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Our Little Secret'
Our Little Secret (Pre-Order)Special Remastered Band Edition
Our Little Secret, the third studio album from Lords of Acid. Originally released in 1997, the album maintains the industrial music and sexually charged songs found on their previous album Voodoo-U. Our Little Secret hit the U.S. Billboard 200, peaking at number 100. The album features one of their most recognizable hits, Pussy. Now remastered & released as the Special Remastered Band Edition. Limited Edition Vinyl Version.1. Lover
2. Rubber Doll
3. Fingerlickin' Good
4. LSD = Truth
5. Man's Best Friend
8. Deep Sexy Space
9. Doggie Tom
10. Me And Myself
11. Spank My Booty
12. The Power Is Mine
13. You Belong To Me$30.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
$24.99 $19.74 Save $5.25 (21%)
T.O.B.E. / At Seattle's Doubletree Inn (Discontinued) (On Sale)Double release LP featuring 2 of Overton Berrys highly sought after recordings
Limited quantity vinly only (1,000 copies) reissue with fully re-mastered audio and tip-on gatefold hand-numbered jackets
New liner notes about history behind these coveted titles, presented with never before seen artist photos
Includes download card with 3 previously unreleased tracks.
Despite its non-central location, the Doubletree was once the Pacific Northwest hotspot with line-ups around the block. The reason? The Overton Berry Trio, who ably filled the lounge with sounds of jazz, soul, and pop over clanking drinks and decadent dinners. While local music lovers, dedicated crate-diggers, and diehard funk heads will have heard of the classy pianist (often compared to his better-known peer, Ramsey Lewis), its finally time to let the world in on our little secret. At the dawn of the 1970s, Berry and company recorded 2 long player albums: The Overton Berry Trio At Seattles Doubletree Inn (1970) and T.O.B.E. (1972). Both take the listener to a time long forgotten, a place where music engaged, invited dialogue, and struck chords deep in ones soul. In celebration of this still relevant sonic legacy, Light In The Attic Records will re-release the original At Seattles Doubletree Inn and T.O.B.E. (The Overton Berry Ensemble) albums in a lovingly packaged double vinyl-only reissue.
Prominently featured on both of Light In The Attics Wheedles Groove releases and director Jennifer Maas Wheedles Groove documentary, the Overton Berry Trio and their transcendental interpretation of The Beatles Hey Jude (from At Seattles Doubletree Inn) is notorious amongst forward thinking DJs and record collectors the world-over. The T.O.B.E. album (especially the break-beat heavy Jesus Christ Superstar) has also piqued the radar of many a tastemaker and original copies are virtually extinct and prohibitively priced when available in record dealers crates or offered for sale on the web. Now with lovingly remastered audio, extensive liner notes, and unpublished photos, this double L.P. set gives you both of the aforementioned rarities and the best of Overton Berry that is, if you havent had the good fortune of seeing the man play live. Still performing his trademark blend of standards, thoughtful interpretations, and original compositions weekly in-and-around Seattle, if you find yourself music hungry in the Pacific Northwest, you just might have a chance. Berry is still doing his thing with the utmost respect and dedication to his craft.T.O.B.E.
1. Compared To What
2. A Child Is Born
3. Black Bottom
4. Color My World
5. Jesus Christ Superstar Medly; Heaven On Their Minds; Everthing's Alright; I Don't Know How To Love Him; The Last Supper; Superstar
At Seattle's Doubletree Inn
7. Feeling Good
8. And I Love Her
9. MB Blues
11. Hey Jude
13. Here There and Everywhere
14. Guacamolian Shuffle
15. Aquarious$24.99 $19.74 Save $5.25 (21%)Vinyl LP - 2 LPs Sealed Buy Now
VThe emergence of Swedish duo JJ in March 2009 was both meaningful and mysterious. A debut single, 'jj no.1', enchanted the music press, simultaneously existing across indie-pop and hip-hop spectrums, excitingly new and yet frustratingly vague in its presentation. This was a taste, a scent, something intangible, an impression made without force. The music was here, but little else - its makers remained anonymous. Pitchfork's Best New Music review for the band's debut album, summer 2009's 'jj no.2', spoke first of their enigmatic qualities, rather than precisely what this music was: another sumptuous menagerie of styles, blended by an expert hand, intoxicating and otherworldly. Both Elin Kastlander and Joakim Benon appeared in the Marcus Söderlund-directed video to 'Let Go'. Cover, broken.
We didn't mean to be anonymous, to begin with, says Kastlander. We just knew we needed to put our music out.
I'd say we've been working on this album our whole lives, says Benon of 'V', the band's third long-player. It's the thing I've always wanted to do. I feel that we've been working on this album ever since we began to record music. We have never really had any other plan than to make this V shit happen and at the same time we never knew what it was - the story presented itself to us - and it's a story that's always been clear. It's only grown in its own way. And now we're finished, we look at it and back at it, and can begin to realize what it really is, what we have done, because it's something you don't necessarily decide for yourself, even though you've made it. And the songs... we don't write them, we just do our best to catch them forever, for real. JJ have, with new album 'V', realised the definitive expression of their experiences to date, and are finally comfortable with being a press-welcoming, tour-ready outfit.
As Benon explains, everything the pair has produced in the past has been part of this journey, to a zenith that they always sought to reach. But just as 'My Boyz' exists exclusively in and of itself, so too does the new album's material, always envisioned as a whole, separate from other projects despite carrying over select DNA from its pop progenitors.
Tracks like the gorgeously understated 'Be Here Now' and subtle strings of 'When I Need You' float into clarity, coming together from vaporous beginnings. The latter number is one of several on 'V' that showcase how Kastlander has grown as a vocalist. Hers is no indiscernible mumble, no vulnerable presence set to music that fizzes like a beachside cocktail on 'Fågelsången' and soars on digital wings on 'All White Everything'; rather, it's a mix-spearing confirmation that, whatever the bruised heart or open sexuality behind the lyrics, she's intent on connecting without compromise. Words are crisp, intonation perfect. There's still a hard thud on occasion, too: 'Hold Me' opens with lean-flavoured raps, before twisting into a stained-glass confessional of absolute gravity, and 'All Ways, Always' packs substantial swagger beside its rock riffs.
We do it now, sings Kastlander on 'I'. And now really is the time for JJ, as acknowledged by Benon. At last I have music that I really want to listen to, that I want to hear from a stage. In a way, we've made this music quite selfishly, to appeal primarily to ourselves and I really haven't felt this way about our material before. This is the moment. It's for real now.
And why do anything to restrict the sharing of that joy? Evidently at the top of their game in 2014, JJ are ready to, in Benon's words, communicate with the world, quite unlike they've ever done so before. They're embracing, not retreating. Besides, mysteries are more frustrating than fascinating without resolution.1. V
3. Dean & Me
4. All White Everything
5. When I Need You
8. Inner Light
9. Hold Me
11. Be Here Now
12. All Ways, Always$19.99Vinyl LP - Sealed Buy Now
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now
$29.99 $23.74 Save $6.25 (21%)
Vapor Trails (On Sale)2013's celebration of Rush continues with the highly anticipated release of a remixed version of the band 2002's album VAPOR TRAILS. In 2009, two tracks from VAPOR TRAILS (One Little Victory and Earthshine) were remixed for the Retrospective III collection, setting fans into a frenzy in anticipation of a possible remixed version of the entire album being released one day. Four years later, that day is finally approaching.
Vapor Trails was an album made under difficult and emotional circumstances - sort of like Rush learning how to be Rush again - and as a result, mistakes were made that we have longed to correct. David Bottrill's remixes have finally brought some justice and clarity to this deserving body of our work, says Geddy Lee.
Every song has been given a new life, from the fire of 'One Little Victory,' 'Secret Touch,' and 'Ceiling Unlimited' to the melodic musicality of 'Sweet Miracle' and 'How It Is' these songs have been redeemed. Thank you David!
Recently, a career-chronicling Rolling Stone feature praised the band for its continuing artistic vitality, noting that It's true that Rush doesn't mean today what it did in '76 or even '96. It may mean more. Rush's enduring pop culture relevance is perhaps best evidenced by a pair of high profile appearances - a rare national television performance and interview on Comedy Central's The Colbert Report in 2008 (the band's first TV appearance since 1975), and a pivotal role in the story line of the 2009 hit comedy, I Love You, Man, starring Paul Rudd and Jason Segal, where the band also made a memorable cameo in the film.
Beginning with their self-titled debut album in 1974, their extraordinary body of work - which includes such formidable works as 1976's 2112, 1981's Moving Pictures, 1996's Test for Echo, 2002's Vapor Trails and the latest studio album Snakes & Arrows, made a triumphant debut on the Billboard 200 upon its initial release in 2007, entering the chart in the #3 spot. The album's success marked Rush's highest chart debut since 1993, as well as the group's eleventh top ten album in the U.S. Rush has sold more than 40 million records worldwide and garnered untold legions of devoted and admiring fans. According to the RIAA, Rush's sales statistics place Rush third behind The Beatles and The Rolling Stones for the most consecutive gold or platinum studio albums by a rock band.
This title is not eligible for further discount.LP 1
1. One Little Victory
2. Ceiling Unlimited
3. Ghost Rider
4. Peaceable Kingdom
5. The Stars Look Down
6. How It Is
7. Vapor Trail
1. Secret Touch
3. Sweet Miracle
5. Freeze - Part IV of fear
6. Out Of The Cradle$29.99 $23.74 Save $6.25 (21%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Decimation Blues"Raposa's lived in San Diego and Portland and New York and probably some other places, too. He's got friends and family and history. He's got a record label and a musical
career, but for a little while, he let that all go and hid out in the Nevada desert, where I've never been, but don't imagine to be the most positive place to hang out. He did it
because he wanted to. Maybe he needed to. To make something great, sometimes it's worth just giving up." - Stereogum
The world is loud. The wind blows hard. We need songs for shelter, and Raymond Raposa can build a shelter from almost anything: the sun-bleached bones of a drum track and a couple spare organ chords; a carpet of creeping synth arpeggios, a scaffolding of multi-tracked harmonies, a few scraps of alto sax to prop up the whole structure. Decimation Blues, Raposa's sixth release as Castanets,
marks a decade of scavenger architecture.
Decimation Blues sees Raposa stepping out in front of the hermetic persona he's crafted over ten years. There have always been shards of pop songs glinting in the dark corners of Castanets records. Here we get whole gleaming edifices. Decimation Blues is the music of a man who's learned to live and build among the wreckage-twelve seemingly offhand, secretly meticulous tracks that we can hunker down in. "Still always good to be alone in someone else's home," Raposa sings. He'll lend us his place, or teach us how to fix up our own. Come in out of the rain, put your shoes by the fire. The walls might shake, the wind might howl, but you'll be safe here a while.1. It's Good to Touch You in the Sunlight
2. Be My Eyes
3. Thunder Bay
4. Out For The West
5. To Look Over the Grounds
6. Blackbird Tune
8. Pour it Tall and Pour it True
9. There is a Place up the Road There
10. My Girl Comes to the City
11. Tell Them Memphis
12. Somewhere in the Blue$16.99Vinyl LP - Sealed Buy Now
Elvis' Christmas Album (White Vinyl)Another Excellent Installment In Our Exciting Elvis Presley 180 Gram Audiophile Vinyl Series
Limited Edition 180 Gram Audiophile White Vinyl Anniversary Release
Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.
Original Gatefold Artwork
Includes Super Rare LP Booklet With The Classic 1957 Images From His Historic Jailhouse Rock Film
Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick start the beginnings of a soon to be worldwide superstar unlike the world has ever known.
The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single Heartbreak Hotel forever etched "The King Of Rock And Roll" trademark to his name.
From the remainder of the 1950's, Elvis would release several more hit albums and number one singles, star in a couple of box office smash films, and prior to spending time in the Army, he recorded his fourth album and what would become one of the most memorable and best loved Christmas LP's of all time, Elvis' Christmas Album.
The 1957 album was a blockbuster as it topped the pop charts for a month, making this one of the biggest albums of his career ultimately selling over 13 Million Units and his first Diamond Award Winning RIAA certified recording. Elvis' Christmas Album truly proved once again that his career was unlike any other in music history.
This holiday classic takes off with the rockin' Santa Claus Is Back In Town and followed by the soulful groove of White Christmas. More Elvis favorites follow with his brilliant interpretation of the melancholy ballad I'll Be Home For Christmas and the blues rocker number one single smash Blue Christmas.
The album also features a nice helping of gospel standards which Elvis made his own with favorites like (There'll Be) Peace In The Valley and It Is No Secret (What God Can Do) , the timeless Silent Night , and of course the heartfelt O Little Town Of Bethlehem . In total, the album showcases twelve important Elvis Presley recordings which have truly gone on to become definitive classics by any measure of popular music.
In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 180 Gram Audiophile White Vinyl Anniversary release of the RCA Victor holiday classic Elvis' Christmas Album by Elvis Presley. As another excellent installment in our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its high fidelity glory.
Mastered impeccably by Joe Reagoso and manufactured at R.T.I., Elvis' Christmas Album will be a much anticipated audiophile dream release for Elvis fans everywhere! For this limited edition exclusive presentation, we are also including for the first time in decades, the original gatefold artwork which includes the groundbreaking original gatefold LP cover elements as well a super rare LP booklet with the classic 1957 images from his historic Jailhouse Rock film.
We are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape. Elvis Presley's Elvis' Christmas Album A history making holiday album from a historic legend, an original monophonic audiophile dream release. artwork not seen in years is now an audiophile vinyl dream come true From your friends at Friday Music1. Santa Claus Is Back In Town
2. White Christmas
3. Here Come Santa Claus
4. I'll Be Home For Christmas
5. Blue Christmas
6. Santa Bring My Baby Back
7. O Little Town Of Bethlehem
8. Silent Night
9. (There Will Be) Peace In The Valley
10. I Believe
11. Take My Hand, Precious Lord
12. It Is No Secret (What God Can Do)$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
LoyaltyThe record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
"a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
discerns in "I Mined," "through which the whole world bends.")
"Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively-what
Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life's Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height$21.99Vinyl LP - Sealed Buy Now
CommuneThere is no direct association between mysterious Swedish
psychedelicists GOAT and Argentinian master of magical realism, Jorge
Luis Borges. Yet their mission appears to be the same. Borges generated
his ideas from historical curiosities across the globe-knife duels on the
South American plains, Middle Eastern heresiarchs, Chinese pirates-and
twisted them into fictions that blurred the lines between footnotes and
outright fantasy. GOAT's sound is the sonic embodiment of this principle,
working heavy psych-rock, Nigerian afrobeat, German krautrock, Anatolian
funk, and a host of other micro-niches into a hallucinatory celebration
of rock's diverse manifestations.
Despite the success of GOAT's critically-acclaimed 2012 debut, World
Music, the individual identities involved remain shrouded in mystery:
GOAT performs in masks, and spokespersons maintain that the group
is simply an ongoing multi-generational collective of musicians from the
isolated, Swedish locality of Korpilombolo, a junction of native Sami
people, Scandinavian settlers, and the rare wayfaring outsiders. Beyond
that, GOAT divulges very little. It's as if GOAT are taking cues from Borges'
short story "Tlön, Uqbar, Orbis Tertius," wherein a clandestine enclave
of intellectuals attempt to create a new reality by inserting articles on a
fictitious, puzzling state into modern encyclopedias. Borges' secret
society wanted their heretical ideologies to infiltrate common thought
through an invented past; GOAT wants to revitalize the communal
experience of rock music by creating an alternate origin story.
Ultimately, it is GOAT's music that speaks the most about them, and
on Commune GOAT deliver a heavy dose of acidic grooves, hypnotic
incantations, and serpentine guitar lines, building on the much-lauded
sound of World Music to explore new territories. Starting with the layered
percussive groove, Eastern guitar flourishes, and convoking vocals of
"Talk To God," Commune re-establishes the trance-inducing rhythms
and exotic blaze of guitar that characterized World Music. From there,
the album launches into darker and more propulsive territories,
occasionally emerging for breaths of transcendental '60s psych-pop and
driving proto-metal fuzz.
"GOAT is mainly a symbol of sacrifice. To sacrifice the individual for
the collective good. To become one with the rest of humanity and
universe," said an unnamed GOAT conspirator in a rare correspondence.
With that philosophy, GOAT is propagating their crossbred music and
mysticism by sharing Commune with the world. And, while we'll never
see GOAT's faces on the cover of a glossy magazine, their intoxicating
conjurations are poised to infiltrate our collective psyche with the
subversive magical allure of a Borgesian fable.1. Talk to God
3. The Light Within
4. To Travel the Path Unknown
7. Hide From the Sun
9. Gathering of Ancient Tribes$16.99Vinyl LP - Sealed Buy Now
$59.99 $47.49 Save $12.50 (21%)
The Beatles: Live At The BBC (On Sale)
Newly Remastered For This Reissue
In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K. and number three in the U.S. and selling more than five million copies within six weeks. Now comes a new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.
In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, 'There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.'
Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's 'I'm Talking About You' and a rocking cover of the standard 'Beautiful Dreamer.' On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's 'Lucille,' Chuck Berry's 'Memphis, Tennessee,' Chan Romero's 'The Hippy Hippy Shake,' Ray Charles' 'I Got A Woman,' and two songs they learned from records by Carl Perkins, 'Glad All Over' and 'Sure To Fall.'
The Beatles' tribute to the BBC's most important pop show of the early '60s - 'Happy Birthday, Dear Saturday Club' - is another surprise. As John Lennon recalled in 1980, 'We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too.' Paul remembers, 'We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to.'
Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, 'You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them.' On their busiest BBC day, 16 July 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.
The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. 'Everything was done instantly,' remembered George Harrison, 'But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!'
On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number ones and other favorites such as: 'I Saw Her Standing There,' 'Twist And Shout,' 'Do You Want To Know A Secret,' 'Boys,' 'Please Mister Postman,' 'Money,' 'And I Love Her,' and 'If I Fell.
- On Abby Road
This title is not eligible for further discount.LP 1
1. Beatle Greetings (Speech)
2. From Us To You (Opening)
3. Riding On a Bus (Speech)
4. I Got A Woman
5. Too Much Monkey Business
6. Keep Your Hands Off My Baby
7. I'll Be On My Way
8. Young Blood
9. A Shot Of Rhythm And Blues
10. Sure To Fall (In Love With You
11. Some Other Guy
12. Thank You Girl
13. Sha La La La La! (Speech)
14. Baby It's You
15. That's All Right (Mama)
17. What Is It, George? (Speech)
18. Soldier Of Love
19. A Little Rhyme (Speech)
21. I'm Gonna Sit Right Down And Cry (Over You)
22. Crying, Waiting, Hoping
23. Dear Wack! (Speech)
24. You Really Got A Hold On Me
1. To Know Her Is To Lover Her
2. A Taste Of Honey
3. Long Tall Sally
4. I Saw Her Standing There
5. The Honeymoon Song
6. Johnny B. Goode
7. Memphis, Tennessee
9. Can't Buy Me Love
10. From Fluff To You
11. Till There Was You
12. Crinsk Dee Night (Speech)
13. A Hard Day's Night
14. Ringo? Yep!
15. I Wanna Be Your Man
16. Just A Rumour (Speech)
17. Roll Over Beethoven
18. All My Loving
19. Things We Said Today
20. She's A Woman
21. Sweet Little Sixteen
22. 1822! (Speech)
23. Lonesome Tears In My Eyes
1. Nothin' Shakin'
2. The Hippy Hippy Shake
3. Glad All Over
4. I Just Don't Understand
5. So How Come (No One Loves Me)
6. I Feel Fine
7. I'm A Loser
8. Everybody's Trying To Be My Baby
9. Rock And Roll Music
10. Ticket To Ride
11. Dizzy Miss Lizzy
12. Kansas City/Hey-Hey-Hey-Hey!
13. Set Fire To That Lot (Speech)
15. I Forgot To Remember To Forget
16. Love These Goon Shows (Speech)
17. I Got To Find My Baby
18. Ooh! My Soul
19. Ooh! My Arms (Speech)
20. Don't Ever Change
21. Slow Down
22. Honey Don't
23. Love Me Do
24. From Us To You (Closing)$59.99 $47.49 Save $12.50 (21%)180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
I Am Very FarThe goal was to push my brain to places it didnt want to go. The idea was to not have any idea, to keep myself confused about what I was doing, frontman Will Sheff says about Okkervil Rivers newest album. The resulting record, I Am Very Far, is a startling break from anything this band has done before. By turns terrifying and joyous, violent and serene, grotesque and romantic, its a celebration of forces beyond our control.
On I AmVery Far, Sheff emerges not only as a songwriter of the highest caliber, but a producer and arranger of singular vision. Abandoning the tidy conceptual arcs of Okkervil Rivers previous albums, I Am Very Far is a monolithic, darkly ambiguous work, one that doesnt readily offer up its secrets.
Work on I Am Very Far started in early 2009, after a year spent on the music of others. Sheff contributed vocals to The New Pornographers album Together, wrote a song for Norah Jones The Fall, and helmed the Roky Erickson record True Love Cast Out All Evil, for which his album notes received a Grammy nomination. Immediately upon wrapping up work and leaving Ericksons company, Sheff drove to his home state of New Hampshire for lengthy isolated writing sessions. I wanted to go back home and re-start writing again, like Id never written a song previously, he says, and I wanted the music and lyrics to be both completely wedded together and a little bit beyond my control.
Sheff emerged from the writing process with 30 or so songs, which he narrowed down to 18. In contrast to Okkervil Rivers usual practice of holing up in one studio for months on end, he opted for a series of short, high-intensity sessions, each in a different location, each employing completely different methods than the one before it. For songs like Rider and Wake and Be Fine, Sheff gathered together a massive version of Okkervil River; two drummers, two pianists, two bassists, and seven guitarists, all playing live in one room, and led them on a week of live-in-the-studio marathon sessions, performing a single song obsessively over and over for as many as 12 hours to capture just the right take. Finishing the record from home, Sheff constantly edited and reworked the album, reinventing the song structures, re-recording vocals, re-writing until the very last minute, reshaping even the tiniest of details, ultimately creating an album that plays not only as a lush, seamless epic, but also as the most deeply personal effort of his career.
What can listeners expect? Richer and weirder than The Stage Names and deeper and moodier than even Black Sheep Boy, I Am Very Far is dense, fragmented, opaque. A reverie of uncertainty, it feels at once disorienting and oddly familiar, threatening and friendly. Okkervil River have thrown away all maps and compasses but they continue to chart their way, unblinking, toward destinations unknown.1. The Valley
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need a Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life as a Blast
10. Wake and Be Fine
11. The Rise$19.99Vinyl LP - 2 LPs Sealed Buy Now
Sorceress (Black Vinyl)Pressed On Black Vinyl
There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.
Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.
"This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."
Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?
"My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."
Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.
"I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."
Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.
"When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."
For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.
"There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."
If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.
"I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."
Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.
"It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."
A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.
"I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."1. Persephone
3. The Wilde Flowers
4. Will O The Wisp
6. Sorceress 2
7. The Seventh Sojourn
8. Strange Brew
9. A Fleeting Glance
11. Persephone (Slight Return)
12. The Ward
13. Spring MCMLXXIV$29.99Vinyl LP - 2 LPs 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
The Beatles: On Air - Live At The BBC Volume 2 (Out Of Stock)
Features 63 Tracks Total With 37 Previously Unreleased Performances And 23 Tracks Of In-Studio Banter
Includes a 48 Page Booklet With Rare Photos And An Introduction By Paul McCartney
In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K., number three in the U.S. and selling more than five million copies within six weeks. A new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2, in 180-gram vinyl with a 48-page booklet. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.
In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, "There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes."
Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's "I'm Talking About You" and a rocking cover of the standard "Beautiful Dreamer." On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's "Lucille," Chuck Berry's "Memphis, Tennessee," Chan Romero's "The Hippy Hippy Shake," Ray Charles' "I Got A Woman," and two songs they learned from records by Carl Perkins, "Glad All Over" and "Sure To Fall."
The Beatles' tribute to the BBC's most important pop show of the early '60s - "Happy Birthday, Dear Saturday Club" - is another surprise. As John Lennon recalled in 1980, "We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too." Paul remembers, "We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to."
Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, "You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them." On their busiest BBC day, July 16, 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.
The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. "Everything was done instantly," remembered George Harrison, "But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!"
On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number on¬es and other favorites such as: "I Saw Her Standing There," "Twist And Shout," "Do You Want To Know A Secret," "Boys," "Please Mister Postman," "Money," "And I Love Her," and "If I Fell."
Like its critically acclaimed predecessor, On Air - Live at the BBC Volume 2 includes audio of The Beatles talking to DJs Brian Matthew and Alan Freeman and Pop Go The Beatles hosts Lee Peters and Rodney Burke. When first broadcast, pop fans were amazed to hear such witty irreverence on the rather formal BBC and it is great fun to hear these extracts now. In addition, On Air releases, for the first time, the group's candid interviews for the Pop Profile series recorded in November 1965 and May 1966.
Newly remastered for reissue on November 11, The Beatles' first Live at the BBC album sounds and looks better than ever. This collection of the group's BBC sessions mixed versions of their hits with a treasure trove of 30 songs The Beatles performed on air but never released on record in the 1960s. The compelling track list ranged from a rare performance of the little known Lennon-McCartney original "I'll Be On My Way" to covers of classic rock 'n' roll and contemporary rhythm and blues songs. At the time of its release, Live at the BBC was hailed by Rolling Stone as "an exhilarating portrait of a band in the process of shaping its own voice and vision." It earned a GRAMMY® Award nomination for Best Historical Album.
Live at the BBC was assembled by George Martin in 1994 and On Air - Live at the BBC Volume Two was compiled and researched by producers Kevin Howlett and Mike Heatley. Both albums have been meticulously mastered by engineers Guy Massey and Alex Wharton at Abbey Road Studios. The booklets for both collections include Kevin Howlett's essays on the history of The Beatles' BBC radio sessions and his detailed commentaries on all of the tracks.1. And Here We Are Again
2. Words of Love
3. How About it, Gorgeous
4. Do You Want To Know A Secret
6. Hey, Paul..
7. Anna (Go To Him)
9. Please Please Me
11. I'm Talking About You
12. A Real Treat
14. Absolutely Fab
16. Ask Me Why
17. Till There Was You
18. Lend Me Your Comb
19. Lower 5E
20. The Hippy Hippy Shake
21. Roll Over Beethoven
22. There's A Place
23. Bumper Bundle
24. P.S. I Love You
25. Please Mister Postman
26. Beautiful Dreamer
27. Devil In Her Heart
28. The 49 Weeks
29. Sure To Fall (In Love With You)
30. Never Mind, Eh?
31. Twist and Shout
32. Bye, Bye
33. John - Pop
34. George - Pop Profile
35. I Saw Her Standing There
36. Glad All Over
37. Lift Lid Again
38. I'll Get You
39. She Loves You
40. Memphis, Tennessee
41. Happy Birthday Dear Saturday Club
42. Now Hush, Hush
43. From Me to You
44. Money (That's What I Want)
45. I Want To Hold Your Hand
46. Brian Bathtubes
47. This Boy
48. If I Wasn't In America
49. I Got A Woman
50. Long Tall Sally
51. If I Feel
52. A Hard Job Writing Them
53. And I Love Her
54. Oh, Can't We? Yes We Can
55. You Can't Do That
56. Honey Don't
57. I'll Follow The Sun
58. Green With Black Shutters
59. Kansas City/ Hey-Hey-Hey
60. That's What We're Here For
61. I Feel Fine
62. Paul - Pop
63. Ringo - Pop$59.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Temporarily out of stock