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  • Super Session Super Session Quick View

    $28.99
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    Super Session

    This historic 1968 summit meeting features three of the era's greatest musical talents: blues guitar hero extraordinaire Mike Bloomfield, multi-talented keyboard visionary Al Kooper and Buffalo Springfield/CSNY founder and ace axeman Stephen Stills.


    After achieving prominence for his work as a member of the Blues Project and Blood, Sweat & Tears, and for his role in Bob Dylan's transition to electric rock, Kooper hit upon the idea of cutting a rock album using the same approach that was the standard methof for jazz recordings: Pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days.


    The project grew into Super Session, which combines a side of live-in-the-studio performances by Kooper and Bloomfield and a side featuring Kooper and Stephen Stills. Instrumental support was provided by bassist Harvey Brooks and keyboardist Barry Goldberg, both of the Electric Flag, and a veteran session drummer Eddie Hoh. Super Session proved to be both a commercial smash and a seminal influence, becoming the biggest-selling release of Bloomfield's career and inspiring countless other artists to attempt similar studio-jam recording projects.


    Out of print on vinyl for more than two decades, Super Session has been meticulously restored for the LP reissue, using Sundazed's usual exacting standards. The album is pressed on high-quality, high definition vinyl, and features the original cover art reproduced in its entirety.

    1. Albert's Shuffle
    2. Stop
    3. Man's Temptation
    4. His Holy Modal Majesty
    5. Really
    6. It Takes a Lot to Laugh, It Takes a Train to Cry
    7. Season of the Witch
    8. You DOn't Love Me
    9. Harvey's Tune
    Mike Bloomfield, Al Kooper, Steven Stills
    $28.99
    Vinyl LP - Sealed Buy Now
  • Super Session (Speakers Corner) Super Session (Speakers Corner) Quick View

    $34.99
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    Super Session (Speakers Corner)

    The musicians are aiming high with their desire for a "Super Session", for it's not something that can be planned. Only when the time, place, and audience play along, when one's lucky star is shining brightly, and the musicians have a good day, then one of music's great moments might be captured on tape. Not forgetting the recording technicians who also have to be in the mood!



    In 1968 this all happened to be the case with the majority of the nine numbers on the Columbia LP: Season Of The Witch (written by Donovan) in its present version is one of them, as well as You Don't Love Me and the Dylan classic It Takes A Lot To Laugh, It Takes A Train To Cry. All in all, one must consider the numbers with Steve Stills as most successful in the sense of a session because here each musician inspires the others. In the super session with Kooper and Bloomfield, the guitarist stands in the limelight while the other musicians back him up.



    Very often the three soloists even surpass the greatest moments of their own groups (Al Kooper's Blood, Sweat & Tears; Mike Bloomfield's Electric Flag; Steven Stills's Buffalo Springfield). In 1968 the magazine Rolling Stone judged this album to be one of the best releases of the year: an accolade which is completely justified and is still valid to this day. What better reason to get your copy of this "highly recommended" album without delay.



    Musicians:



    • Mike Bloomfield

    • Steven Stills (electric guitar)

    • Al Kooper (piano, organ, vocals, guitar, electric guitar)

    • Barry Goldberg (electric piano)

    • Harvey Brooks (bass)

    • Eddie Hoh (drums)




    Production: Al Kooper




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Albert's Shuffle
    Stop
    Man's Temptation
    His Holy Modal Majesty
    Really
    It Takes A Lot To Laugh, It Takes A Train To Cry
    Season Of The Witch
    You Don't Love Me
    Harvey's Tune
    Mike Bloomfield, Al Kooper, Steven Stills
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aqualung (Steven Wilson Mix) Aqualung (Steven Wilson Mix) Quick View

    $21.99
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    Aqualung (Steven Wilson Mix)

    Gatefold LP featuring 24 page adapted booklet from the previous 2011 40th anniversary set.


    After veering sharply from the blues inluences of their debut, This Was, Jethro Tull's sound quickly coalesced around jazz-tinged English folk influences and the antics of frontman/flautist Ian Anderson. But it was guitarist Martin Barre's swaggering riff off the title track of the band's fourth album that would become Tull's trademark--and the band's entrÉe into a long reign as arena-rock perennials. But there's a lot more to Aqualung than the riffage of that cut and its cousins, Cross-Eyed Mary and Locomotive Breath. In an era when pseudo-Christian spirituality was a de rigueur, if cheap, musical commodity (from the overblown operatics of Jesus Christ Superstar to one-hit pop wonders such as Spirit in the Sky and Put Your Hand in the Hand), Anderson and company openly challenged the value of organized religion with a thematic album savvy enough to layer its thought-provoking lyrics between heavy strata of FM-friendly guitar bedrock. A clichÉ, perhaps; a landmark, no doubt. And a record many maintain is still Tull's finest hour. --Jerry McCulley

    1. Aqualung
    2. Cross Eyed Mary
    3. Cheap Day Return
    4. Mother Goose
    5. Wond'ring Aloud
    6. Up To Me
    7. My God
    8. Hymn
    9. Slipstream
    10. Locomotive Breath
    11. Wind Up
    Jethro Tull
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Just As I Am (Speakers Corner) Just As I Am (Speakers Corner) Quick View

    $34.99
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    Just As I Am (Speakers Corner)

    Just As I Am - anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.



    In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. Harlem, an unadorned milieu-funk number about the New York slums, Grandma's Hands, with its obligatory retrospect of his childhood, and the sentimental ballad Ain't No Sunshine with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There's simply no alternative to this recording by the great songwriter with the small repertoire.



    Musicians:



    • Bill Withers (vocal, guitar)

    • Booker T. Jones (arranger, organ, guitar)

    • Steven Stills (guitar)

    • Donald Duck Dunn, Chris Ethridge (bass)

    • Al Jackson, Jim Keltner (drums)

    • Bobbie Hall Porter (percussion)




    Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.

    Production: Booker T. Jones





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Volunteers (Pure Pleasure) Volunteers (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Volunteers (Pure Pleasure)

    Ranked 370/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Jefferson Airplane, wrote the magazine Rolling Stone, is a ship which transports its passengers to the revolutionary fantasies of their own minds. If only the group had included such well-formulated psychological analyses in their lyrics, then they would probably not have shot so meteorically into the orbit of the psychedelic 'acid rock' scene. And what is more: as self-appointed executors of chaos and anarchy, they 'turned on' their fans with musical sexual allegories, drug-extolling lyrics and revolutionary songs. In 1966, armed with a lucrative recording contract from RCA-Victor, they won through against much opposition from recording company bosses and released their album Volunteers, thereby bringing what is probably the very best recording from their early years to the public.



    The music of these rock rebels is, in fact, a good deal less drastic than their texts. The leaders of the combo, Marty Balin and Paul Kantner, both of whom grew up in the Californian folk scene, have put their stake on melodic and rhythmically close-knit rock and multi-part vocals. And even today, one is still astounded by the wide range of styles favoured by the hippie generation, which stretches from the down-to-earth country music of The Farm to the electronically distorted collage Meadowlands.



    Musicians:



    • Grace Slick (vocal, organ)

    • Marty Balin (vocal)

    • Paul Kantner (vocal)

    • Jerry Garcia (guitar)

    • Jorma Kaukonen (guitar)

    • Steven Stills (organ)

    • Nicky Hopkins (piano)

    • Jack Casady (bass)

    • Spencer Dryden (drums)

    • Joey Covington (conga)




    Recording: 1969 by Richie Schmitt and Joe Lopes

    Production: Wally Heider and Al Schmitt



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. We Can Be Together
    2. Good Shepherd
    3. The Farm
    4. Hey Frederick
    5. Turn My Life Down
    6. Wooden Ships
    7. Eskimo Blue Day
    8. A Song For all Seasons
    9. Meadowlands
    10. Volunteers
    Jefferson Airplane
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Roadsinger (To Warm You Through The NIght) Roadsinger (To Warm You Through The NIght) Quick View

    $24.99
    Buy Now
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    Roadsinger (To Warm You Through The NIght)

    With his reintroduction to the pop world behind him, renowned singer-songwriter Yusuf (the artist known as Cat Stevens) is ready to once again strike up an intimate relationship with his audience. After retreating from the pop stage following classic '70s multi-platinum albums such as Tea For The Tillerman and Teaser And The Firecat and acclaimed hits such as Wild World, Peace Train, Moonshadow, Morning Has Broken and Father And Son, Yusuf returned in late 2006 with his first pop album in 28 years. Now he's back again with a second album, Roadsinger (To Warm You Through The Night).


    I was absent from my audience for so long, Yusuf says, people thought another album would never come. The 2006 album, An Other Cup, was a surprise. With this new album, the distance is much less. I'm back to doing what I do best, painting pictures with music and storytelling on a very human, personal, intuitive level through lyrics and song, so I can help people feel good again. I guess in some ways the new album picks up where the Cat Stevens the public knows left off.


    The album, Roadsinger (To Warm You Through The Night), was produced by the now singularly named Yusuf with help from Martin Terefe (James Morrison, Jason Mraz, Martha Wainwright), and recorded around the world. Guests include Morrison, Michelle Branch and Holly Williams (granddaughter of Hank Williams, Sr.).


    The new album is a response to the way An Other Cup was received, Yusuf explains. Fans said they wanted to hear more of me with a guitar. So, this album is much more folk-tale oriented. Also, apart from one track, all of it was recorded live. I listened to a lot of' '70s L.A. music, such as Joni Mitchell, James Taylor, Carole King, and it inspired me to go back into that intimate style of recording. The songs are somewhat autobiographical but abstract enough so everyone can relate to them and connect them to their own lives.


    The title track, Roadsinger, unfolds the tale of an outcast who revisits his old hometown; along the empty street a child peeks from behind a store window and gives an innocent smile out of the shadows of prejudice. The theme of a journey has always been big with me, says Yusuf. A journey that was unexpectedly cut short in 2004 was when Yusuf was flying from his London home to Washington, D.C., en route to a meeting with Dolly Parton, who had recorded Peace Train several years earlier and wanted Yusuf to play guitar on her cover of his Where Do the Children Play. The incident that made headlines was resolved in 2006 and Yusuf's new song Boots and Sand resulted.


    There are plenty people who sing, but not enough who have walked far from their block, he says. I embraced an unexpected spiritual path that was confusing for many (converting to Islam in 1977). Sadly, I'm still often misunderstood. Some people want to put me into their own one-sided view, but I don't fit those limitations. My world is still borderless and wide. The removal of conflict and establishment of peace has always been my global objective. It's a shame that lot of people, including some Muslims, overlook the name Islam, which actually comes from the word 'Peace' in Arabic.


    The forthcoming album also showcases some songs from his upcoming musical Moonshadow. The story takes place on a planet of perpetual night where only the moon's shine lights the darkness; it is about a boy's meeting with his Moonshadow and the adventures they share in search for the a world of the sunlight and happiness. As well as having many new songs, the surrealistic musical, Moonshadow also weaves classic songs from his past, including Morning Has Broken, Wild World and The First Cut Is The Deepest.


    Yusuf's return to his guitar came about when his teenage artist-musician son, Muhammad (aka Yoriyos), brought one home again. One morning, Yusuf was alone in the lounge when he looked over and felt a draw of curiosity overtake him. He slowly picked it up. I put my fingers on the fretboard to make a 'C' chord, he remembers, and surprised myself, It's still there! It felt right. So I started playing again. On the forthcoming album, Yusuf even plays electric guitar on a couple of tracks, along with keyboards. This part of my career feels similar in one sense to when I began, Yusuf reflects. I had to get past the songs on Mona Bone Jakon before I could move on to Tea For The Tillerman, etc. This time around it was the same story: I laid the groundwork with my debut album, An Other Cup, which inspired a great new collection of songs and scribblings. I had quite a few in my back pocket and again it was my son who sparked the next step. He said, 'Isn't it time to start recording a new album?' And it was.


    1. Welcome Home
    2. Thinking 'Bout You
    3. Everytime I Dream
    4. The Rain
    5. World O'Darkness
    6. To Be What You Must
    7. This Glass World
    8. Roadsinger
    9. All Kinds Of Roses
    10. Dream On (Until...)
    11. Shamsia
    Yusuf/Cat Stevens
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Contagion Soundtrack (Pre-Order) Contagion Soundtrack (Pre-Order) Quick View

    $28.99
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    Contagion Soundtrack (Pre-Order)

    Pressed On Limited Gold And Red "Biohazard" Starburst Vinyl


    Limited To 1200 Copies


    Former Red Hot Chili Peppers drummer Cliff Martinez's long-standing collaboration with director Steven Soderbergh ranks right up there with some of the other great composer-director teams in film history, like Bernard Herrmann-Alfred Hitchcock and Ennio Morricone-Sergio Leone, and his 2011 score for the disaster blockbuster Contagion is among his best work. Oddly, it owes some of its uniqueness to the fact that Soderbergh radically recut the film three different times, causing Martinez to adjust the score on the fly, first starting with a more conventional score indebted to thrillers like Marathon Man and The French Connection, then moving in a more dream-like, Tangerine Dream direction, before settling on a sound that incorporated orchestral and electronic timbres into highly propulsive and rhythmic framework. It's like the most chilling "chill-out" electronica you've ever heard, simultaneously hypnotic and horrifying and for its first-ever vinyl release, we at Real Gone Music have fashioned a gatefold album cover featuring film production stills housing a limited gold and red "biohazard" starburst vinyl edition limited to 1200 copies. Between the look of the package and the disquieting music, this one's guaranteed to get you to sign up for a flu shot.

    1. They're Calling My Flight
    2. Chrysanthemum Complex
    3. Placebo
    4. Move Away from the Table
    5. The Birds Are Doing That
    6. Get Off the Bus
    7. 100 Doses
    8. Affected Cities
    9. Bad Day to Be a Rhesus Monkey
    10. I'm Sick
    11. Get Us to the Front of the Line
    12. Don't Tell Anyone
    13. Forsythia
    14. It's Mutated
    15. Merry Christmas
    16. They Didn't Touch Me
    17. There's Nothing in There
    18. Handshake
    19. Bat & Pig
    20. Contagion
    Cliff Martinez
    $28.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • On The Sunday Of Life On The Sunday Of Life Quick View

    $29.99
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    On The Sunday Of Life

    Remastered By Steven Wilson


    Porcupine Tree's 1991 debut album is an album that stands up as a modern day pop-psych classic.
    With acid warped lyrics courtesy of Alan Duffy (the brains behind the late lamented Imaginary Records
    label) the album is a surreal delight containing gems such as "Jupiter Island" and "Linton Samuel
    Dawson" filled with quirky melodies, effected vocals and trippy backwards guitar work. "Nine Cats",
    the undoubted masterpiece of the album, is pure Edward Lear styled psychedelia.


    'On The Sunday Of Life' also hints at the direction the band would later take with more progressive
    influenced material such as the epic 'Radioactive Toy' still performed live today.

    LP 1
    1. Music for the Head
    2. Jupiter Island
    3. Third Eye Surfer
    4. On the Sunday of Life
    5. The Nostalgia Factory
    6. Space Transmission
    7. Music from a Self-Destructing Turnip
    8. Radioactive Toy
    9. Nine Cats



    LP 2
    1. Hymn
    2. Footprints
    3. Linton Samuel Dawson
    4. And the Swallows Dance Above the Sun
    5. Queen Quotes Crowley
    6. No Luck With Rabbits
    7. Begonia Seduction Scene
    8. This Long Silence
    9. It Will Rain for a Million Years

    Porcupine Tree
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Cenotaph Cenotaph Quick View

    $42.99
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    Cenotaph

    Described by steven wilson as a sequel to ghosts on magnetic tape, cenotaph is, in fact, far more than that. Just like its renowned predecessor, still regarded by Wilson as an all-time favourite in his oeuvre, the new album turns spatial relations upside down, with otherworldly fields of microscopic crackle hovering in the foreground, as cavernous drones ominously flow underneath like steaming streams of molten metal. Whereas ghosts on magnetic tape would transform haunting passages found on old vinyl records into concise and highly organic textures, Wilson has considerably expanded the dimensions of the music this time. carving out vast aural sculptures cenotaphs of sound from them, the album is made up of four massive compositions around the twenty-minute mark. each of them is a world unto itself, marked by the gradual appearance, temporary continuation and eventual decay of events within a non-linear continuum. For the first time in Bass Communion history, these mysterious cycles are propelled by a slow, brooding rhythmical pulse.
    1. Citadel (q)

    2. Carrion (u)

    3. Cenotaph (r) 

    4. Conflux (n) 
    Bass Communion
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Deja Entendu Deja Entendu Quick View

    $28.99
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    Deja Entendu


    Huge Demand For Vinyl Pressing Of The Classic Release From Brand New


    Gatefold Jacket With Original Artwork


    Pressed On 180 Gram Black Vinyl


    As the popularity of emo and punk-pop plateaued, many bands had a lot to prove to stay in the game. As of 2003, Brand New had sidestepped any notion that they'd be stuck in the prototypical mold found on Your Favorite Weapon. Unlike their debut, Deja Entendu isn't all about bitter breakups and doesn't fall into a permanent punk-pop hole. Produced by Steven Haigler (Pixies, Quicksand), this sophomore effort finds Brand New maturing, reaching for textures and song structures instead of clichÉs. They still, however, alternate their full-on blasts with slower acoustic work, which doesn't hurt. Many antiromantic lyrics such as my tongue is the only muscle on my body that works harder than my heart saturate the [album], but there's still some resentment with downers such as I hope you come down with something they can't diagnose and don't have a cure for. The Quiet Things That No One Ever Knows is one of the stronger tracks and isn't so much a fresh entry as it is a rewrite of their semihit Jude Law and a Semester Abroad. It's not quite dÉjà vu; it's just consistent. -Kenyon Hopkin (All Music Guide)

    LP 1
    1. Tautou
    2. Sic Transit Gloria...Glory Fades
    3. I Will Play My Game Beneath The Spin Light
    4. Okay, I believe You But my Tommy Gun Don't
    5. The Quiet Things That No One Ever Knows
    6. The Boy Who Blocked His Own Shot


    LP 2
    1. Jaws Theme Swimming
    2. Me Vs. Maradonna Vs. Elvis
    3. Guernica
    4. Good To Know That I Ever Need Attention
    5. Play Crack The Sky

    Brand New
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • World's Not Worth It World's Not Worth It Quick View

    $37.99
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    World's Not Worth It

    Colored Vinyl


    The World's Not Worth It sees Gavan Kearney working with a handpicked cast of collaborators - including long-time muse Moonswift, Porcupine Tree's Steven Wilson, Eden House vocalist Amandine Ferrari and Use of Ashes guitarist Maarten Scherrenburg (on drums) - to create a blissful world of unconventional, yet instantly beguiling compositions. whilst still working within a by now familiar territory delineated by folk, ambient and progressive rock at a chambermusical volume, elements from the world of classical music are featured more prominently than ever, taking the project in a new direction: Kearney's reverence for the groundbreaking inventions of Romantic composers Ravel, Debussy and theosophic genius Alexander Scriabin shows through in extended solo-piano and guitar passages, adventurous chord progressions as well as a tender clarinet-solo on Events in a Skyline. Just like Scriabin would take the harmonic system to its limits, these pieces explore the outer limits of the song format, working with controlled stylistic collisions rather than a schematic chorus/refrain approach - such as on under the stares, which explores what'd happen "if Bach bumped into Messiaen".


    The vinyl edition of The World's Not Worth It comes in a limited edition on 180 gram clear vinyl, housed in a deluxe gatefold sleeve and with a bonus cd copy of the album.


     

    1. Samhian Rain - Arise

    2. Ice and Rainbows

    3. Under the Stares

    4. A Life Rehearsed

    5. Regal Season

    6. Events in a Skyline

    7. The Rebel's Rulebook
    Sand Snowman
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Raising Hell Raising Hell Quick View

    $22.99
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    Raising Hell

    Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 that
    changed, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that proved
    hip-hop wasn't a fad.


    Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonic
    innovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, but
    the sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside,
    though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two.


    It's impossible to talk about the album without its worldwide smash, "Walk This Way," which hit #4 on the Billboard pop charts and saw
    the group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with the
    group's own take on the '70s classic. The song's video cemented Run-DMC as legit MTV
    idols, and both groups rode its wave to new heights.


    Beyond "Walk This Way," the platter is full to the hilt with undeniable classic singles: "You Be Illin'"; "It's Tricky"; "Peter Piper" and the
    fashion-world shifting "My Adidas." Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of the
    energy, charisma and innovation that drew fans to their first two LPs.


    Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. "Proud To Be Black" remains a
    pioneering and underrated cut when people talk about "conscious" hip-hop. And to make sure they never lost the streets that gave them
    their start, "Hit It Run," "Son Of Byford," "Is It Live" and "Perfection" all bring it back to the group's early days in the park.
    Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it was
    the no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as fresh
    today as it did three decades ago.

    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud To Be Black
    RUN DMC
    $22.99
    Vinyl LP - Sealed Buy Now
  • Remain In Light Remain In Light Quick View

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    Remain In Light

    Ranked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!


    Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.


    From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."


    Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!


    "On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling Stone


    The Great Curve
    Crosseyed and Painless
    Born Under Punches (The Heat Goes On)
    Houses In Motion
    Once In A Lifetime
    Listening Wind
    Seen and Not Seen
    The Overload
    Talking Heads
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aerosmith Aerosmith Quick View

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    Aerosmith

    Remastered from the original source tapes!


    Contains the classics Dream On & Mama Kin


    In retrospect, it's a bit shocking how fully formed the signature Aerosmith sound was on their self-titled 1973 debut -- which may not be the same thing as best-executed, because this album still sounds like a first album, complete with the typical stumbles and haziness that comes with a debut. Despite all this, Aerosmith clearly showcases all the attributes of the band that would become the defining American hard rock band of the '70s. Here, the Stones influences are readily apparent, from the Jagger-esque phrasing of Steven Tyler to the group's high-octane boogie, but the group displays little of the Stones' deep love of blues here. Instead, Aerosmith is bloozy -- their riffs don't swing, they slide. They borrow liberally from Led Zeppelin's hybridization of Chess and Sun riffs without ever sounding much like Zep. They are never as British as Zeppelin -- they lack the delicate folky preciousness, they lack the obsession with blues authenticity, they lack the larger-than-life persona of so many Brit bands. They are truly an American band, sounding as though they were the best bar band in your local town, cranking out nasty hard-edged rock, best heard on Mama Kin, the best rocker here, one that's so greasy it nearly slips through their fingers. But the early masterpiece is, of course, Dream On, the first full-fledged power ballad. There was nothing quite like it in 1973, and it remains the blueprint for all power ballads since. The rest of the record contains the seeds of Aerosmith's sleazoid blues-rock, but they wouldn't quite perfect that sound until the next time around.

    -All Music Guide

    1. Make It
    2. Somebody
    3. Dream On
    4. One Way Street
    5. Mama Kin
    6. Write Me
    7. Movin' Out
    8. Walkin' The Dog
    Aerosmith
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Interlude Interlude Quick View

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    Interlude

    Blue Note Records recording artist Jamie Cullum - the best-selling jazz artist in U.K. history - will release his new album INTERLUDE. The album includes 3 exclusive tracks that did not appear on the original U.K. edition. The album marks a shift to straight-ahead jazz and a return to interpretation from an artist who has made a habit of bending genres, writing original material and bringing new sounds and new listeners to the music.
    Working with producer Benedic Lamdin of Nostalgia 77, Cullum selected a number of jewels from the American songbook, including the title track, which was penned by Dizzy Gillespie and Frank Paparelli, and added a couple of modern surprises - Sufjan Steven's "The Seer's Tower" and Randy Newman's
    "Losing You." There are also collaborations with Gregory Porter ("Don't Let Me Be Misunderstood") and Laura Mvula ("Good Morning Heartache").


    Interlude is the follow-up to Cullum's 2013 album Momentum, which he recorded with producers Dan the Automator and Jim Abbiss. Cullum has recently appeared on albums by Labrinth, Birdy and alternative hip hop super-group Deltron 3030. Jamie's catalogue dates back to his self-released, Heard It All Before, in 1999, while he was still studying at the University of Reading. Pointless Nostalgic (2002), released by legendary indie jazz label Candid Records, was certified Gold in the U.K. It was followed by Cullum's breakthrough major label debut, Twentysomething, which climbed into the Top 5 in the U.K., where it was subsequently certified triple Platinum. Cullum recorded two songs for the Meet the Robinsons soundtrack and was nominated for a Golden Globe® for "Best Original Song" for "Gran Torino," which he co-wrote for the 2008 Clint Eastwood film of the same name.

    1. Interlude
    2. Don't You Know
    3. The Seer's Tower
    4. Walkin'
    5. Good Morning Heartache feat. Laura Mvula
    6. Sack O' Woe
    7. Don't Let Me Be Misunderstood feat. Gregory Porter
    8. My One And Only Love
    9. Lovesick Blues
    10. Losing You
    11. Out Of This World
    12. Make Someone Happy
    13. Come And Get Me
    14. Lullaby Of The Leaves
    15. Come Rain Or Come Shine
    Jamie Cullum
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Imagene Peise - Atlas Eets Christmas Imagene Peise - Atlas Eets Christmas Quick View

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    Imagene Peise - Atlas Eets Christmas

    ATLAST EETS CHRISTMAS was previously released in a very limited physical quantity on CD only under the pseudonym Imagene Peise (with a sticker that read Love Is The Answer - Merry Christmas From The Flaming Lips 2007). The pseudonym Imagene Peise is a John Lennon-esque spelling of Imagine Peace, ala Lennon's wonsaponatime, and likewise the album title sounds-out At last, it's Christmas. The alias credits are similarly punning: Imagene Peise - Piano Ominog Bangh - Laughing/Crying Glider Synthesizer Shineyu Bhupal - Drones, Sitar, and Baritone Tambura.


    From the Flaming Lips' presumably vast vault of curiosities comes Atlas Eets Christmas, a psych-jazz piano album that originally appeared in a very limited run under the pseudonym Imagene Peise during the 2007 holiday season. Billed as a lost album by a mysterious young Iraqi piano prodigy name Peise who committed suicide in 1978, the album plays like the soundtrack to some sort of unearthed educational filmstrip where science meets Santa.


    The same could be said about much of the Lips' more experimental output, which does include other Yuletide offerings, most notably the soundtrack to their 2008 film Christmas on Mars. Almost entirely instrumental and buried under the weight of a fabricated faux-vinyl crackle, Atlas frames their lovely piano arrangements of such classics as Winter Wonderland, Do You Hear What I Hear?, and White Christmas with buzzing sitars, spacy electronic noises, distant synths, and the band's hallmark Mellotron drones.


    The result is a warmly intended yet moon-cold Christmas album that is still surprisingly pleasant. Although Wayne Coyne does make his presence known singing lead on the Vince Guaraldi-esque title cut (most likely through an old telephone from his home office on Mars), this largely seems to be the baby of multi-instrumentalist Steven Drozd, whose graceful piano playing makes up the bulk of this unusual venture.

    1. Winter Wonderland
    2. Silver Bells
    3. Christmas Laughing Waltz (including Jingle Bells)
    4. Silent Night
    5. Atlas Eets Christmas
    6. Do You Hear What I Hear?
    7. Have Yourself A Merry Little Christmas
    8. White Christmas (Binson Echorec Sleigh Ride)
    9. Frosty The Snowman
    10. Christmas Kindness Song
    11. The Christmas Song
    The Flaming Lips
    $15.99
    Vinyl LP - Sealed Buy Now
  • Bump City Bump City Quick View

    $34.99
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    Bump City

    Bump City is the second album by the long living Bay Area based Soul Funk group Tower Of Power, released in 1972. Tower Of Power are best known for their funky Soul sound highlighted by a powerful horn section and precisely syncopated bass-guitar lines.


    One of their biggest hits came off the album: You're Still A Young Man, recorded in Memphis and with Rick Stevens as lead vocalist. The production and arrangements were much improved over the debut album East Bay Grease from 1970, as was the engineering and overall technical quality. Their lines were crisper, the unison and ensemble passages much sharper, and they were beginning to round into shape.


    The album was the first to make an impact in the band's early days, and paved the way to their mid Seventies success with subsequent albums like their self titled third album and Back To Oakland from 1974, both of which feature Lenny Williams on lead vocals.

    1. You Got To Funkifize
    2. What Happened To The World That Day?
    3. Flash In The Pan
    4. Gone
    5. You Strike My Nerve
    6. Down To The Nightclub
    7. You're Still A Young Man
    8. Skating On Thin Ice
    9. Of The Earth
    Tower Of Power
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Phonography Phonography Quick View

    $24.99
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    Phonography

    Phonography was lo-fi legend R. Stevie Moores first vinyl release only 100 copies were pressed in 1976. The album (including a slightly larger 1978 pressing) barely earned the artist lunch money. But Phonography has since become the cornerstone of the Do-It-Yourself movement, while establishing Moore as the Granddaddy of home recording. Both Rolling Stone and Spin have proclaimed it one of the most influential independent releases of the past 50 years. Phonography was recorded by a self-taught control-freak, using cheap, malfunctioning analog equipment. Robert Steven Moore was born in 1952, in Nashville. His dad, veteran bassist/producer Bob Moore, taxied between sessions for major stars (including Elvis Presley). But Stevie preferred Brit Invasion, Zappa, Brian Wilsons idiosyncratic arrangements, and outliers like the Shaggs. At the urging of his supportive uncle, Harry Palmer, he moved to New Jersey in 1976.


    The Phonography material was recorded by this one-man virtual band at home between 1974 and 1976 with a pair of analog open-reel stereo decks and no multi-tracking equipment. Moore built songs starting with a rhythm track (e.g., played on drums, furniture, or boxes), upon which he layered instrumental and vocal tracks in a primitive sound-on-sound technique. Multiple generations of sound caused frequency loss and sonic distortion the embodiment of lo-fi but these are charming artifacts that dont obscure the brilliance of the compositions and Moores masterful music eccentricities. Moore and Palmer culled the top-tier songs, which were interspersed with spoken word, audio veritÉ, and radio snippets to create a program effect. The song styles were eclectic, reflecting Stevies omnivorous music appetite: hard rock, sweet ballads, Britpop, guitar raves, glam, and Zappa-esque weirdness. The album laid the foundation for Moores four-decade underground career.


    He has self-released hundreds of albums on each successive eras format du jour (cassette, LP, CD, digital download). Hes had vinyl and CD compilations produced worldwide on two dozen indie labels. For a songwriter with a massive catalog of prime material, Moores revenue stream has barely afforded him the luxury of replacing gear plagued by worn-out switches. Yet most of the surviving labels who turned deaf ears to R. Stevie Moore are now, like him, struggling to make a buck on their catalogs. Their corner-office execs come and go. R. Stevie Moore is still here. And Phonography is back.

    1. Melbourne
    2. Explanation of Artist
    3. Goodbye Piano
    4. Explanation of Listener
    5. California Rhythm
    6. I've Begun to Fall in Love
    7. The Spot
    8. I Want You in My Life
    9. I Wish I Could Sing
    10. Theme From A.G.
    11. The Voice
    12. Showing Shadows
    13. She Don't Know What to Do With Herself
    14. The Lariat Wressed Posing Hour
    15. I Not Listening
    16. Mr. Nashville
    17. Moons
    R. Stevie Moore
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Get Your Wings Get Your Wings Quick View

    $24.99
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    Get Your Wings

    Remastered from the original source tapes!


    Contains the classics Same Old Song And Dance, Train Kept A-Rollin' and Seasons of Wither


    Often overshadowed by the subsequent twin highlights of Toys in the Attic and Rocks, Aerosmith's 1974 second album, Get Your Wings, is where Aerosmith became Aerosmith -- it's where they teamed up with producer Jack Douglas, it's where they shed much of their influences and developed their own trademark sound, it's where they turned into songwriters, it's where Steven Tyler unveiled his signature obsessions with sex and sleaze. Chief among these attributes may be Douglas, who either helped the band ease into the studio or captured their sound in a way their debut never did. This is a leaner, harder album, bathed in grease and layered in grit, but it's not just down to Douglas. The band itself sounds more distinctive. There are blues in Joe Perry and Joey Kramer's interplay, but this leapfrogs over blues-rock; it turns into slippery hard rock. To be sure, it's still easy to hear the Stones here, but they never really sound Stonesy; there's almost more of the Yardbirds to the way the group works the riffs, particularly evident on the cover of the early 'Birds classic The Train Kept a Rollin'. But if the Yardbirds were tight and nervy, Aerosmith is blown out and loose, the sound of excess incarnate -- that is, in every way but the writing itself, which is confident and strong, fueled by Tyler's gonzo sex drive. He is the Lord of the Thighs, playing that Same Old Song and Dance, but he also slows down enough for the eerie Seasons of Wither, a powerful slow-churning ballad whose mastery of atmosphere is a good indication of how far the band has grown. They never attempted anything quite so creepy on their debut, but it isn't just that Aerosmith is trying newer things on Get Your Wings, it's that they're doing their bloozy bluster better and bolder, which is what turns this sophomore effort into their first classic.

    -All Music Guide

    1. Same Old Song and Dance
    2. Lord of the Thighs
    3. Spaced
    4. Woman of the World
    5. S.O.S. (Too Bad)
    6. Train Kept A-Rollin'
    7. Seasons of Wither
    8. Pandora's Box
    Aerosmith
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Best Of Gloucester County The Best Of Gloucester County Quick View

    $16.99
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    The Best Of Gloucester County

    The whole represents a new and welcome chapter in the Danielson oeuvre-a startlingly effective new band, a new thematic field (the locally-grown opus), produced with more sonic ambition than any recent Danielson effort, but without sacrificing the brave interior journey that we have come to expect from Daniel Christopher Smith: the world is complex, slightly dangerous, full of temptations, but there is still grace, beauty, meaning, and the music that is required to suggest all this is anything but easy, but that doesn't mean it is not rewarding, beautiful, funny, sad, and generous.


    Released five years after 2006's well-received Ships, Daniel Smith's Best of Gloucester County finds the Danielson Famile in a bit of disarray. While sisters Megan and Rachel and Smith's wife Erin all make appearances, the bulk of the Famile has fled the nest, but adding four new members (Jens Lekman and longtime Danielson staple Sufjan Stevens appear as well) has done little to tarnish Smith's signature blend of art school indie pop and freak folk Sunday school gospel. While Best of Gloucester County (named for the New Jersey province that serves as the members' stomping grounds) may feel a bit more settled than previous outings, the complacencies of adulthood, as filtered through Smith's manic croon, are hardly destined for commercial airplay. Closer in tone to 2004's Brother Is to Son but with Ships' loftier (but still D.I.Y.) production, Gloucester County's opening cut, Complimentary Dismemberment Insurance, sets the tone with a straightforward blast of Neil Young-meets-Frank Black folk-rock, in which Smith delivers some his most evenhanded vocals in years. The Day Is a Loaf and Grow Up follow similar suit, but overly precious cuts like Lil Norge and People's Partay come away feeling more uncomfortable than whimsical. Still, a middle-of-the-road Danielson Famile/Danielson/Brother Danielson album is hardly a disappointment, as Smith has always been the sole proprietor of his niche, and with each new collection can rewrite the rules however he sees fit. If anything, Gloucester County proves that Smith is willing to let his unique style mature, which may at some point provide some insight into one of the underground's most elusive personalities. - James Christopher Monger

    1.Complimentary Dismemberment Insurance
    2.This Day is a Loaf
    3.Grow Up
    4.Lil Norge
    5.But I Don't Wanna Sing About Guitars
    6.People's Partay
    7.Olympic Portions
    8.You Sleep Good Now
    9.Hovering Above That Hill
    10.Denominator Bluise
    11.Hosanna In the Forest
    Danielson
    $16.99
    Vinyl LP - Sealed Buy Now
  • Permanent Signal Permanent Signal Quick View

    $17.99
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    Permanent Signal

    Permanent Signal: a condition in which a POTS [plain old telephone service] line is off-hook without
    connection for an extended period of time.*


    It's a term that Mauro Remiddi kept coming back to when reflecting on much of the time between last year's release of Strange Weekend, the multi-instrumentalist's debut full-length as Porcelain Raft, and this, its proper follow-up. "In a way, growing up in Italy, then living for 12 years in London, and now two-and-a-half years in New York, made me realize that I have some dear friends that I rarely see," explains Mauro. "I was touring almost non-stop for eight months and I started having these imaginary conversations in my head with people I wanted to communicate with, but for one reason or another it couldn't happen. So this idea of the album title comes with there being a signal that says the line is off."


    Mauro began working on Permanent Signal two months after returning from tour, a period of readjustment
    in which he was beginning to enjoy normal everyday comforts such as frequenting his favorite coffee spot in his Brooklyn neighborhood and connecting with friends again, even as the thoughts of those unrealized conversations during his recent travels were still very fresh in his mind. Inspired by this surreal moment of transition, where the reality of finally being home was still overshadowed by lingering feelings of detachment, he sold almost all of the instruments that he used for Strange Weekend in order to "start with a new color pallet." It's immediately apparent in Permanent Signal's opener, "Think of the Ocean," where the dense basement-recorded haze of his last full-length has been traded for a spacious melancholy, as cello, piano and drums gently spiral atop a faint pulsing tone that mirrors the album's title. And while layers of synths and electronics still play a role, the new record is far more organic than Porcelain Raft's previous album and EPs, an intentional move according to Mauro; "I wanted to record in the studio just to capture the guitars and drums properly, and to have some real input from musicians I respected and loved to hang with."


    Enlisting some support from YUCK's Jonny Rogoff on drums, Antlers bassist Darby Cicci (who also contributed double vocals and trumpet, and engineered the sessions in Antlers' Brooklyn studio), and cellist Gaspar Claus (frequent collaborator with Sufjan Stevens and the National's Bryce Dessner), Porcelain Raft's once gauzy pop has now turned as vivid as a waking dream. During "Minor Pleasure," Mauro finds catharsis when conceding in his otherworldly tenor that "there's nothing hidden in what we see, sometimes you just have to let it end," amidst the processed drone of an organ and a piano that taps into the gospel-dosed psychedelia
    of Spiritualized, while the radiant lull of "Night Birds" reaches cosmic bliss, as crystalline guitars and synthesizers echo the song's poignant sense of nostalgia. Elsewhere, tracks like the aforementioned "Think of the Ocean," "Cluster" and the haunting, Lennon-esque "I Lost Connection" deal directly with lives either on hold or in transition -- all universal themes of the human condition which allow the listener to fill in their own personal experiences with a permanent signal.

    1. Think Of The Ocean
    2. Cluster
    3. Minor Pleasure
    4. Open Letter
    5. Night Birds
    6. It Ain't Over
    7. I Lost Connection
    8. Warehouse
    9. The Way Out
    10. Five Minutes From Now
    11. Echo
    Porcelain Raft
    $17.99
    Vinyl LP - Sealed Buy Now
  • Dope Machines Dope Machines Quick View

    $20.99
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    Dope Machines

    Every so often, one song can change everything. For The Airborne Toxic Event, that particular number happened to be an A Capella version of Queen and David Bowie's classic duet "Under Pressure".


    "Somebody played it for me, and it blew my mind," declares vocalist and guitarist Mikel Jollett. "I made a decision to change my whole approach to music. I just wanted to be joyful about it. I wasn't going to worry anymore. For the first three records, I thought mostly like writer. My mindset changed. It was about inventing a musical logic that was unabashedly catchy and rhythmic, but way weirder than anything we've done in the past."


    That "logic" came to life while Mikel composed "Hell and Back" for the Dallas Buyers Club soundtrack in August 2013. Under a tight deadline, he had no choice but to produce the track himself-a first for the Los Angeles outfit. However, he didn't stop there.


    The frontman would go on to personally produce The Airborne Toxic Event's fourth full-length album and first for Epic Records Dope Machines with the blessing and support of Steven Chen [guitar, keyboards], Anna Bulbrook [violin, keyboard, backing vocals], Daren Taylor [drums], and Adrian Rodríguez [bass].


    "Producing was massively challenging and super fun," admits Mikel. "When we finished the last record, our producer Jacquire King said to me, 'I think you're ready to produce an album now.' I felt like we had reached the apotheosis of being a proper rock band. This was the exact opposite. It was me alone in a room for 12 hours a day working harder than I'd ever worked."


    Early in the process, Mikel tapped into a boundless aesthetic, embracing electronic elements as well as pop structures and unbridled rock 'n' roll bombast. At the same time, it defied categorization at every turn. "That's one of the hallmarks of the record," he affirms. "It doesn't sound like anything else."


    The first single "Wrong" merges striking synths and an electronic swing with an evocative refrain punctuated by a robust groove. It's borderline danceable, but always chant-able.


    "It's just about a guy feeling insecure," explains Mikel. "I wrote it at a time of massive upheaval in my life. We all have that moment. You look over everything and think, 'I am an idiot!' It's not every day, but you wish you could start over. That's the idea."


    "California" turns a spotlight on a different side of the Golden State from the perspective of a true native. All the while, it still boasts an unshakable refrain and intricate instrumentation.


    "I grew up in California," he goes on. "My parents were hippies, and I was born in the back of a VW bus on the beach. I was around everybody from Beatniks to gang members to kids who just emigrated from Guatemala or Ethiopia. None of this had anything to do with the popular image of what California is-that idea of palm trees and movie stars. As soon as you've got an idea of utopia, it begs a dystopia. It's an idea of apocalypse right around the corner in a place that's considered ideal."


    Simultaneously, the title track tempers a distinct guitar bounce with entrancing harmonies, making for a provocative and potent dichotomy.


    "You can interact with all of these dope hand devices, but they make you sort of dopey an hour later," he sighs. "You make music with them. They can save you from a heart attack. They're little extensions of the things that make us fundamentally human, which is the desire to interact with one another. The machines are all of these things at the same time."


    In the middle of 2014 after moving on from Island Records, Epic Records C.E.O. L.A. Reid reached out and signed them-for the second time.


    "L.A. signed us way-back-when at Island," recalls Mikel. "He literally saw us at Bowery Ballroom in New York, came backstage, and offered us a record deal. The moment we were free, he sent us a deal memo. It's a pleasure to be working with him again. He's a big believer, and he brings a lot of energy to this."


    They've carried a similar energy through three full-length albums: The Airborne Toxic Event [2008], which spawned the gold-selling single "Sometime Around Midnight", All At Once [2010], and Such Hot Blood [2013]. In addition to reaching gold status, iTunes named "Sometime Around Midnight" the "#1 Alternative Song of the Year", and it spent a staggering eight weeks at #1 on Billboard's Heatseakers Chart. HBO utilized it on their high-profile Network Season Promo. The group has appeared on The Late Show with David Letterman four times, The Tonight Show with Jay Leno four times, and on Jimmy Kimmel Live! three times. Moreover, they've taken the stage at festivals including Coachella and Lollapalooza and sold over 50,000 tickets in 2013 alone.


    In many ways though, Dope Machines signals something of a rebirth.


    "It's like debuting a new phase," concludes Mikel. "It was a new approach. We've got a new label. We threw out everything we were tired of and moved on to a brand new palette. That was the goal. This isn't what The Airborne Toxic Event is supposed to be. This is who we are.

    1. Wrong
    2. One Time Thing
    3. Dope Machines
    4. California
    5. Time To Be A Man
    6. Hell And Back
    7. My Childish Bride
    8. The Thing About Dreams
    9. Something You Lost
    10. Chains
    Airborne Toxic Event
    $20.99
    Vinyl LP - Sealed Buy Now
  • Fire On The Floor Fire On The Floor Quick View

    $21.99
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    Fire On The Floor

    Beth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Beth's latest album, Fire On The Floor: a release that even this fiercely self-critical artist describes as "pretty frickin' good".


    Fire On The Floor is sure to build on her breakneck momentum. As the singer explains, this latest record gave her an emotional release following the bitter-sweet sessions for Better Than Home. If there's a theme that ties these twelve songs together, it's a sense of escapism following the hardest of times. "We were still in the mixing stages for that album and I knew I had to make another record. Making Better Than Home was so painful, because one of the producers, Michael Stevens, was dying of cancer. It was a very emotional record to write and to make. I wanted the songs for Fire On The Floor to get born real quick."


    Take a spin of Fire On The Floor and you'll see exactly why. These twelve new songs run the gamut of genre, reflecting Beth's eclectic teenage influences, which took in everything from gospel, soul and classical to the seismic rock of Soundgarden. "As a writer," she nods, "I feel really stifled if I'm trying to write in the same style. I just can't do that. Growing up as a kid, I was raised all over the place stylistically, loving so many different genres."


    Fire On The Floor is the album that Beth Hart needed to make. Likewise, it's a record that you need to hear. "I'm so pleased with it," she concludes. "I recently had to organize the sequence of the record, and while I was doing that, I was thinking to myself, 'Y'know, this is pretty frickin' good !'"

    1. Jazz Man
    2. Love Gangster
    3. Coca Cola
    4. Let's Get Together
    5. Picture In A Frame
    6. Fat Man
    7. Fire On The Floor
    8. Woman You've Been Dreaming Of
    9. Baby Shot Me Down
    10. Good Day To Cry
    11. Love Is A Lie
    12. No Place Like Home
    Beth Hart
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Circuital Circuital Quick View

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    Circuital

    Acclaimed Band Goes Back to Kentucky Rock Roots on Scintillating 2011 Set


    Adventurous, Organic, Focused, and Fun: Jim James and Co. Get Their Jam On


    LPs Cut at 45PRM and Pressed on 180g Audiophile Vinyl: Excellent Sonics


    My Morning Jacket's sixth studio album, the stunning Circuital, finds the band going back to its Kentucky rock roots while still mixing in tempered amounts of the experimentalist streaks on its two previous efforts. The album was recorded in Louisville, KY and Nashville, TN and co-produced by frontman Jim James and Tucker Martine (R.E.M., Sufjan Stevens, The Decemberists). The result is yet another reinvention of the group's sound that both forges new ground and maintains the distinct spirit of MMJ's previous genre bending work.


    Critics were already praising the effort on the week before its release, and James has rarely expressed such open-minded admiration for his own work. Plus, the sound is riveting. And vinyl is the way to hear this excellent record, as the two 180g LPs are cut at 45rpm and housed in gatefold packaging. Includes poster insert with lyrics and inner sleeves with full color artwork.


    Recorded in a Louisville church gymnasium, Circuital is just as adventurous, yet more organic and focused; when James sings, Play it smart, soul intact/How you react is what you'll get back, against lovely circular guitar shimmer on You Wanna Freak Out, he's like the beard-rock version of Coach Taylor from Friday Night Lights, showing the boys how to relax and channel their inner jam.

    --Jon Dolan, Rolling Stone, May 26, 2011


    The [title track] is the centerpiece of what in the vinyl era wouldve been Side 1 of the album, with the tracks sequenced to melt one into the next. The ascending, trance-like Victory Dance, the undulating finger-picked guitar and yearning vocal of Wonderful (The Way I Feel), the surreal combination of Beach Boys-like vocals and pedal-steel guitar on Outta My Systemit makes for a brilliant start and raises expectations that My Morning Jacket has finally made its classic.

    --Greg Kot, Chicago Tribune, May 27, 2011

    1. Victory Dance

    2. Circuital
    3. The Day Is Coming
    4. Wonderful (The Way I Feel)
    5. Outta My System
    6. Holdin On To Black Metal
    7. First Light
    8. You Wanna Freak Out
    9. Slow Slow Tune
    10. Movin Away
    My Morning Jacket
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2LPs Sealed Buy Now
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