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Prince Black Album'
The New Standard (Awaiting Repress)
• Play 33 1/3 Series
• 180 Gram Heavyweight Vinyl Pressed By MMP
• Gatefold Jacket With Black Poly-Lined Inner Sleeves
• Includes 6-Page Booklet
• Project Designed & Sleeve Made By Khiov
The 'Play 33 1/3 LP Series' is a Vinyl LP project including masterpiece albums which have never been released on LP. The albums are released by Universal Music Korea on LP for the first time and the heavyweight vinyl LP is pressed in Germany. Khiov designs the project, reforms the original artworks for the LP size and precisely made the sleeves.
Herbie Hancock's 40th album was originally released in 1996 on CD only. Hancock reinvents tunes like Don Henley's New York Minute, Peter Gabriel's Mercy Street, Simon & Garfunkel's Scarbrorough Fair and more.
On first glance this record would not seem to have much promise from a jazz standpoint. Herbie Hancock performs a set of tunes which include numbers from the likes of Peter Gabriel, Stevie Wonder, Sade, Paul Simon, Prince, the Beatles (Norwegian Wood) and Kurt Cobain. However by adding vamps, re-harmonizing the chord structures, sometimes quickly discarding the melodies and utilizing an all-star band, Hancock was able to transform the potentially unrewarding music into creative jazz. Hancock, who sticks to acoustic piano, shows that he is still in prime form, taking quite a few fiery solos. With Michael Brecker on tenor and surprisingly effective soprano, guitarist John Scofield, bassist Dave Holland, drummer Jack DeJohnette and percussionist Don Alias (along with an occasional horn or string section that was dubbed in later), the results are often quite hard-swinging and certainly never predictable...
- Scott Yanow (All Music Guide)
Herbie Hancock: piano
Michael Brecker: tenor & soprano saxophone
John Scofield: acoustic & electric guitars
Dave Holland: electric bass
Jack DeJohnette: drums, electric percussion
Don Alias: percussionLP 1
1. New York Minute
2. Mercy Street
3. Norwegian Wood (This Bird Has Flown)
4. When Can I See You
5. You've Got It Bag Girl
1. Love Is Stronger Than Pride
2. Scarborough Fair
3. Thieves In the Temple
4. All Apologies
5. Manhattan (Island of Lights and Love)
6. Your Gold Teeth II$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
U Got the LookU Got The Look is the third single to be released from Prince's ninth album Sign O' The Times. It was released three and a half months after the album, and received a worldwide release. The b-side, Housequake, was also taken from Sign O' The Times.
The single reached number 2 on the US Billboard Pop Chart and remained on the chart for 25 weeks. It reached number 11 on the Billboard Black Chart.1. U Got the Look (Long Look)
2. U Got the Look (single cut)
3. Housequake (Album cut)
4. Housequake (7 minutes MoQuake)$12.9912 Vinyl Single - Sealed Buy Now
Come (Pre-Order)Come is the fifteenth full-length studio album by Prince. It was the last album of newly-recorded material to be released by Warner Bros. under the name Prince while he was under exclusive contract (although Warner Bros. released The Black Album only three months later, and would later also release The Vault... Old Friends 4 Sale).
It was originally released worldwide in August 1994 (eleven months after The Hits 1, The Hits 2 and The Hits / The B-Sides compilations.1. Come
10. Orgasm$21.99Vinyl LP - Sealed PRE-ORDER Buy Now
Home AgainFew records make such an instant impression as Home Again, the debut album by Michael Kiwanuka, winner of the prestigious BBC Sound of 2012 prize. Immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. For Kiwanuka, key musical touchstones include Marvin Gaye, Otis Redding, Bob Dylan, Paul Simon, Shuggie Otis, Roberta Flack's First Take, Bill Withers' Live At Carnegie Hall and D'Angelo's modern soul landmark Voodoo.
Born in Muswell Hill to Ugandan ÉmigrÉ parents, Kiwanuka was brought up in a home from which music was largely absent, with his first introduction to rock (Nirvana, Radiohead) arriving at the same time as he began to hang with the skater kids in the north London suburb during his early teenage years. Later coming across a soul compilation album given away with a music monthly, he was enthralled by the sound of Otis Redding's studio talkback discussions with his engineer while recording an outtake version of (Sittin' On) The Dock Of The Bay. From this point on, he resolved to make music that sounded raw and authentic.
Though deeply into soul and jazz, he found real inspiration in the cross-pollination of the two styles with folk in the music of Bill Withers. "Bill Withers was very rootsy and earthy," he points out, "but people branded him as a soul singer. To me, he was a folk artist. So that encouraged me to keep going, 'cause I didn't know where I would fit in as a black guy with an acoustic guitar."
While performing on the acoustic circuit around London, Kiwanuka quickly attracted interest and made connections, not least with his current manager who in turn garnered the attention of Communion Records, the label that in 2011 released the singer's first two acclaimed EPs, Tell Me A Tale and I'm Getting Ready. Both of these EPs, as with Home Again, were produced by Paul Butler (The Bees) in his vintage equipment-stuffed basement studio at his house in Ventnor on the Isle Of Wight. Together the pair played almost every instrument to be heard on the album, with Butler's remarkably intimate, detailed productions adorned with everything from flute to brass to sitar to aching strings, perfectly matching Kiwanuka's visions for his songs.
"The way we made the record was very modern," the singer points out. "There was loads of editing. We manipulated it to get exactly what we wanted." From the opening bars of the stirring Tell Me A Tale, it is instantly clear that Home Again is a very special album. While its more upbeat characteristics are embodied in the Prince Buster-like loping of the lovelorn but irresistibly catchy Bones and the rolling soul groove of I'll Get Along, elsewhere it proves itself to be a record of real stripped-down beauty.
In I Won't Lie, with its gospel-infused echoes of The Staples Singers, Kiwanuka offers something akin to a modern spiritual, while in Rest he turns in a tender love lullaby and in Always Waiting, he blends classical elements with the confessional intimacy of Roberta Flack. It is with the title track of Home Again, however, that Michael Kiwanuka feels the record's sounds and themes are ultimately encapsulated. "That's the song that really for me ties everything together," he says. "It's one of the earliest songs I wrote for the album and even though I progressed and changed stuff in the studio, it was the one I could never throw away. Like a lot of them, it's a hopeful song. I use home as the metaphor for contentment and peace within."
Other parts of the record, on the other hand, find Kiwanuka struggling for peace of mind and using his songs as a form of self-empowerment, not least in the soulful I'm Getting Ready, the darker, unburdening Any Day Will Do Fine and the self-explanatory Worry Walks Beside Me. "It can really paralyze you, if you worry too much," the singer admits. "I do tend to overthink things. All of these songs are me talking to myself, really. Trying to encourage myself to believe."1. Tell Me A Tale
3. I'll Get Along
4. Home Again
5. I'm Getting Ready
7. Always Waiting
8. I Won't Be Long
9. Any Day Will Do Fine
10. Worry Walks Beside Me
11. Lasan$19.99Vinyl LP - Sealed Buy Now
Splinter (Songs From A Broken Mind)'Splinter' (Songs From A Broken Mind) is the inspired new album by pioneer, chart-topper and influential artist Gary Numan.'Splinter' features guitarist Robin Finck (Nine Inch Nails, Guns N Roses), is produced by long-standing collaborator Ade Fenton, and will be followed by a full national headline tour in November.
The album finds Gary on fine dark electronic form; sounding both cutting-edge and classic Numan, it marks his best work since the late 70s, early 80s heyday.'Splinter''s opening gambit 'I Am Dust' is a statement of intent, combining heavy grind with his archetypal anthemic pop skills. The unsettling whispered verses, crunchy guitars and Hans Zimmer-esque strings on 'Here In The Black' create a sense of menace and drama, whilst more orchestral work adorns the cinematic 'The Calling'. Slower-burning ballads 'Lost', 'Where I Can Never Be' and 'My Last Day', highlight the album's broad palate, adding elements of subtlety and even beauty in contrast to the album's more aggressive moments.
Gary's knack for sexy, idiosyncratic dancefloor killers is strongly evident on the pounding, growling throb of 'Love Hurt Bleed', whilst 'Who Are You' carries equal clout as-body-music-Numan-style - infectious, but sounding unlike anything else you might hear blasting from a soundsystem.
Although Numan released a straight-to-the-fanbase album 'Dead Son Rising' in 2011, this is his first self-penned full album since 'Jagged' in 2006.
In recent years he's been quoted as an influence by everyone from Lady Gaga to Kanye West, Matthew Dear to Queens Of The Stone Age, The Foo Fighters, Nine Inch Nails, Prince and J Dilla, to Boyz Noise, Richie Hawtin and Battles (they released a single 'My Machines' on Warp Records with Numan in 2011).
But while Numan's unique style continues to connect with fans from the worlds of metal, hip hop, electronica, industrial and indie, he remains as focussed as ever in pursuing his own singular vision. 'Splinter' sounds unique, while also utilising new sounds and ideas.
Perhaps it's the voice - one of the most distinctive in music and often associated with machines and icy alienation, but for those who are drawn to Numan's songs, his singing is strangely emotional, almost soulful in places. And if you like that side of his writing, you certainly won't be disappointed with the new album, where there are several tracks that set Numan's vocals against moody, atmospheric torch songs to stunning effect.
- Contact Music1. I Am Dust
2. Here in the Black
3. Everything Comes Down to This
4. The Calling
7. Love Hurt Bleed
8. A Shadow Falls on Me
9. Where I Can Never Be
10. We're the Unforgiven
11. Who Are You
12. My Last Day$24.99Vinyl LP - 2 LPs Sealed Buy Now
$12.99 $9.09 Save $3.90 (30%)
I Would Die 4 U (On Sale)I Would Die 4 U was the fourth commercially-released single from Prince's seventh album Purple Rain, the first album to be credited to Prince and the Revolution.
It was released five months after the album, and received a release around the world. The b-side, Another Lonely Christmas, was previously unreleased.
The single reached number 8 on the US Billboard Hot 100 Chart, marking the fourth straight top 10 single from Purple Rain. It also reached number 11 on the Billboard Hot Black Singles Chart.1. I Would Die 4 U
2. Another Lonely Christmas$12.99 $9.09 Save $3.90 (30%)12 Vinyl Single - Sealed Buy Now
Black Holes And RevelationsIn 2004, U.K. favorite Muse broke through in the U.S. with Absolution and major performances across America that won legions of new fans. In 2006, the band took a bold new step with Black Holes And Revelations, a powerful, upbeat epic album that brought the bands music to a whole dimension. Once again co-produced by Rich Costey (Rage Against The Machine, Audioslave), Muse incorporates influences from electronica and Prince to pure pop. The album broke into the Top 10 in American and topped the U.K. and European album charts within its first week, earning Muse their second consecutive #1 album.1. Take A Bow
3. Supermassive Black Hole
4. Map Of The Problematique
5. Soldier's Poem
9. City Of Delusion
11. Knights Of Cydonia$18.99Vinyl LP - Sealed Buy Now
If All I Was Was Black (Pre-Order)"Mavis has done it all and worked with
just about everybody from Bob Dylan to
Prince to Jeff Tweedy She still is singing
for justice and equality and influencing a
new generation of musicians and fans."
- President Barack Obama
A voice of reassurance in troubled times." - Chicago Tribune
"Rather than protest the state of the world, Staples is toasting
human endurance-- hers as well as ours." - Pitchfork
"a voice that has lost none of its gutsy power since she unleashed
it, some six decades ago." - New York Times
MAVIS STAPLES is an American Music legend. She
was at the forefront of the civil rights movement in the
1960's, as singer for the legendary gospel group, The
Staples Singers. Mavis, along with her father, Pops,
and siblings marched and worked alongside Dr. Martin
Luther King, Jr on the fight for equality in this country.
In December 2016, Mavis went to Washington, DC
to receive the coveted Kennedy Center Honors from
President Obama, with whom she has had a long
standing friendship. Mavis invited Wilco frontman and
dear friend, Jeff Tweedy as her guest for the weekend's
festivities. The two spent hours discussing the
current events and how today's fight for equality is
very similar to those in the '60s. Inspired by these
events, Mavis and Jeff got together and wrote Mavis'
new album, If All I Was Was Black, produced by Jeff
Tweedy. The new album is a perfect message for our
time and is by far Mavis' best work to date.1. Little Bit
2. If All I Was Was Black
3. Who Told You Tha
4. Ain't No Doubt About It
5. Peaceful Dream
6. No Time For Crying
7. Build A Bridge
8. We Go High
9. Try Harder
10. All Over Again$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
KissKiss was the first single to be released from Prince's eighth album Parade, the third and final album credited to Prince and the Revolution, and was released seven weeks before the album's release.
The single became Prince's third US Billboard Pop Chart number 1 single (following When Doves Cry and Let's Go Crazy). It also reached number 1 on the Billboard Black Chart.1. Kiss
2. Or $$12.9912 Vinyl Single - Sealed Buy Now
I Wish U Heaven (Single)12 Maxi-Single Reissue
Featuring I Wish U Heaven And Scarlet Pussy
I Wish U Heaven is a joyful, spiritual song with few lyrics, which runs 2:43. The 12 single is a substantially extended three-part suite which runs over ten minutes.
Part One of the mix starts with a stripped-down version of the Lovesexy album song, remixed with a dance beat. The original drum programming and rhythmic electric guitar riffs are deleted for much of the song.
Part Two is a gospel rendition with new lyrics, continuing the spiritual theme. This part of the song was often sung in concert during the Lovesexy World Tour. The beginning of this section paraphrases lyrics from Housequake, from the previous album Sign O the Times. Prince also quotes the film Scarface with the lines Say hello to my little friend... and then introduces the Blue Angel, a new blue version of his custom White Cloud guitar featured in the film Purple Rain. Sheila E. is also given a call out, and her voice can be heard responding in this section.
Part Three is based on an outtake called Take This Beat and deviates quite a bit from the original theme. This segment has Prince using his Jamie Starr persona to humorously tout the fact that he's funky, musically talented, and has plenty of beats (songs) that are so fine. The song ends with a looped repeat of the title. This version of the song became one of the highlights during the supporting tour in which Prince would usually order the house lights to be turned up, and instruct the crowd during a call and response segment.
The B-side, Scarlet Pussy, is credited to Prince's alter ego, Camille. The song is very sexual, using metaphors of cats and dogs for sexual organs, a theme Prince previously used for the B-side La, La, La, He, He, Hee. Prince uses his sped-up Camille vocals, as well as a slowed-down vocal, similar to Bob George from The Black Album. The song features a saxophone solo from Eric Leeds. The decision to include such a raunchy song with the spiritual A-side was noteworthy. The edit of Scarlet Pussy was included on 1993's The Hits/The B-Sides.1. I Wish U Heaven (Part 1, 2, & 3)
2. Scarlet Pussy$12.9912 Vinyl Single - Sealed Buy Now
The Unconquerable Dark'The Unconquerable Dark' is a devastatingly bleak record that showcases the Hull Hate Crew's trademark downtempo sound to absolute full effect. From the opening doom drenched riffs of 'Plague Worship' to the black metal tinged 'L'appel du Vide', to the unfathomably heavy 'Prince Of Ash' and 'Vermintide' (featuring guest vocals from SUICIDE SILENCE's EDDIE HERMIDA), the hatred spews out of the speakers.
The band comments: Our original mindset for 'Falisfier' and 'Born Hanged' was to create the most ridiculously crushing music around. We created the heaviest music because there just wasn't anything around at the time that was as heavy as we wanted to hear. We feel like we did a pretty good job. Now there's a plethora of bands that are taking the reigns of the heavy and we love it, but a new direction is in order. With The Unconquerable Dark we wanted to keep the slow, low and crushing vibe but add some maturity to it. More riffs, more memorable choruses and some juicy lead thrown in. Don't get us wrong, this is the heaviest thing we've ever released (and probably that you've ever heard), but we took the time to give it atmosphere and structure instead of being heavy for heavy's sake.
We spent a lot of time on this album mixing and mastering it ourselves so that we could get the closest representation of the heaviness that is in our minds. We didn't want to let someone else's polished and clean mix detract from the dimension-shattering sound that we strive to achieve. This is album is in our opinion the best thing we have released so far.1. Plague Worship
2. In the Wake ov the Wolf
3. Young Gloom
4. L'appel du Vide
5. Vermintide (ft Eddie Hermida)
6. Prince of Ash
7. The Masquerade
8. A Pale Procession ii: Death March
9. I'm so Tired of Sighing. Please Lord, Let It Be Night$23.99Vinyl LP - Sealed Buy Now
King Jammy Presents New Sounds Of FreedomKing Jammy is one of reggae's most prolific and innovative producers, with New Sounds Of Freedom he shows himself strong once again.
New Sounds of Freedom adds a new chapter to a story that now bridges three albums. In 1977 Black Uhuru recorded "Love Crisis" a 10
song classic from the defining era in reggae. The rhythms were laid at Harry J's Recording studio with Sly & Robbie, Chinna Smith, Johnny
Osbourne, Winston Wright and Gladstone Anderson among others. Then voiced and mixed at King Tubby's studio. The album was later
remixed by Prince Jammy at King Tubby's and released in 1981 as Black Sounds of Freedom.
The 1981 version serves as the inspiration and jump off point for these raw and vibrant new tracks featuring original vocal performances
from Chronixx, Gentleman, Alborosie, Dre Island, Tony Rebel and others. The 10 song collection will be released on CD and vinyl LP.1. Peace Treaty Style - Alborosie
2. Walls Of Babylon - Dre Island
3. King Selassie Throne - Chronixx
4. Dog Nyam Yuh Suppa - Tony Rebel
5. Another Day In The Ghetto - Bounty Killer
6. Leave Satan Business - Gentleman
7. Peace And Love - Kabaka Pyramid
8. Mystic Chant - U Roy
9. Leggo Babylon Wickedness - Shaggy & Beenie Man
10. People Bawling - Louie Culture$15.99Vinyl LP - Sealed Buy Now
VoodooFirst Vinyl Release Since its Original Release in 2000!
With Original Artwork and New Liner Notes Featuring Interviews with ?uestlove, Pino Palladino, and More!
Ranked 488/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Voodoo hit store shelves on January 25th 2000. But the first great album of the new millennium was born in the 1990s, and its muggy grooves capture the sound of premillennial anxiety. The album is the product of perfectionism, obsession and paranoia. 1995's debut Brown Sugar had already strategically positioned D'Angelo-born Michael Eugene Archer and Virginia-raised to a Pentecostal preacher father-as the next Hendrix-like deity in black music, after Prince and maybe Lenny Kravitz.
Though inspired by the birth of his children and trips back to Virginia, Voodoo's roots are in 1960s, '70s and '80s funk and soul; a nostalgic nod to the ideas and inventions of black music trailblazers powered by avant-garde hip-hop and jazzinfluenced rhythms. D'Angleo's aim, he said, was to reclaim R&B. He wanted to be like Sly Stone, George Clinton and Al Green. And most of all, he wanted to be like Jimi Hendrix.
The concept behind Voodoo was simple. Put together a brilliant ensemble of R&B musicians bent on grooving together. Record them live, in real-time, jamming face-to-face in an effort to capture their conviviality and chemistry. For Voodoo's core rhythm trio, D'Angelo recruited his friend and colleague, The Roots' visionary drummer Ahmir ?uestlove Thompson, plus Welsh journeyman Pino Palladino to hold down the bass. It was a combination that gelled immediately.1. Playa Playa
2. Devil's Pie
3. Left & Right
4. The Line
5. Send It On
6. Chicken Grease
7. One Mo'Gin
8. The Root
9. Spanish Joint
10. Feel Like Makin' Love
11. Greatdayindamornin' / Booty
12. Untitled (How Does It Feel?)
13. Africa$22.99Vinyl LP - 2 LPs Sealed Buy Now
PlaymatesFat Possum Records is pleased to announce the release of Jack Ladder & The Dreamlanders' upcoming album Playmates. The first taste of the record Come On Back This Way showcases newfound lightness for Ladder, weaving a glistening synth melody with a chorus duet and wordless backing from Sharon Van Etten.
Three years after the acclaimed HURTSVILLE and a move from the inner city of Sydney, Australia to the Blue Mountains, Jack Ladder returns with his new album Playmates. The album is produced by Kim Moyes of The Presets, and mixed by David Wrench (Jungle, FKA Twigs, Caribou,Seekae). The Dreamlanders - Kirin J. Callinan (whose own album Embracism was released last year on Terrible / XL) Laurence Pike (of PVT) and Donny Benet - reunite to play on the record, with Sharon Van Etten contributing vocals to two tracks.
Playmates will be Jack Ladder's fourth album, and his first on Fat Possum. His previous two albums (2008's Love Is Gone and 2011's HURTSVILLE) were shortlisted for the Australian Music Prize. It's been a long journey to this point, and Playmates finds Jack Ladder at a creative apex, moving on from the darker roads into the curious, bold komische synthesizers which backlight Playmates. Ladder's latest work cogently recalls a time when albums were made to the parameters of the encroaching technology of the compact disc. But this album is where songs take precedence over an idea.
Playmates songs are muscular, raw - yet polished to the texture of a skyscraper. The lyrics themselves are haunting; they possess the poetic slur of a black-pupilled vision of romantic despair, love's unsure footing and a palpable air of Ballardian discord beneath the surface. The songs pulse with life. Synthesizers and drum machines rub shoulders with glam guitars and pedal steel, while above all, Ladder's granite baritone slashes at love and darkness like a heavy blade. He is a tender, persistent lover; a despairing prince at the battlements.
There is also the notable presence of Sharon Van Etten. On working with Jack Ladder, she says, When I first saw Jack Ladder...it blew me away. He's got a darkness to his vocals and lyrics but with a wink. It was really fun and an interesting challenge and his songs are killer. I feel lucky to have been a part of it.
Playmates breadth of ideas, its sinister anxiety-dream lyrics and particular vision of the world offer us as complete a view of this unfathomable Jack Ladder character as we are ever likely to observe in this dimension.1. Come On Back This Way
2. Her Hands
3. Model Worlds
4. Reputation Amputation
5. Let Me Love You
6. To Keep And To Be Kept
7. The Miracle
8. Neon Blue
9. Our Ascension
10. Slow Boat To China$19.99Vinyl LP - Sealed Buy Now
Wayne CochranWayne Cochran! The exclamation point is there for a reason. Known as "The White Knight of Soul," Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who's ever witnessed a fire-and-brimstone southern gospel service can see the connection between gospel's passion and r&b's groove.
Issued by Chess Records in 1967, Wayne Cochran! captured the outrageous energy of his live show within the album's grooves. This explosive collection of songs proved that Cochran deserved to share the label home of r&b greats like Etta James, Howlin' Wolf and Muddy Waters. Rather than a traditional artist portrait, the front cover features an outline of his white pompadour against a black background. Simple and direct, it stood in stark relief against the sea of day-glo, psychedelic imagery of the day. To put it another way, the cover art clearly conveyed that this album was all killer, no filler.
The original mono version of this LP is incredibly rare and changes hands for princely sums. However, there is no need to empty the savings account now that Sundazed Music has prepared a righteous reissue, in glorious mono! Sourced from the original analog master tapes, this Sundazed edition is 180gm of concentrated soul. Just add a turntable and watch the party spring to life!1. Get Ready
2. Boom Boom
3. The Peak Of Love
4. You Don't Know Like I Know
5. Some-A' Your Sweet Love
6. I'm Leaving It Up To You
7. You Can't Judge A Book By The Cover
8. Big City Woman
9. Little Bitty Pretty One
10. I'm Your Hoochie Coochie Man
11. Get Down With It
12. When My Baby Cries$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Rise AboveThe breadth of David Longstreth's talents as a songwriter, arranger, bandleader and singer call to mind Prince, Joni Mitchell, and Bjork. His constantly evolving sound, the sheer intensity of the music, and the originality of his voice set him apart. From beginning to end, Rise Above is a re-imagining of Black Flag's seminal 1981 record Damaged. It's not a covers record; Longstreth attempted to rewrite his favorite adolescent album word for word, from memory. The result resounds with a kind of elegant simplicity: beautiful interlocking guitar parts, gorgeous three-part vocal harmonies, and some great songwriting.1. What I See
2. No More
4. Six Pack
5. Thirsty and Miserable
6. Police Story
7. Gimmie Gimmie Gimmie
8. Spray Paint (The Walls)
9. Room 13
10. Rise Above$17.99Vinyl LP - Sealed Buy Now
We Are The Romans (Awaiting Repress)The year was 1999. Prince told us to party like it is 1999. The world had us thinking there would be computer mayhem after the year 1999. The same year that George W. Bush told us that he would be a republican candidate for the upcoming election. It was the same year that the Euro was introduced as a major form of currency. Yet after all of events, three blunders and one economic uprising (give you a hint, the economic uprising did not have anything to do with George W. Bush), there was one record in 1999 that changed a genre of music as we know it or perhaps even created one. In 1999 in Tacoma, Washington the four members of Botch created an album that is considered one of the best within its genre entitled, We Are The Romans. A title that is a statement about the United States thought of immortality, but a realization that we are not. The album cover shows what appears to be New York City with a huge blot of black ink covering the city. Within the blot is a red target, signifying that the United States is indeed a target. The even more disturbing aspect of the art is the fact that when you first open the contents, there is a picture of destroyed buildings. That picture, perhaps, tells the story of what will happen in the near future to the United States or maybe Botch themselves. Now then, let us get to the album that Norma Jean tried to base an entire album off.
Botch had only produced two full-length albums during their brief career as a band. We Are The Romans was the second of the two and a major advancement from their earlier release, American Nervoso. While American Nervoso was an amazing record in its own regard, it was not produced well and not as groundbreaking, musically, as We Are The Romans. During this release they came up with catchy and yet menacing guitar riffs, thick distorted sludgy bass riffs, extremely technical drumming.
As an opener, "To Our Friends in the Great White North," kicks you directly, square in the nuts. With an initial shout, the guitar, bass, drums immediately follow. A consistent downward scale is played on the guitar that soon slyly transitions in a chug-to-high chord section. It then begins to break down as the pace begins to slow down. On and off head banger riffs follow at a slow dissipated pace that leads into a clean vocal section chanting
it's your fault (it's your fault)
***ing up the kids (***ing up the kids)
The chant is repeated for a few solitary moments and then it becomes tacit with just a high-hat keeping tempo that quickly turns until another heavy part with intense guitar work. The initial reactions after this song that it was simply mind blowing. The album maintains its ride of almighty power into the next song "Mondrian Was A Liar" with math metal elements incorporated. "Transitions from Persona to Object" continues the theme of memorable guitar riffs with a hook that is repeated and altered throughout the duration of the entire song. While the noises protruding may not be the most pleasant to the ear, they certainly add to the effect of destruction. While some may say that the repetitive nature of the song continues for far too long (clocking in at just over six minutes), the overall feeling was that it could not be abruptly stopped after any given point. It eventually comes to a halt when the drums are the only remaining instrument left. "C. Thomas Howell as the Soul Man"" provides a sloppy and gritty performance with classic tapping guitar riffs. Also contained is a three note distorted bass riff that evolves into a clean break within the song that builds up into chaos that then tapers off.
More than half way through the album, We Are The Romans needed a shot of pure adrenaline. In what is the climax of the album, "Saint Matthew Returns to the Womb" has an unspeakable feeling about it. The song practically defines metalcore (in an album that is the start of metalcore, as we know it, perhaps). A song that combines classic elements of brutal metal and what can be considered "fun" hardcore. It is a true staple strong in the short lifespan of Botch. Finally, in what maybe be considered the song that may have predicted Botch's downfall, "Man The Ramparts." Surely, one can look at the album in the eyes of America's downfall, but ironically, Botch may have fell first. Think about it this way, it was their last full length without conflicts of the direction the band was going. It is a song about preparing for what is ahead, because it will soon be a collapse, but not without a last stand.
We'll man the ramparts
With arrows ready
With our flags up
We are the Romans
The song can almost be related to a battle. It starts as it were trudging along to the beat of a war drum with off time guitar and bass. It then starts the battle with a brutal scream and fiery fierceness to it. As it continues, it slowly disassembles and then regains composure into the previous intensity. The song dies down, with every beat and it begins to fade into a choir hymn saying We are the Romans as almost collecting forces to join for one last hurrah. Eight minutes and thirty now elapse, the quintessential loudest section of the entire song ERUPTS. Precise drumming and abrasive chords carry on until the final hits of the instruments and the last screech and it everything stops.
It is over. The piercing screaming, the rhythmically brilliant drumming, the coarse sound of the bass, and the memorable guitar riffs are no longer. While "I Wanna Be A Sex Symbol On My Own Terms" is the only track that I feel was a grave disappointment, they produced an unbelievably solid record. We are the Romans was a completely original album in its own regard and left a legacy behind. They made the music that was out there more interesting and complex. Botch created a fusion that was perfected with this release. I am glad one thing will never change, no matter what year it is next; I can still listen to this album.
- Ryan Flatley (Sputnik Music)1. To Our Friends In the Great White North
2. Mondrian Was A Liar
3. Transitions From Persona To Object
4. Swimming The Channel Vs. Driving The Channel
5. C. Thomas Howell As The Soul Man
6. Saint Matthew Returns To The Womb
7. Frequency Ass Bandit
8. I Wanna Be A Sex Symbol On My Own Terms
9. Man The Ramparts
10. Untitled$25.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
There's A Riot Goin' On (45 RPM)Ranked 99/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Sly And The Family Stone There's A Riot Goin' On 180 gram 45RPM 2LP from ORG Music
Inducted into the Grammy Hall Of Fame in 1999 & Ranked #99 on Rolling Stone's 500 Greatest Albums Of All Time!
More than four decades after they first stormed the Pop and R&B charts in the winter of 1968 with "Dance To the Music" - a groundbreaking jam that has the distinction of being chosen for the Grammy Hall Of Fame, the Rock And Roll Hall Of Fame's 500 Songs That Shaped Rock, and Rolling Stone magazine's 500 Greatest Songs Of All Time - the music of Sly and the Family Stone is more vital than ever.
The band's catalog (every single composition penned by Sylvester Stewart aka Sly Stone) includes their three career-defining RIAA gold Billboard #1 Pop/ #1 R&B smashes, "Everyday People," "Thank You (Falletinme Be Mice Elf Again)" and "Family Affair," and their signature Top 40 hits that began with "Dance To the Music" and went on to include "Stand!," "Hot Fun In the Summertime," "Runnin' Away," "If You Want Me To Stay," "Time For Livin', and more.
Those songs not only inspired an era of youthful rebellion and independence, but also had a potent effect on the course of modern music in general. A dazzling fusion of psychedelic rock, soul, gospel, jazz, and Latin flavors, Sly's music brought the next step - funk - to a disparate populace of hip artists. From Miles Davis and Herbie Hancock, to the halls of Motown and George Clinton's P-Funk, from Michael Jackson and Curtis Mayfield, down the line to Bob Marley, the Isley Brothers, Prince, Public Enemy, Red Hot Chili Peppers, Arrested Development, the Black Eyed Peas, the Roots, OutKast and on and on, Sly's DNA is traceable to every cell of the musical stratosphere.
Since it took almost two years to make, the fifth album by bonafide superstars Sly and the Family Stone had everyone salivating in anticipation. Needless to say, Sly did not disappoint! 1971's There's A Riot Goin' On finds the Bay Area-based genius getting funkier than ever before, even as his artistic vision becomes progressively darker. Some may have been disappointed that Sly didn't simply re-create the chart successes of earlier singles, but who can argue with the flat-out brilliance of turning recent big hit Thank You (Falettinme Be Mice Elf Agin) on its head to create the mind-boggling Thank You For Talkin' To Me Africa.
Two of this hypnotic album's best tunes Family Affair and Runnin' Away were gigantic chart hits, and There's A Riot Goin' On hit #1 Pop/ #1 R&B within a few weeks of its release in November, proving beyond any shadow of a doubt that Sly Stone could totally deliver the goods! A transformative masterpiece, There's A Riot Goin' On was inducted into the Grammy Hall Of Fame in 1999, and is ranked #99 on Rolling Stone magazine's '500 Greatest Albums Of All Time.'Luv N' Haight
Just Like A Baby
Africa Talks To You The Asphalt Jungle
There's A Riot Goin' On
Brave & Strong
(You Caught Me) Smilin'
Thank You For Talking To Me Africa$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP- 2 LPs Sealed Buy Now
ADAD-PAR-6848xJake Xerxes Fussell
Jake Xerxes FussellThe Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."
A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.
Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.
So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.
For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.1. All in Down and Out
2. Let Me Lose
3. Star Girl
4. Raggy Levy"
5. Rabbit on a Log
6. Boat's up the River
7. Man at the Mill
8. Push Boat
9. Georgia Buck
10. Pork and Beans$21.99Vinyl LP - Sealed Buy Now
The Black Album (Out of Stock)The Black Album is the 16th full-length studio album by Prince. Officially, it has no title and no credited artist. It's known as The Black Album due to its plain black sleeve, which contains no information apart from the catalogue number printed on the spine in peach letters. The sticker on the 1994 release labeled it The legendary Black Album. It was originally intended to be released on 8 December 1987, but was canceled at Prince's request just prior to release (on 1 December 1987). It was finally given a limited release in November 1994 (just three months after his previous new release Come).1. Le Grind
2. Cindy Cy.
3. Dead On It
4. When 2 R in Love
5. Bob George
7. 2 Nigs United 4 West Compton
8. Rockhard in A Funky Place$21.99Vinyl LP - Sealed Temporarily out of stock
A Wolf In Sheeps Clothing (Out Of Stock)Get on Down is proud to present A Wolf in Sheep's
Clothing, the debut album by Black Sheep, available for the
first time ever as double vinyl release. On the initial release
of this classic it was "The Choice Is Yours" that blew the
roof off with even the most of novice rap fans gravitating to
the song's energy. The cut has gone on to be featured in a
long list of films and commercials (including the KIA
campaign with the hip hop hamsters).
Singles like "The Choice Is Yours" and "Flavor of the Month" made a perfect landing strip for those to delve deeper into the
duo's debut. Often humorous ("Strobelite Honey"), often serious ("Black with No N.V (No Vision)", Black Sheep were able to
craft an album that displayed their witty sensibilities while also staying conscious in true Native Tongue form. From the moment
the album starts with Prince Paul introducing the "lowlifes of the family tree" you know you are in for something special .and
different. Mista Lawnge's production is every bit as textured as fellow counter parts Tribe or De La, while standing out as being
completely original and fresh. Tracks like "Butt in the Meantime", "Try Counting Sheep" and "La Menage (Featuring Q Tip)" are
great examples of the duo's original style - complex layered beats (everything from Jazz, Soul and Rock all meshed together
perfectly) to compliment Dres' distinct voice and word play. With other standout album cuts like "For Those That Slept" and
"To Who It May Concern" it seemed as if they had an endless bag of treats, each offering something different while
preserving the groups style.
Polar opposite to what other groups at the time were doing, Black Sheep hit a homerun with their debut that few hip hop acts
would ever reach. VH1 called "The Choice Is Yours" one of the Top 100 Hip Hop tracks of all time and with not one bad or filler
track, this full album certainly ranks as one of the best hip hop releases of the 90s.LP 1
2. U Mean I'm Not
3. Butt In The Meantime
4. Have U.N.E. Pull
5. Strobelite Honey
6. Are You Mad
7. That Choice Is Yours
8. To Whom It May Concern
9. Similar Child
10. Try Counting Sheep
11. Flavor Of The Month
12. La Menage
2. Gimme The Finga
3. Hoes We Knows
4. Go To Hail
5. Black With N.V. (No Vision)
6. Pass The 40
7. Blunted 10
8. For Doz That Slept
9. The Choice Is Yours (Revisited)
10. Yes$22.99Vinyl LP - 2 LPs Sealed Temporarily out of stock