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The Band Northern Lights'
Northern LightsNorthern Lights - Southern Cross is the sixth studio album by Canadian-American rock group The Band released in 1975. It was the first album to be recorded at their new California studio, Shangri-La, and the first album of all new material since 1971's Cahoots.1. Forbidden Fruit
2. Hobo Jungle
4. Acadian Driftwood
5. Ring Your Bell
6. It Makes No Difference
7. Jupiter Hollow
8. Rags and Bones$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Northern Lights - Live 9-22-76Recorded just two and a half months before Tommy Bolin's untimely death, the Tommy Bolin Band are heard playing in an intimate setting for an FM broadcast (after spending the summer of 1976 playing huge stadiums with the likes of Steve Miller, Peter Frampton, ZZ Top, and Rush).1. Teaser
2. People People
3. You Told Me That You Loved Me
4. Wild Dogs
5. Shake The Devil
6. Post Toastee
7. Homeward Strut$29.99180 Gram Vinyl LP Buy Now
Under Great White Northern LightsIn the summer of 2007, shortly after the release of their 6th album Icky Thump, The White Stripes headed north of their hometown of Detroit to embark on an ambitious journey across Canada. The plan was to play a show in every province and territory in Canada, from B.C. to Newfoundland to Nunavut. Having never done a tour of Canada, Meg and I thought it was high time to go whole hog, from the ocean to the permafrost explains Jack White. We wanted to play out of the way towns that don't usually get shows, the shows are better, it's better for the people, it's a better experience, it's way more unique, something interesting is going to happen, hopefully.
White called upon filmmaker Emmett Malloy to come and document this trek for the band. Malloy had directed videos for the band in the past, and seemed eager to hit the road with them. Equipped with a couple of 16mm cameras, and a few other documenting devices, the band and crew all headed north. The end result was Under Great White Northern Lights.
Under Great White Northern Lights is a visual and emotional feature length film documenting The White Stripes making their way through Canada and culminating with their 10th Anniversary show in Nova Scotia. The film documents the band playing shows all over Canada; from local bowling alleys, to city buses, and onward to the legendary Savoy Theater for the 10th Anniversary show. A show that turned out to be the longest show the band had ever done on stage together.
The film captures intimate moments of Jack and Meg both on and off stage as they travel through some of the most remote parts of the northern Yukon Territory. Along the way, they have some nice casual conversations about their ten years together, fire cannons, play some of their biggest songs together on stage, and even play a one note show. The cameras were there to capture every waking moment.
What Northern Lights does best is document one of the biggest bands in the world, playing to local crowds in small towns. Some of these towns were so small that many of the locals had no idea who The White Stripes were, they just knew something big was going on in their town. This forced a band that had been together for a decade to go back to a place reminiscent of the first shows they ever played together. For the first time in a long time, no one knew who they were and they had to make a first impression with their music.
The live footage captured in this film shows that Jack and Meg were clearly ready for this. Beyond the live footage, some of the films most memorable moments happen off-stage, offering an insightful look into the very private and complex world that is The White Stripes. It was shortly after this tour that The White Stripes cancelled their fall tour of the U.S., making the ten year anniversary a truly pivotal milestone for this legendary band.
This double 180g vinyl LP set features 16 tracks and serves as the soundtrack to the documentary film of the 2007 Canadian White Stripes tour.1. Let's Shake Hands
2. Black Math
3. Little Ghost
4. Blue Orchid
5. The Union Forever
6. Ball And Biscuit
7. Icky Thump
8. I'm Slowly Turning Into You
10. 300 M.P.H. Torrential Outpour Blues
11. We Are Going To Be Friends
12. I Just Don't Know What To Do With Myself
13. Prickly Thorn, But Sweetly Worn
14. Fell In Love With A Girl
15. When I Hear My Name
16. Seven Nation Army$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Holy Smokes" guileless craft - directly culled from (Townes) Van Zandt's lectern." - AMERICAN SONGWRITER
"Fierce youthful abandon mixed with the serenity of an old soul makes for some rockin' songs and smooth ballads." - CHICAGO SUN-TIMES
HOLY SMOKES is a rockin', groove-laden follow up to the rock opus PARDON ME, which put Tyler and his band The Northern Lights on the map when released in 2010. The new album reveals a more pensive and sophisticated Tyler who's learned his lessons while navigating the rollercoaster of life on the road, major festivals, major labels, drugs, booze, great love, great loss and the heartbreak of mistakes you can't change and time lost that you can't take back. The album was co-produced by Tyler and Thom Monahan (Chris
Robinson, Devendra Banhart, Vetiver) in both Tyler's native Dallas, Texas and his adopted hometown of Los Angeles, California.1. Hallelujah
2. Goin' Down To The City
3. Honey Pie
4. Let It Out
5. To Love Is To Fly (feat. Nikki Lane)
6. California Sunshine
8. Late Night Special
9. Hey Mama, My Time Ain't Long
11. Everything Was Cool In 2002$18.99Vinyl LP - Sealed Buy Now
Archer Trilogy Part 3The Deer Tracks are Northern Light Electronica duo David Lehnberg & Elin Lindfors, who call Gavle, Sweden their home. These two versatile multi-instrumentalists and singers handle every aspect of their music from writing to recording to production. On The Archer Trilogy Pt. 3, the band exhibits their signature sounds, Elin sings breathlessly over an anxious synthesizer melody and suddenly a hard-edged guitar riff snaps the song in two, only to fall away as strings and bass sweeps in for a soaring chorus.1. Ill
3. Divine Light
4. Astral Ship
5. Red Eyed Zebra
9. The Ghost Hour
10. Road to$16.99Vinyl LP - Sealed Buy Now
Highly Anticipated Follow Up Album To 2015's "Raise A Little Hell"
Include Three Exclusive Bonus Tracks
"They are going to be huge" British magazine Kerrang once predicted - oh, how awfully right
they were! Meanwhile, Northern Irish hard rockers The Answer gave us five fine, diversified
albums only to now blow everyone away with the lush beauty that is Solas - a bold step
in evolution for the band and past genre boundaries. This is not your typical The Answer
classic rock album, musically and lyrically the band have progressed and have delivered a
contemporary rock album with Gaelic influences.
Solas is the Gaelic word for "light" - and how could this not be an omen? The Answer`s songwriting has an unchained quality to it:
epic arrangements, airy folk melodies, and guitar sound walls build a timeless and thrilling
masterpiece which embodies the crowning of the whole career of the Irish!LP 1
2. Beautiful World
3. Battle Cry
4. Untrue Colour
5. In This Land
6. Thief Of Light
7. Being Begotten
1. Left Me Standing
2. Demon Driven Man
3. Real Life Dreamers
5. In This Land (Acoustic)*
6. Light In Darkness (Demo)*
7. Money (Pink Floyd Cover)*
* bonus tracks$23.99Vinyl LP - 2 LPs Sealed Buy Now
Aspera Hiems Symfonia
• 180 Gram Blue Vinyl
• 1000 Only Limited Edition
Aspera Hiems Symfonia is the debut studio album by Norwegian avant-garde metal band Arcturus
Arcturus was one of the first Norwegian black metal bands to incorporate a large dose of symphonic keyboards to their music, leaving behind the rawness and brutality of their contemporaries at an early stage of their career (there are four re-recorded songs from 1994's Constellation EP in here). In fact, their approach to the newly-born (by that date) symphonic black metal sound is less aggressive and more melodic than the one of Emperor, Dimmu Borgir, Limbonic Art and similar bands, having some similarities with atmospheric black metal instead.
The music is mostly mid-paced, with blast-beats only being present briefly on the first track. The keyboards are at the forefront of the music, using symphonic arrangements and/or atmospheric effects. The guitar work is varied enough, playing melodic lines along with the keyboard ones, sometimes being more of a rhythmic instrument, playing either mid-tempo riffs or tremolo-picked ones, and with many songs featuring neoclassical-influenced guitar leads and blistering solos (like the ones on 'To Thou Who Dwellest in the Night' or 'Fall of Man'), where the guitars have their moments to shine.
The drumming is technical and precise, and even though the rhythms are quite basic, Hellhammer spices them up with his characteristic use of cymbals and double bass (to prevent the songs from sounding plodding and slow). Garm hadn't quite developed his charismatic baritone vocal style, and for most of the time in here, he goes for full-on harsh vocals. Actually, his best harsh vocal performance ever is on this record, surpassing (by little) even the one on Ulver's Nattens Madrigal. His screams sound passionate yet spiteful and angry, like the one on 'Raudt og svart', or the THROUGH THE WOOOOOAAAAADDDSSSSS!!!!!!!!!! section of 'Wintry Grey', to name a few. Nevertheless, his clean vocals are still present, but on choral, spoken or whispered sections, and doesn't sound as strong as the ones of posterior works.
Other feature of the record that makes it different from its contemporaries is the progressive approach to songwriting, something that can be evidenced in the frequent time signature shifts and the frequent changes in the structure of the songs, as well as some unusual sounds (like the reversed vocals of 'Whence & Whither Goest the Wind') and odd, quirky (yet not blatantly carnivalesque like the ones on 'La masquerade infernale') melodies, which give it an experimental edge that would be explored with more depth in the subsequent releases of the band.
The thin production (with the airy keyboards, the razor-blade guitars, the metallic, thumping drums, and the echoey vocals) gives the record a cold feeling, and it has this sort of winternight-esque atmosphere, like being in a forest while snowing, contemplating the northern lights (yes, like the ones on the cover) and the stars. This cosmic winter atmosphere gives the music a contemplative, calm and mellow feeling.
The glorious symphonic arrangements, the soaring guitar lines, the emotional but not straightforward or standard songwriting, and the atmosphere are the things that make Aspera Hiems Symfonia so special and one of the most remarkable achievements in the realm of symphonic black metal, an album that manages to be accessible enough to draw new listeners to the genre, but at the same time is one of their most forward-thinking and intriguing works.
- greywanderer7 (The Metal Archives)LP 1
1. To Thou Who Dwellest In The Night
2. Wintry Grey
3. Whence And Whither Goest The Wind
5. The Bodkin & The Quietus
6. Du Nordavnid
7. Fall Of Man
8. NaarKulda Tar (FrostnettenesProlog)
1. The Deep Is The Skies (bonus track)
2. Cosmojam (bonus track)
3. RaudtOgSvart (taken from Constellation promo CD)
4. Icebound Streams And Vapours Grey (taken from Constellation promo CD)
5. NaarKulda Tar (taken from Constellation promo CD)
6. Du Nordavind (taken from Constellation promo CD)
7. My Angel (taken from My Angel 7 EP)
8. Morax (taken from My Angel 7 EP)$32.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Tourist HistoryNorthern Irelands Two Door Cinema is a music-mad trio whose debut album fizzes with invention and sparkling tunes. Rooted in rock and pop, with elements of electronica/electro, and Afro-beats, the sum is greater than any indie electro pop parts
Recorded in London at Eastcote Studios and produced by Elliott James (Bloc Party, Noah And The Whale) with a number of tracks mixed by Phillipe Zdar (Phoenix, Justice, Cassius), the album simply multiplies the singles surfeit of ideas and sounds. The opening track, Cigarettes In The Theatre, perfectly displays the bands light-footed yet hard-driving energy, highlighted by Alexs vocal melody, with its almost dreamy brand of urgency. Its followed by Come Back Home, a sequel of sorts; introducing a bed of woozy synths that build and act as a launching pad for a digi-funk backdrop that bounces, swings and rocks behind Alexs confessions of relationships-past.1. Cigarettes In the Theatre
2. Come Back Home
3. Undercover Martyn
4. Do You Want It All?
5. This Is the Life
6. Something Good Can Work
7. I Can Talk
8. What You Know
9. Eat That Up, It's Good for You
10. You're Not Stubborn
11. Undercover Martyn Flexin' It$19.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 1 - Dizzy GillespieOriginal Remastered
The story behind the bent trumpet
It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.
If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.
In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.
In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.
Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.
The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.
Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?
Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!Side A - Dizzy Gillespie Quartet
1. They Can't Take That Away From Me
2. Alone Together
4. Tin Tin Deo
5. I Can't Get Started
Side B - Hans Koller New Jazz Stars
6. The Way You Look Tonight
7. Indian Summer
8. You Go To My Head
9. All The Things You Are$32.99Vinyl LP - Sealed Buy Now