconoclastic creativity. Before starting his multi-platinum solo career, he was a founding member of the folk-rock band Buffalo Springfield and worked with the groups Crazy Horse and Crosby, Stills and Nash. The Canadian singer-songwriter was recognized by the Rock and Roll Hall of Fame in 1995 for his work as a solo artist and was inducted into the Canadian Music Hall of Fame in 1982.
Young's philanthropic work is as renowned as his musical legacy. His famous Bridge School Benefit Concert has become a yearly tradition since 1986 and continues to boast an incredible line-up of high-profile artists. Each year, Young donates all of the proceeds to the Bay Area's Bridge School, which assists children with severe physical impairments and complex communication needs. He was also one of the original founders of Farm Aid in 1985, and continues to be an active member on the organization's board of directors.LP1
1. Welcome To The Big Room
2. Don't Take Your Love Away From Me
3. This Note's For You
4. Ten Men Workin'
5. Life In The City
1. Hello Lonely Woman
2. Soul Of A Woman
3. Married Man
4. Bad News Comes To Town
5. Ain't It The Truth
6. One Thing
1. I'm Goin'
2. Ordinary People
3. Crime In The City
4. Crime Of The Heart
5. Welcome Rap
1. Fool For Your Love
2. Encore Rap
3. On The Way Home
4. Sunny Inside
5. Tonight's The Night$89.99Vinyl LP - 4 LPs Sealed Buy Now
Live at Massey Hall 1971In hindsight, Neil Young now admits that Live At Massey Hall should have come out between After the Gold Rush and Harvest. The legendary 1971 concert features a solo Young with just a guitar, a piano and a mic debuting what were mostly new songs at the time. I'm gonna sing mostly new songs tonight, Neil Young tells the rapt Massey Hall audience, I've written so many new ones that I can't think of anything else to do with them other than sing 'em. The sound quality is impeccable and the setting lends a profound intimacy to Young's voice and musicianship, making this an overall remarkable recording and a mystery that it wasn't released sooner. The acclaimed Toronto performance features brilliant takes on some of Young's most enduring classics including; Old Man, Cowgirl In The Sand, Ohio and a suite of A Man Needs A Maid and Heart Of Gold before they were recorded for Harvest. Live At Massey Hall is a newly mined rock gem here on Classic Records' stunning 180g Quiex Super Vinyl Profile!1. On The Way Home
2. Tell Me Why
3. Old Man
4. Journey Through The Past
6. Love In Mind
7. A Man Needs A Maid/Heart Of Gold Suite
8. Cowgirl In The Sand
9. Don't Let It Bring You Down
10. There's A World
11. Bad Fog Of Loneliness
12. The Needle And The Damage Done
13. Ohio [Live At Massey Hall
14. See The Sky About To Rain
15. Down By The River
16. Dance Dance Dance
17. I Am A Child$29.99180 Gram Audiophile Classic Vinyl LP - 2 LPs Sealed Buy Now
The Complete Live At Raji's (Pre-Order)Pressed On 180g, Multi-Color Vinyl And Pressed At Record Industry
Each 2-LP Set Is Individually Numbered And Strictly Limited
Features Brand New Artwork And Never Before Seen Photos And Liner Notes
Comes In A Gatefold Tip-On Stoughton Sleeve
First Time Issued On Vinyl In The U.S. And Only The Second Time It Will Be Pressed To Wax Since The First Edited Version Was Released In 1989 In Europe
Features The Complete Show On Vinyl For The First Time, Including Tracks See That My Grave Is Kept Clean, When You Smile, All Along The Watchtower, And Tell Me When It's Over, That Are Making Their Debut Appearance On The Format
Though never commercially successful, Paisley Underground darlings the Dream Syndicate were critically acclaimed and held up their version of neo-psychedelic rock n' roll through the vapid MTV-dominated synth years of the 1980s. Influenced by the Velvet Underground, Neil Young and Television, the Syndicate led by vocalist, guitarist and band leader, Steve Wynn, formed the original version of the band with guitarist Karl Precoda in 1982 after moving back to Los Angeles. Drummer Dennis Duck, who played in the Pasadena band, Human Hands, joined the Syndicate and suggested the band's name in reference to Tony Conrad's early 1960s NY experimental ensemble that included John Cale.
The band performed their first live show at Club Lingerie in Hollywood on Feb 23, 1982, and later signed to Slash Records' subsidiary, Ruby Records,releasing their enigmatic and best-known album, The Days of Wine and Roses. After a brief hiatus in the latter 1980s, Wynn, Duck and bassist Mark Walton joined with guitarist Paul Cutler who had produced the band's very first EP. By 1988, the band was on Enigma Records and began a relationship with producer Elliott Mazer, who produced Neil Young's Time Fades Away. Mazer produced Live at Raji's which showcased the band's long, feedback soaked improvisations and even though it was released AFTER the Mazer-produced studio album, Ghost Stories, it was recorded prior to that on Jan 31, 1988, at Raji's in Hollywood; not 1989 as originally listed on the album upon release.
What Run Out Groove presents here is the complete show, including 4 tracks making their debut on wax. Live at Raji's would see its release for the first time in the U.S., since the original vinyl album debuted in Europe back in 1989. If you like R.E.M., Mazzy Star, Rain Parade, Galaxie 500, Big Star, The Velvet Underground, Television and Grant Lee Buffalo you won't want to miss this title.LP 1
1. See That My Grave is Kept Clean
2. Still Holding On To You
3. Forest For the Trees
4. Until Lately
5. That's What You Always Say
6. When You Smile
8. All Along the Watchtower
9. Tell Me When it's Over
1. The Days of Wine and Roses
2. The Medicine Show
5. John Coltrane Stereo Blues$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
$19.99 $15.79 Save $4.20 (21%)
Share The Joy (On Sale)On their third album (and Polyvinyl debut) Share the Joy, Brooklyns Vivian Girls continue to sharpen and refine their transcendent mix of garage thrash, girl-group warmth and infectious pop hooksmanship.
The ten-song Share the Joy finds the threesome of guitarist/vocalist Cassie Ramone, bassist/vocalist Kickball Katy and new drummer Fiona Campbell, continuing to evolve and expand, building on the D.I.Y. achievements of their 2008 debut, Vivian Girls, and its 2009 follow-up, Everything Goes Wrong, while delivering their most memorable songs and most focused performances yet.
Share the Joy's musical and emotional depth is reflected on The Other Girls and Light In Your Eyes, each of which clocks in at over six minutes. The former tune manages to encompass hammering hardcore, Beach Boys-esque melodic bliss, Neil Young/Nirvana-inflected guitar frenzy and ethereal harmonic drone, while the latter closes the album on a triumphant note of surging sonic uplift. Elsewhere, Dance If You Wanna and Take it As It Comes rank with the band's most intoxicating pop confections, while Lake House and Vanishing of Time maintain a thoughtful, introspective tone that may come as a surprise to those who'd had Vivian Girls pegged as a lo-fi garage outfit.
Vivian Girls recorded Share the Joy at Rear House, the home studio run by Jarvis Taveniere (of the Brooklyn combo Woods), who engineered the album.1. The Other Girls
2. I Heard You Say
3. Dance (If You Wanna)
4. Lake House
5. Trying to Pretend
6. Sixteen Ways
7. Take It As It Comes
8. Vanishing of Time
10. Light In Your Eyes$19.99 $15.79 Save $4.20 (21%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Inherent Vice SoundtrackNonesuch will release Jonny Greenwood's soundtrack to Oscar-nominated filmmaker Paul Thomas Anderson's new feature film, Inherent Vice). An adaptation of the Thomas Pynchon novel of the same name, Inherent Vice, which will be released by Warner Bros. Pictures in theaters starting on December 12, is set in the tail end of the psychedelic '60s and stars Oscar nominees Joaquin Phoenix, Josh Brolin and Owen Wilson. In addition to nine compositions by Jonny Greenwood, the soundtrack features Spooks, an unreleased Radiohead tune performed by members of Supergrass, as well as other recordings from the movie's era (complete track list follows). Additional performers include The Royal Philharmonic Orchestra, Neil Young, Can, and The Marketts, among others.
This is the third Anderson film that Greenwood has scored. Their previous collaborations include the critically praised soundtrack for 2007's Academy Award-winning There Will Be Blood and 2012's The Master, both released by Nonesuch. Rolling Stone said of The Master that its visual poetry is matched by Jonny Greenwood's haunting, hypnotic score. The New Yorker described the music as rich and inventive. The Times of London exclaimed: Jonny Greenwood's score is superb. Of the There Will Be Blood score, the Boston Globe noted that the squealing, cicada-like strings of...Popcorn Superhet Receiver masterfully evoke the film's apocalyptic vision of the West.
All Tracks Composed by Jonny Greenwood, except Vitamin C by Michael Karoli, Jaki Liebezeit, Irmin Schmidt, Holger Schuering, and Kenji Suzuki; Here Comes the Ho-Dads, by Joseph Saraceno; Spooks, by Colin Greenwood, Jonny Greenwood, Ed O'Brien, Philip Selway, and Thom Yorke; Les Fleur, by Richard Rudolph and Charles Stepney; Sukiyaki, by Rokusuke Ei and Hachidai Nakamura; Journey Through the Past, by Neil Young; Simba, by Les Baxter; and Any Day Now, by Burt Bacharach and Bob Hilliard.LP 1
1. Shasta Fay - By Jonny Greenwood
2. Les Fleurs - By Minnie Riperton
3. The Chryskylodon Institute - By Jonny Greenwood
4. Sukiyaki - By Kyu Sakamoto
5. Shasta - By Jonny Greenwood
6. Vitamin C - By Can
7. Meeting Crocker Fenway - By Jonny Greenwood
8. Here Comes the Ho-Dads - By The Marketts
9. Spooks - By Jonny Greenwood
1. Journey Through the Past - By Neil Young
2. Adrian Prussia - By Jonny Greenwood
3. Simba - By Les Baxter
4. Under the Paving-Stones, the Beach! - By Jonny Greenwood
5. Amethyst - By Jonny Greenwood
6. The Golden Fang - By Jonny Greenwood
7. Shasta Fay Hepworth - By Jonny Greenwood
8. Any Day Now - By Chuck Jackson$39.99Vinyl LP - 2 LPs Sealed Buy Now
The Ballads VGatefold 2xLP + CD
THE HISTORY OF ROCK IS FULL OF MISCONCEPTIONS. WE ALL HEARD THAT POPULAR ONE: ROCK MUSIC IS LOUD AND DANGEROUS, IT´S THE DEVIL'S
MUSIC. BUT DOESN'T EVERYBODY KNOW AT LEAST ONE BEAUTIFUL SONG BY A ROCK BAND?
Even if you are not attending the mighty School of Rock, you know one of those bloody emotional moments when the lead guitar sings its way through the solo and the
chorus comes back while you are flying on the wings of heaven. Or something else. We all need a little bit of silence sometimes, just to stop from being part of this crazy
world we live in.
One of the finest moments on this ballad compilation is the new song "On The Edge Of Our Time", being one of the best ballads he's ever written to date. But the climax of
"The Ballads V" is without a doubt the fascinating new song "Love's Holding On". Singer Johnny Gioeli is joined by Bonnie Tyler here!
There are 9 more songs, of course, pretty much known from his previous albums (e.g. Neil Young' "Hey Hey My My " and Deep Purple' "Mistreated") which wraps up another
classic, dynamic and high-quality Axel Rudi Pell album. As one fan from Israel said on Facebook: "If there was justice in the music business, your ballads would be as big
as the Scorpions one."LP 1
1. Love´s Holding On
2. I See Fire
3. On The Edge Of Our Time
4. Hey Hey My My
5. Lived Our Lives Before
6. When Truth Hurts
1. Forever Free
2. Lost In Love
3. The Line (Live)
4. Mistreated (Live)
1. Love´s Holding On
2. I See Fire
3. On The Edge Of Our Time
4. Hey Hey My My
5. Lived Our Lives Before
6. When Truth Hurts
7. Forever Free
8. Lost In Love
9. The Line (Live)
10. Mistreated (Live)$19.99Vinyl LP + CD - 2 LPs Sealed Buy Now
FamilyIn an era of social media and perceived self-impor tance, Noah Gundersen
is in many ways the antithesis of his time. Noah's EP Family pays homage to the
people who have shaped his life - rather than the self-aggrandizing so common
to the often homogeneous world of singer-songwriters.
"Family comes in many forms," says Noah. "I t lives with us, for better and for
worse. I t shapes us. That 's what this EP is about." The songs on Family are consistently
impressive and defy genre. Whereas roots-tinged songs like "Family "
conjure up shades of a solo R yan Adams, the sweeping and ethereal "Fire," bears
similarities to the lush harmonic feats of Fleet Foxes. Perhaps the album's standout
track is the pulsating "David," which combines the haunting dark ness of Tom
Waits with the lyrical angst of Neil Young. " The song is about who I want to be,
while realizing who I am. I want to be less like my Father and more like my Dad."1. David
4. San Antonio Fading
6. Honest Songs
7. Family$15.99Vinyl LP - Sealed Buy Now
Instant ReplayThe Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories in the music business. In 1969, Davy Jones, Michael Nesmith and Micky Dolenz went back to the studio as a trio this time and recorded the classic Instant Replay album. Noted for their hit single Tear Drop City, this masterwork also found The Monkees reuniting with the production team of Tommy Boyce and Bobby Hart for several of the tracks as well as previous team Monkees writers like Carole King and Neil Sedaka, and highly touted producers like Bones Howe (The Association/Tom Waits) and Shorty Rogers and resulted in some of the finest collaborations ever with this superstar act. Instant Replay also offered the first look at Michael Nesmith's experimental and groundbreaking recording sessions in Nashville as well as solid compositions from all three Monkees.
Opening up with the pop rocker Through The Looking Glass, Micky Dolenz is on top of his game vocally with a brilliant background of horns, Bobby Hart on piano and guitar work by legends Keith Allison (Paul Revere & The Raiders) and Gerry McGee (The Ventures/John Mayall). A major fan favorite, this classic was performed at many of the reunion concerts over the years. The late great Davy Jones belts out another Boyce and Hart classic with the haunting ballad Don't Listen To Linda. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites. Carole King and Gerry Goffin's I Won't Be The Same Without Her features a strong vocal performance by Michael Nesmith and the stunning guitar work of both Monkees' Peter Tork and Glen Campbell. A real summer time feeling song, this track would be a nice bridge to Micky Dolenz's orchestral masterpiece Just A Game.
It is no secret that Nesmith was a fan of country music, but also lauded as one of the first pioneers of the country rock genre, not only with his contributions to the earlier Monkees' recordings as far back as Papa Gene's Blues, even for other noted artists like Linda Ronstadt for whom he penned her first smash single Different Drum. For the Instant Replay album, Nesmith ventured to Nashville's RCA Studios and cut Don't Wait For Me, the first released tune from his now famous Nashville sessions. With the fusion of country studio players and the voice and guitar of Michael Nesmith, The Monkees again were on the forefront of this new genre and would continue with this groundbreaking sound ever more so into future classics like The Monkees Present.
As the '60s would come to a close, Davy Jones would also contribute his major impact on the generation with his truly hip and psychedelic masterpiece You And I. Noted for its hard rock opening to side two, the track also features the stunning lead guitar textures of Neil Young who recently departed with The Buffalo Springfield. More favorites like Nesmith's While I Cry is one of the artist's finest compositions of the era. With Mike's beautiful acoustic guitar work and help from friends like Harry Nilsson, this ballad would truly become one of the more enduring songs from this 1969 classic Monkees album.
Neil Sedaka and Carol Bayer Sager contribute one of the classiest Monkees ballads ever with The Girl I Left Behind Me. Once again, the late great Davy Jones provides a superstar vocal second to none, with a soulful orchestra fill and band setting featuring the production and skillful piano work of Neil Sedaka, while Micky Dolenz would close out the album with his classic Shorty Blackwell. The whimsical tale of Micky's cat and a nod to his friends The Beatles' A Day In The Life, Shorty Blackwell would take almost a year to record and feature a bevy of the original wrecking crew of Hollywood musicians like drummer Jim Gordon (Eric Clapton/Traffic), Tommy Tedesco on guitar and even his sister Coco Dolenz on vocals. This track along with the other eleven tunes make this one of the more enduring and loved albums in the superior catalog of Monkees classics.
Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the re-release of their 1969 masterwork Instant Replay. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Colgems Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition red vinyl as well as a first time gatefold cover presentation.1. Through The Looking Glass
2. Don't Listen To Linda
3. I Won't Be The Same Without Her
4. Just A Game
5. Me Without You
6. Don't Wait For Me
7. You And I
8. While I Cry
9. Tear Drop City
10. The Girl I Left Behind Me
11. A Man Without A Dream
12. Shorty Blackwell$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Drunk Is The New Sober/Stupid Is The New DumbDrunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"
"I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.
Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.
"A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"
In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.
The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.
Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."
At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.
Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.
Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."1. Untitled
2. I Like It
3. Untitled II
4. I'm a Monkey
6. Be a Friend
7. Whatcha Tryin to Do
8. Rocket Girls
10. Run Away Anna
11. History's Grave
12. Sweet Sweet Sanity
14. Who Left You Here
15. The Future
16. Untitled III
17. Peace in Your Life
18. Our Little Part of the World
19. Untitled IV
20. Gates of Eden
21. Visions of Light
22. Seven Deadly Sins
23. So Deep the Night$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Trials Of Van Occupanther (10th Anniversary Edition) (Awaiting Repress)10th Anniversary Edition On 180-Gram Gold Vinyl
Includes A B2 Pull-Out Poster, Handwritten Lyrics & Previously Unseen Photos
Comes With A Special Bonus 7 With 2 Unreleased Songs
Limited To Only 1000 Copies For North America
This Autumn Midlake will celebrate the 10th anniversary of The Trials of Van Occupanther with a deluxe reissue via Bella Union on 180g gold vinyl, complete with a B2 pull-out poster, handwritten lyrics and previously unseen photos. The cover artwork has been reimagined in a fittingly flushed, hallucinatory painting by neo-impressionist (and pavement-scorching skateboarder) Brian Lotti. The original album will be accompanied by a special bonus 7" featuring two previously unreleased tracks, the plaintive rolling lament of "The Fairest Way" and the revelatory psychedelic swirl of "Festival," two tracks recorded before original vocalist Tim Smith departed the band.
In 2006, Van Occupanther was hailed as an instant classic and over the course of the next year proved to be the band's commercial breakthrough. While their debut, 2004's Bamnan and Slivercork, had drawn acclaim alongside comparisons to Grandaddy and Radiohead, Midlake looked further afield and deeper within for the follow-up. Suffused with a romantic yearning for the simpler life, this was a record pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young's After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious. Rich reserves of wistful melody, dreamy horns, rolling guitars and plaintive pianos reflect its elusive, idiosyncratic narratives: a couple long to be robbed by bandits so they can start anew, an outcast scientist ponders his pariah status, a woman chases a frisky deer, a river leads who knows where yet leaves you little choice but to follow
Famous admirers included Thom Yorke, Beck, The Flaming Lips, Paul Weller, James Dean Bradfield, St Vincent, actor/skateboarder Jason Lee and The Chemical Brothers, and the album went on to secure high placings in the end-of-year polls. Since then, their influence has perhaps been felt in the breakthrough of many a band or singer at one with the stuff of beards, bucolic yearning and blissful West Coast harmonies, from Fleet Foxes to Band of Horses, The Low Anthem, Jonathan Wilson, Matthew E White and beyond.
Not that Midlake stood still to lap up the praise: a band acutely attuned to nature's shifts, they embraced change. In 2010 they ventured into darker psych-folk thickets for The Courage of Others and backed John Grant on his celebrated breakthrough album, Queen of Denmark. When Tim Smith subsequently departed, guitarist/singer Eric Pulido stepped up to the lead vocal role for 2013's freshly exploratory Antiphon. Since then, Pulido and various Midlake members have embarked on a new musical project with a cast of all-stars including members of Grandaddy, Franz Ferdinand, Band of Horses and Travis, for an album due for release next year. All of this serves to remind us what fertile seeds were sown with The Trials of Van Occupanther: a modern classic, made of vintage craft and timeless magic.1. Roscoe
3. Head Home
4. Van Occupanther
5. Young Bride
7. In This Camp
8. We Gathered In Spring
9. It Covers The Hillsides
10. Chasing After Deer
11. You Never Arrived
Bonus 7" Single
2. The Fairest Way$27.99180 Gram Audiophile Virgin Vinyl LP + 7 Single - 2 LPs Sealed AWAITING REPRESS Buy Now
It's All AquaticFirst release from the new Chigliak label curated by Bon Iver's Justin Vernon. LP comes with a download of unreleased recordings of the Ev Sessions recorded by Minneapolis studio great Ev Olcott.
It's a difficult task to write about Amateur Love. The band was the singular catalyst in founding Chigliak. What Amateur Love means to the history of Eau Claire music is representative of everything we set out to illuminate with this record label. Our goal is to release records that hold weight in people's hearts. For us, it's notable to point out that one person's favorite record of all time may have only existed in bedrooms that were within 100 miles of each other.
There seems to be a premium on popularity in popular music. When an artist sells records to people all over the world, their music is then validated by a larger social contract. But Amateur Love is the most popular band Eau Claire has ever known, and for good reason. It is not in our estimation that the re-issuing of It's All Aquatic will project the band into that great popularity. No, we just hope to give the music a further chance to live on, for those who adored and those who never had the chance.
Josh Scott was the ambassador of my heart for many years. While both songwriters in Eau Claire, we were close friends and admired each other's music. It was obvious to both of us, however, who the better writer was. Josh was writing songs that were both more mature and masterful than mine. His songs came from a perspective as snarly as Paul Westerberg, as enchanting as Neil Young, yet he wielded power as beguiling and unique as any songwriter I've ever heard. Nestling himself around Brad and Phil Cook (Megafaun) and Brian Moen (Peter Wolf Crier, Laarks and Shouting Matches), who stretched themselves outside their own comfort zones into those of un-tapped electronic pop, Amateur Love became one of the most enigmatic and electrifying bands I have ever known. With local-legend Jaime Hansen engineering, the band was caught at the rise to their peak of musical power on It's All Aquatic in 2003.
What you have here is Amateur Love's one and only full-length, initially only released on CD, now reissued as a 12" vinyl LP. Included is a special download of unreleased recordings that I have come to know as the Ev Sessions; recorded by Ev Olcott, the great master of Minneapolis studio magic and former member of 12Rods and Halloween, Alaska. Ev produced these sessions after the release of It's All Aquatic sometime in 2004. These sessions are considered 'un-finished' by the band but stand as a fantastic 'what could have been' document. Amateur Love gets to always live on, through the grooves on our turntables now. Enjoy. We all did. - Justin Vernon1. Huddle
2. Con/A Sewer/Cat
3. (Absolut Fiction)
4. Sell Me Your Army
7. Ether Egg Hunt
8. I Need You Now
9. Say You're Mine$16.99Vinyl LP - Sealed Buy Now
The Big To-DoATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.
The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.
The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.
This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.
It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.
Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.
We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'
And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.
...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 271. Daddy Learned to Fly
2. The Fourth Night of My Drinking
3. Birthday Boy
4. Drag the Lake Charlie
5. The Wig He Made Her Wear
6. You Got Another
7. This Fucking Job
8. Get Downtown
9. After the Scene Dies
10. (It's Gonna Be) I Told You So
11. Santa Fe
12. The Flying Wallendas
13. Eyes Like Glue
14. Girls Who Smoke (vinyl only bonus track)$21.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
BonesOn The Delta Saints' new album, Bones, their first for Loud & Proud Records, the Nashville-based band have stripped their roots/blues sound down to its essence, having rearranged the elements into something uniquely their own. Steeped in rock 'n' roll's building blocks - country, R&B, soul and gospel - The Delta Saints' second full-length effort explores influences like Jack White, The Black Keys, My Morning Jacket, Band of Horses and Led Zeppelin. Producer/engineer/mixer and Third Man Records alum, Eddie Spear [Jack White, Arctic Monkeys, Neil Young] provided a ghostly, psychedelic atmosphere at Nashville's Sputnik Sound studios, yielding a sound unlike anything they have created before.
"We got to the point where what we were recording and playing had veered from what we were listening to and loving on our turntables, which can lead to discontent," said Louisiana-born singer/lyricist Ben Ringel, who co-founded the band almost eight years ago with fellow Belmont University student, Kansas native bassist David Supica. Soon after, they were joined by Tennessee-bred guitarist Dylan Fitch and later, after a health scare with the band's former harmonica player, enlisted Louisville resident and keyboardist, Nate Kremer, who was added to the lineup only two weeks before a two month long European tour.
Taking a novel approach of writing songs spontaneously in the studio, The Delta Saints were challenged to create in the moment and as a result, Bones is their most adventurous effort yet. The album is a collection of eclectic songs, beginning with The White Stripes-meets-Led Zeppelin fuzz-toned garage-rock blast of "Sometimes I Worry." The spare, spooky strains of "Butte la Rose" tell the band's tale of a Louisiana town purposely flooded and displaced five years ago to save New Orleans. The Grapes of Wrath drama of "Dust," based on Ringel's grandfather, an East Kansas farmer, builds to a primal wail at nature with a stunning coda in which Dylan Fitch's guitar drops out and Kremer's B3 organ provides the climax. The title track, "Bones" features hoodoo organ riffs and African-influenced trance music, which came from listening to the Sahara desert African groove of Niger's Tuareg guitarist Omara "Bombino" Moctar and Mali's Tinariwen. The grindhouse honky-tonk chain gang chants of "Heavy Hammer" celebrates the work ethic in no uncertain terms, a call for unity in the wake of Ringel's frustration about getting stuck in the rat race and feeling trapped by some of life's mundane tasks. "Berlin," the first song they recorded after adding Nate on keys, started out as an instrumental penned in the title city while on tour. It eventually metamorphosed into a country twang intro and a prog-rock jam. Bones is a complete work veering between despair and apocalyptic dread.
"We're trying to push ourselves forward to do something more modern, but at the same time incorporating where we come from," explained Ringel.
"It was incredible to be able to write a song on the spot and immediately hear what it sounded like," added Supica. "It was a great way to capture the magic right when you come up with an idea, preserving that raw element. We were used to playing a song for months on the road before we recorded it. Still, on the flip side, it was absolutely terrifying to sit in the studio watching the clock tick and waiting for a song to come out. That's where (producer) Ed Spear came into play; he was so good at keeping us pointed in the right direction."
"This record was made out of both necessity and desire. We needed to be fulfilled and surprised by music again, and we also needed to fulfill that love of writing and recording again."
The Delta Saints have independently released two EPs (2010's Pray On and A Bird Called Angola), a full-length album (2012's Death Letter Jubilee) and a live disc (2014's Live at Exit/In). They have spent the last eight years touring the US averaging almost 200 shows per year, organically growing their audience, fan by fan, city by city. Major appearances include several festivals including Wakarusa, Summer Camp, Harvest, The Ride, Summerfest and The Simple Man Cruise. A testament to their mixed appeal, they have opened for such diverse acts as Blackberry Smoke, Robert Randolph & The Family Band, Taj Mahal, Dickey Betts and Michael Franti & Spearhead.
The Delta Saints have also have a large international fan base having toured Europe a total of six times, selling out countless venues and playing more than 200 shows in Spain, Sweden, France, Switzerland and Germany, as well as several festivals in Holland (Moulin Blues, Ribs and Blues), Belgium (Gevarenwinkel) and Germany (Grolsch Blues Fest).
With all that they've accomplished as a hard-working group on their own, The Delta Saints have earned their graduation to industry veteran Tom Lipsky's Loud & Proud Records (which has been the home of Rush, Lynyrd Skynyrd, KISS, Robert Plant, Rob Zombie, Lenny Kravitz and The String Cheese Incident, among others).
"Don't look so tired, my dear," sings Ringel in Bones' closing track, "Berlin," echoing the band's progress. "We may be bruised, but the day is almost here."
"It's hard to see progress when you're in the middle of things," said Supica about The Delta Saints' ambitions. "We try to take stock every six months or so and look back from where we've come, from eating at McDonald's and sleeping on people's floors to staying at a Motel 6 and graduating to La Quinta. We mark our success by the hotel chain where we're staying. When we get to Marriott, we know we've made it."
Bones proves The Delta Saints are well on their way to making that reservation.$18.99Vinyl LP - Sealed Buy Now
SavagesMax Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.
Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.
"All of the things that make SOULFLY killer are combined in Savages," Max declares.
»Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.
"I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."
A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.
SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.
In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).
Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"
Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."
Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."
Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."
Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."
Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."
Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."
Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."
Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.
Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"
Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.LP 1
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Marigolden"The body remembers what the mind forgets," Chris Porterfield reminisces on his acclaimed band Field Report's sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.
The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.
The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).
Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.
Marigolden's second track, the surprisingly catchy radio single "Home," finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. "Leave the lights on," he asks, "it might be nighttime when I get there, but I'm on my way home." While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In "Summons," the penultimate track, he recalls this thought, repeating, "I'll be coming home to you" like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in "Decision Day" and ends full circle with another in "Enchantment."
Whether reconsidering sobriety in "Pale Rider," sticking to tonic water in the bars of "Summons," or cashing in a 30-day chip for a kiss in "Enchantment," Porterfield's relationship with alcohol runs through the current of nearly every song. Most notably in "Ambrosia," where he find himself face to face with the reality of where his drinking is destined to lead.
The album runs the musical gamut, from the Traveling Wilburys-esque pop of "Home," to the Neil Young-inspired piano ballad "Ambrosia," to the electronic sonic landscape of "Wings." While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.
Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.1. Decision Day
2. Home (Leave The Lights On)
3. Pale Rider
4. Cups and Cups
10. Enchantment$16.99Vinyl LP - Sealed Buy Now
SalutationsConor Oberst will release a new album, Salutations, on Nonesuch Records.
The album is a companion piece to 2016's lauded Ruminations. When Oberst wrote and recorded the songs on Ruminations, entirely solo-with just voice, piano, guitar and harmonica-he intended to ultimately record them with a full band. In the midst of putting together that band-upstate New York's The Felice Brothers plus the legendary drummer Jim Keltner (Neil Young, Jackson Browne, George Harrison, Bob Dylan, John Lennon, and many more)-the passionate responses Oberst was getting to those first solo recordings, from friends and colleagues, encouraged him to release the songs as-is, in their original sparse form, as his seventh solo album: Ruminations, which was released in October 2016. The Sunday Times of London called it the rawest album yet from the forever troubled one-time voice of a generation and political and very, very personal, saying Oberst is one of the best songwriters around.
Meanwhile, Oberst simultaneously moved ahead with his plans to record with the band, heading to the famed Shangri-la Studios in Malibu to record Salutations-co-produced with Keltner and engineered by long-time musical compadre Andy LeMaster. Guest contributions come courtesy of Jim James, Blake Mills, Maria Taylor, M Ward, Gillian Welch, Gus Seyffert, Pearl Charles, Nathaniel Walcott, and Jonathan Wilson.
Salutations includes full-band versions of the ten songs from Ruminations, plus seven additional songs, some from an additional session at Five Star Studios in Echo Park in fall 2016.
Oberst says of the Salutations sessions: Jim was really the captain of the ship and the spiritual leader of the project. We leaned heavy on his fifty-plus years of musical insight to get us to where we needed to be. He brought such depth and dignity to the proceedings that made everyone else involved rise to the occasion. It was a true stroke of luck that he got involved when he did.LP 1
1. Too Late to Fixate
2. Gossamer Thin
5. Next Of Kin
7. Mamah Borthwick (A Sketch)
8. Till St. Dymphna Kicks Us Out
1. Barbary Coast (Later)
3. Empty Hotel by the Sea
4. Anytime Soon
5. Counting Sheep
6. Rain Follows the Plow
7. You All Loved Him Once
8. A Little Uncanny
9. Salutations$26.99Vinyl LP - 2 LPs Sealed Buy Now
Everybody Knows This Is Nowhere (Out Of Stock)Ranked 208/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
A colossal effort that signifies his first collaboration with Crazy Horse, bar-none the best garage-rock support band ever assembled, Neil Youngs Everybody Knows This Is Nowhere explodes with loose electricity, country-influenced harmonies, and fervent interplay that took melodic rock music in then-unforeseen directions. Moving away from the mellow fare that distinguished his self-titled debut, the pioneering Canadian icon stretches out and showcases his penchant for unhinged guitar solos and drifting arrangements.
Having come across the Rockets while recording his first solo outing, Young spared no time in recruiting the band for his own purposes. With the trio of Danny Whitten, drummer Ralph Molina, and bassist Billy Talbot renamed Crazy Horse, and Young ready with an energetic collection of tunes that called out for longer instrumentals and raw tones, Everybody Knows This Is Nowhere was recorded in a scant two weeks time and just four months after Youngs prior effort.
His symbiotic chemistry with fellow kindred spirit and rhythm guitarist Whitten is evident on the drawn-out Cowgirl In the Sand and murderous Down By the River, both a tangle of rolling narratives, mysterious tension, amplified feedback, and longing emotion which remain staples in Youngs live repertoire. As does Cinnamon Girl, which is distinguished by one of the most famous and magnetic riffs of all time. At this stage of his career, Young had never written such an engaging and expressive set of songs and the album remains a landmark on which every tune is a classic.
Having languished for decades, this masterwork has finally received the long-overdue sonic treatment its needed. Remastered from the original tapes by Youngs expert team and overseen by the artist himself, Everybody Knows This Is Nowhere now sounds better than ever. Young has never sounded so immediate, detailed, rich, or present on a studio album.
The record joins 1968's Neil Young, 1970s After the Gold Rush, and 1972's Harvest as part of the initial batch of Young recordings pristinely mastered from the original tapes, pressed on high-quality audiophile-grade LP, and packaged in sleeves that faithfully mirror those of the originals.1. Cinnamon Girl
2. Everybody Knows This Is Nowhere
3. Round & Round (It Won't Be Long)
4. Down By The River
5. The Losing End
6. Running Dry (Requiem For The Rockets)
7. Cowgirl In The Sand$36.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Sugar Mountain: Live At Canterbury House (Out Of Stock)Pressed at Pallas in Germany.
A more intimate live portrayal of solo Neil Young doesn't exist. Recorded on a TEAC 2-track tape recorder at Canterbury House on November 9-10, 1968, Sugar Mountain: Live At Canterbury House 1968 is, for all intents and purposes, the start of the iconic singer-songwriter's solo career. It's a unique document not in just Young's catalog, but in all of music.
Armed with just an acoustic guitar and his voice, Young charms an intimate crowd on his own terms with renditions of many now-classic songs that hadn't yet even been released. Fortunately, for everyone, the performances are captured in you-are-there sound. Experienced on this exquisite analog pressing, sonics don't get any more realistic. Acoustic properties and liveliness abound. The wood-bodied tones of the guitar, inflections of Young's speech, and warble of his timbre come to life as if you have been transported back to those two cool, fall November days in Michigan.
In addition to songs such as Birds, Winterlong, and The Last Trip to Tulsa, an extremely rare portrait of Young emerges. Evidently nervous about the gigs (he just broke apart from Buffalo Springfield), the 22-year-old Canadian is actually talkative and giddy, two characteristics that soon left his onstage repertoire. We hear stories of his job in a bookstore to his thoughts on songwriting amidst an unvarnished, up-close presentation that, by some fortunate stroke of karma, was documented for everyone to hear.
Trust us: Young's records are long-time favorites among audiophiles for their music and sound qualities. Sugar Mountain: Live At Canterbury House 1968 rivals the very best of the legend's performances and will make you and your stereo glow with happiness.
Do not miss this pressing. It is seriously THAT good!LP1
1. Emcee Intro
2. On The Way Home
3. Songwriting Rap
4. Mr. Soul
5. Recording Rap
6. Expecting to Fly
7. The Last Trip to Tulsa
8. Bookstore Rap
9. The Loner
10. I Used To... Rap
12. Winterlong (Excerpt) & Out of My Mind Intro
13. Out of My Mind
1. If I Could Have Her Tonight
2. Classical Gas Rap
3. Sugar Mountain - Intro.
4. Sugar Mountain
5. I've Been Waiting For You
6. Songs Rap
7. Nowadays Clancy Can't Even Sing
8. Tuning Rap & The Old Laughing Lady - Intro.
9. The Old Laughing Lady
10. Broken Arrow$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
After The Gold Rush (Out Of Stock)Ranked 71/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The second of three consecutive masterpieces Neil Young recorded between 1969 and 1972, After the Gold Rush captures the vibes, emotions, and cautious optimism of the era better than any album of its time. Moreover, it contains a host of impeccably written and performed songs that transcend the period and stand as an inextricable part of the American conscious.
Recorded at Youngs Topanga Canyon Ranch and featuring backing from the legendary Crazy Horse, the then-unknown prodigy Nils Lofgren, and several other friends, the 1970 album embraces many of the seemingly artistic contradictions and eccentric diversity that have made Young so peerless. The title track, a devastatingly gorgeous balladic meditation on the '60s and a warning of what may come in the 1970s, proved prophetic. Every other song is equally spectacular and significant.
The bristling whip-crack of Southern Man furthered Youngs no-holds-barred political commentary and prompted a response song in the form of Lynyrd Skynyrds Sweet Home Alabama, an anthem that its target praised. The country heartache of Oh, Lonesome Me simultaneously plays off and into the romantic spirit of the uplifting Dont Let It Bring You Down and the exuberant romp of When You Dance You Can Really Love. In one swoop, Young and company traverse the Heartland, Southern plantations, Appalachian valleys, and Los Angeles hills.
Having languished for decades, this masterwork (named as one of the '100 Best Albums of All-Time' by Rolling Stone) has finally received the long-overdue sonic treatment its deserved. Remastered from the original tapes by Youngs expert team and overseen by the artist himself, After the Gold Rush now sounds better than ever. Young has never sounded so immediate, detailed, rich, or present on a studio album.
The record joins 1968's Neil Young, 1969s Everybody Knows This Is Nowhere, and 1972s Harvest as part of the initial batch of Young recordings pristinely mastered from the original tapes, pressed on high-quality audiophile-grade LP, and packaged in sleeves that faithfully mirror those of the originals.1. Tell Me Why
2. After The Gold Rush
3. Only Love Can Break Your Heart
4. Southern Man
5. Till The Morning Comes
6. Oh Lonesome Me
7. Don't Let It Bring You Down
9. When You Dance, I Can Really Love
10. I Believe In You
11. Cripple Creek Ferry$36.99Vinyl LP - Sealed Temporarily out of stock
White Linen (Out of Stock)Limited Edition
The John Henry's have a sound that is un-definable. They draw from a potpourri of influences and styles that blend into something that is part alt-country, part Americana, part jam band and part rock n roll. Compared to likes of Neil Young, The Band and Tom Petty, The John Henrys have developed a reputation for tight musicianship, original arrangements and well crafted song writing. White Linen, the bands third album and their first made with the luxury of a decent recording budget and support of an independent label Canadas Linus Entertainment. The band took their time, recording the album over 7 months, putting down 17 songs, paring it down to a tight ten, with Side A reflecting the influence of the city, and side Bs songs reflecting stories from the country.
A characteristic of The John Henrys music is the topical songwriting, exploring themes from traditional story-telling, to pain and betrayal, and just moving through life. The album closer Patriot Song, is about a battle between 250 American revolutionaries who called themselves the Patriot Hunters, and the 38th regiment of the British Infantry in 1838 beside a windmill - now a lighthouse - located in Prescott, Ontario. Little One, is taken from a simple daily phrase at the end of the day and Hit The Floor is a nod to dirty 70s AM radio rock. Cold Chill, inspired by the traditional ballad The Banks of the Ohio, is a modern take on the traditional murder ballad. Dawson City an earlier arrangement from their first album, is about leaving the far Northern mining town after a soured relationship.
This special, limited edition 180gram vinyl of The John Henrys critically acclaimed White Linen album will feature all the hits lined up across a rare, yet gorgeous white vinyl pressing. Only 500 copies will be made available, but each album will come with an exclusive digital download card that will provide free access to all the tracks from the original, full-length CD.Side A:
1. Little One
2. Edge Of December
3. hit The Floor
4. Peace Of Mind
5. Cold Chill
6. White Linen
7. Stars Align
8. Empty Pockets
9. Dawson City
10.Patriot Song$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock