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Three 180 Gram Vinyl LPs With Poster
Newly Remastered By The Clash From Original Tapes To Audiophile Quality
All Artwork Recreated From Original Release Including Exclusive Poster
Ranked 404/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Sandinista! is the fourth studio album by the punk rock band The Clash. It was released in 1980 as a triple album containing 36 tracks, with 6 songs on each side. Anticipating the "world music" trend of the 1980s, it features reggae, jazz, mock gospel, rockabilly, folk, dub, rhythm and blues, calypso, and rap.
For the first time, the band's traditional songwriting credits of Strummer/Jones were replaced by a generic credit to "The Clash",and the band cut the album royalties, in order to release the 3-LP at a low price. The title comes from the Nicaraguan left-wing guerrilla organization, the Sandinistas, and its catalogue number, 'FSLN1', refers to the acronym for Frente Sandinista de Liberación Nacional.
Sandinista! was voted the best album of the year in The Village Voice's Pazz & Jop critics poll, and it was ranked number 404 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all timeThe album was recorded over most of 1980, in London, Manchester, Jamaica and New York. It was produced by the band (which essentially meant Mick Jones and Joe Strummer), recorded and mixed by Bill Price, and engineered by Jeremy "Jerry" Green (Wessex Sound Studios), J. P. Nicholson (Electric Lady Studios), Lancelot "Maxie" McKenzie (Channel One Studios), and Bill Price (Pluto + Power Station Studios). Dub versions for some of the songs and toasting was done by Mikey Dread, who had first hooked up with the band for their 1980 single "Bankrobber". With Sandinista! the band reached beyond punk and reggae into dub, rhythm and blues, calypso, gospel and other genres.
This item is not eligible for further discount.LP 1
1. The Magnificent Seven
2. Hitsville U.K.
3. Junco Partner
4. Ivan Meets G.I. Joe
5. The Leader
6. Something About England
7. Rebel Waltz
8. Look Here
9. The Crooked Beat
10. Somebody Got Murdered
11. One More Time
12. One More Dub
1. Lightning Strikes (Not Once but Twice)
2. Up in Heaven (Not Only Here)
3. Corner Soul
4. Let's Go Crazy
5. If Music Could Talk
6. The Sound of Sinners
7. Police on my Back
8. Midnight Log
9. The Equaliser
10. The Call Up
11. Washington Bullets
1. Lose this Skin
2. Charlie don't Surf
3. Mensforth Hill
4. Junkie Slip
5. Kingston Advice
6. The Street Parade
7. Version City
8. Living in Fame
9. Silicone on Sapphire
10. Version Pardner
11. Career Opportunities
12. Sherperds Delight$39.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
StreetcoreOne of the few true heroes of the punk era, former Clash frontman Joe Strummer walked it like he talked it, never losing his commitment to either his music or his ideals. Streetcore marks his third album since his '99 re-emergence, and possibly his strongest solo album to date.
This fact is all the more poignant in light of Strummer's death shortly before Streetcore's completion. He has left us a swansong of which he could be proud. His famous eclecticism is full-on; this makes the wide-ranging SANDINISTA seem like GIVE 'EM ENOUGH ROPE by comparison. A dizzying fusion of electronica, reggae, funk, hip-hop, rock, folk, blues, world music, and more, it's what he'd been working his way up to ever since his comeback. Things never spiral out of control, as his lyrics are the most focused he'd written since his Clash days--simultaneously political and playful. Streetcore closes with a cover of Bobby Charles's Grow Too Old (retitled Silver and Gold), a vow to live life to its fullest that would seem tragic in context had not its singer done exactly that all the way to the end.1. Coma Girl
2. Get Down Moses
3. Long Shadow
4. Arms Aloft
5. Ramshackle Day Parade
6. Redemption Song
7. All In A Day
8. Burnin' Streets
9. Midnight Jam
10. Silver And Gold$19.99Vinyl LP - 2 LPs Sealed Buy Now
Newly Remastered By The Clash From Original Tapes To Audiophile Quality
All Artwork Recreated From Original Release Including Replicated Fully Printed Inner Sleeves With An Exclusive Pennie Smith Photo Print
On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista! The pounding arena rock of Should I Stay or Should I Go makes the Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren't quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg -- if this album is, as it has often been claimed, the Clash's sellout effort, it's a very strange way to sell out. Even with the infectious, dance-inflected new wave pop of Rock the Casbah leading the way, there aren't many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who's righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments -- Should I Stay or Should I Go, Rock the Casbah, Straight to Hell -- illustrate why the Clash were able to reach a larger audience than ever before with the record.
- Stephen Thomas Erlewine (All Music Guide)1. Know Your Rights
2. Car Jamming
3. Should I Stay Or Should I Go?
4. Rock The Casbah
5. Red Angel Dragnet
6. Straight To Hell
7. Overpowered By Funk
8. Atom Tan
9. Sean Flynn
10. Ghetto Defendant
11. Inoculated City
12. Death Is A Star$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Engine-revving dose of filthy, leather-clad blues.
A shit-kicking garage greaser with badass hooks.
Stripped- down garage rock with crunching guitars
and kiss-off cockiness.
This is desert-burned blues rock boosted by punk,
soul and hip-hop
- ROLLING STONE
On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried
something he'd never tried before-making a bedroom-style
recording of his then stripped-to-the-skeleton guitar-and-drums
rock 'n' roll mostly for the sheer joy of making it. For his ferocious
2013 follow-up Head In The Dirt, he tried something new again,
showing up at producer Dan Auerbach's analog-dreamland
Nashville studio with nothing but the clothes on his back and an
But after Head In The Dirt's release and almost a year of relentless
touring, Hanni knew he needed to go past 'unpredictable' all the
way to 'unprecedented.' He needed isolation, time and the chance
to experiment. So after 30 days locked in hand-picked L.A. studio
The Lair, the result is the album Moonlight-the rarest and most
welcome kind of album, made at that perfect point in life where
confidence, experience, and technique unite to help an artist do
anything they want.
That's why it starts with a song that sounds like a Mobb Deep beat
under a Suicide-style synth drone and ends with an
ESG-meets-LCD Soundsystem gone italo-disco song about life and
death. That's why it collides crushing crate-digger drumbeats
that'd be right at home on a Can LP or an Eddie Bo 45 with
bleeding distorto guitar, bent and broken barroom piano and
hallucinatory analog flourishes. (In fact, some smart producer is
going to sample the drums from this album and complete the circle
of life.) And that's also why Moonlight feels like the album he's
always wanted to make: "What would it sound like if RZA got in the
studio with Iggy Pop and Tom Waits?" he asks. "I don't know! That
was my approach on everything."
It's a personal album in the most primal sense, put together in any
way that worked. Iggy Pop and David Bowie did this kind of thing
on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the
Clash did it three times over on Sandinista. And now it's Hanni's
turn, across 11 new lightning-struck songs, each written and
recorded in its own flash of inspiration. It sounds like an album
made by an endless list of collaborators, but really Moonlight was
more like the first do-it-almost-all-yourself music Hanni ever made,
except after six years recording and touring, he'd learned to do so
much more.1. Moonlight
2. Melt Me
3. The Teeth
5. Worship Song (No 2)
8. All Black
10. Dance Hall
11. Two Brothers$19.99Vinyl LP - Sealed Buy Now
PoliticoNacional Records is excited to announce the vinyl release of Mexican Institute of Sound's (M.I.S.) critically acclaimed,
DJ-favorite albums 'Politico,' 'Pinata,' 'Mejico Maxico and 'Soy Sauce.'
Politico, the fifth full-length album by Mexican Institute of Sound (producer and songwriter Camilo Lara) is an album that almost wasn't. In 2011, an enormous amount of the explosive C4 was discovered next door to Lara's residence -- it was set to be detonated; by whom and for what purpose was never determined. In a recent interview, Lara said that he didn't deliberately set out to go into politics, but that politics had come to his house. These 13 songs, composed and assembled by Lara, address the chaos, destruction, tragedy, and violence that have become all-too-familiar elements in Mexican lives. Politico is a statement in the same way that the Clash's Sandinista! or the Sex Pistols' Never Mind the Bollocks were, but it isn't nostalgic. Nor is it sonically similar to either. Longtime fans of MIS may have some initial issues because there are vocals on almost every tune. But not only do they not they detract from the set's appeal, their urgent expressions add to it. While the topical nature of these songs is undeniable, it doesn't mean this isn't a fun record. Quite the opposite. Lara isn't didactic in his lyrics; these are personal observations, and in that way, carry more weight than slogans. His unique compositional style makes them musically irresistible, and compelling. He uses Mexico's and Latin America's folk forms -- cumbias, descargas, sons, corridos, mariachis, bandas, rancheras, cha-chas, rhumbas, pachangas, and more -- and hard welds them to slamming beats, layered melodies, and infectious keyboard grooves, all via a staggering yet organic-sounding mÉlange of samples from rock & roll, hip-hop, funk, house, disco, techno, etc. Check the wild marimba samples that introduce the melody to Tipo Raro, which originally appeared in the film Made in Mexico. Lara retains the melody throughout, but busts it from its context; he runs head-on into multi-tracked Farfisa organs, a deeply distressed beat, four-on-the-floor loops, rapping, and a brittle bassline that fires directly from the center. Especulando is a driving, funky electro jam. Es-Toy uses accordion and darkly tinged double trombones (à la Willie Colón), a pulsing organ, and chanted vocals. Despite its skittering dance beat and its mariachi horns, Más is pure, frenetic punk rock. Politico is easily the most sophisticated record in the MIS catalog. This is political music without apology; it's also frenzied dance party music that's virtually peerless. - Thom Jurek (All Music Guide)
M.I.S. tours the world performing at major festivals like Coachella and Lollapalooza, with a wide range of
high-profile television and videogame uses, including HBO 'Entourage' & 'East Bound & Down,' as well as
'Californication' and videogames like EA Sports' 'FIFA' and the new 'Grand Theft Auto V', for which he curated
one of the radio stations 'East Los FM.'
The sound of old Mexican cumbias, boleros and mariachi tunes scrambled with samples, effects and beats.
- NEW YORK TIMES
Camilo Lara works the electro-dance scene like the James Murphy [LCD Soundsystem] of Latin America.
Think Hot Chip visiting the Buena Vista Social Club; think traditional samples with bells and beats; think a
sweaty indie-dance party. - CMJ1. Politico
7. Ceci n est Pas Une Automate
8. Se Baila Así
9. My Buddy @julps
10. Tipo Raro
11. Ritmo Internacional
12. Cumbia Meguro
13. El Jefe$21.99Vinyl LP - Sealed Buy Now