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  • The Last Waltz The Last Waltz Quick View

    $36.99
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    The Last Waltz

    Mastered By Chris Bellman At Bernie Grundman Studios From The Original Analog Tapes And Pressed At RTI


    On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco for THE LAST WALTZ, which has gone on to become one of the most heralded performances of all time. Joining The Band on stage throughout the evening was an unprecedented group of pioneers in music including Eric Clapton, Neil Diamond, Bob Dylan, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others.


    The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late Sixties and early Seventies - a time when the fabric of community in the United States was fraying.


    Guitarist Robbie Robertson drew from history in his evocative, cinematic story-songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the Fifties. (via RockHall.com)

    LP1
    1. Theme From The Last Waltz

    2. Up On Cripple Creek
    3. Who Do You Love
    4. Helpless
    5. Stagefright
    6. Coyote
    7. Dry Your Eyes
    8. It Makes No Difference
    9. Such A Night


    LP2
    1. The Night They Drove Old Dixie Down
    2. Mystery Train
    3. Mannish Boy
    4. Further On Up The Road
    5. Shape I'm In
    6. Down South In New Orleans
    7. Ophelia
    8. Tura Tura Lural (That's An Irish Lullaby)

    9. Caravan


    LP3
    1. Life Is A Carnival
    2. Baby Let Me Follow You Down
    3. I Don't Believe You (She Acts Like We Never Have Met)
    4. Forever Young
    5. Baby Let Me Follow You Down (Reprise)
    6. I Shall Be Released
    The Last Waltz Suite:
    7. The Well
    8. Evangeline
    9. Out Of The Blue
    10. The Weight
    11. The Last Waltz Refrain
    12. Theme From The Last Waltz (with Orchestra)

    The Band
    $36.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • The Last Waltz (Box Set) The Last Waltz (Box Set) Quick View

    $119.99
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    The Last Waltz (Box Set)

    Complete audio from the concert, including rehearsals and outtakes, pressed on 180-gram vinyl for the first time and presented in an ornate lift-top box.
    LP 1
    1. Theme From The Last Waltz (Concert Version)
    2. Up On Cripple Creek (Concert Version)
    3. The Shape I'm In (Concert Version)
    4. It Makes No Difference (Concert Version)
    5. Who Do You Love (Concert Version) [Feat. Ronnie Hawkins]
    6. Life Is A Carnival (Concert Version)
    7. Such A Night (Concert Version) [Feat. Dr. John]
    8. The Weight (Concert Version)
    9. Down South In New Orleans (Concert Version) [Feat. Bobby Charles]


    LP 2
    1. This Wheels On Fire (Concert Version)
    2. Mystery Train (Concert Version) [Feat. Paul Butterfield]
    3. Caldonia (Concert Version)
    4. Mannish Boy (Concert Version) [Feat. Muddy Waters]
    5. Stagefright (Concert Version)
    6. Rag Mama Rag (Concert Version)
    7. All Our Past Times (Concert Version)
    8. Further On Up The Road (Concert Version) [Feat. Eric Clapton]


    LP 3
    1. Ophelia (Concert Version)
    2. Helpless (Concert Version) [Feat. Neil Young]
    3. Four Strong Winds (Concert Version)
    4. Coyote (Concert Version) [Feat. Joni Mitchell]
    5. Shadows And Light (Concert Version)
    6. Furry Sings The Blues (Concert Version)
    7. Acadian Driftwood (Concert Version)
    8. Dry Your Eyes (Concert Version) [Feat. Neil Diamond]


    LP 4
    1. The W.S. Walcott Medicine Show (Concert Version)
    2. Tura Lura Lural (That's An Irish Lullaby) [Concert Version] {Feat. Van Morrison}
    3. Caravan (Concert Version) [Feat. Van Morrison]
    4. The Night They Drove Old Dixie Down (Concert Version)
    5. The Genetic Method/Chest Fever (Soundtrack Version)
    6. Baby Let Me Follow You Down (Concert Version) [Feat. Bob Dylan]
    7. Hazel (Concert Version)
    8. I Don't Believe You (She Acts Like We Never Have Met) [Concert Version] {Feat. Bob Dylan}
    9. Forever Young (Concert Version) [Feat. Bob Dylan]
    10. Baby Let Me Follow You Down (Reprise) [Concert Version] {Feat. Bob Dylan}
    11. I Shall Be Released (Finale) [Concert Version] {Ensemble}


    LP 5
    1. Jam #1 (Concert Version)
    2. Jam #2 (Concert Version)
    3. Don't Do It (Concert Version)
    4. Greensleeves (Soundtrack Version)
    5. The Last Waltz Suite: The Well
    6. The Last Waltz Suite: Evangeline [Feat. Emmylou Harris]
    7. The Last Waltz Suite: Out Of The Blue
    8. The Last Waltz Suite: The Weight (Feat. The Staples)
    9. The Last Waltz Suite: The Last Waltz Refrain
    10. The Last Waltz Suite: Theme From The Last Waltz (Feat. Orchestra)


    LP 6
    1. King Harvest (Rehearsal Version)
    2. Tura Lura Lural (Concert Rehearsal Version)
    3. Caravan (Concert Rehearsal Version)
    4. Such A Night (Concert Rehearsal Version)
    5. Rag Mama Rag (Rehearsal Version)
    6. Mad Waltz (Sketch track for 'The Well') (Studio Version)
    7. The Last Waltz Refrain (Instrumental)
    8. The Last Waltz Theme (Sketch)

    The Band
    $119.99
    180 Gram Audiophile Virgin Vinyl Box Set - 6 LPs Sealed Buy Now
  • Rock of Ages (Awaiting Repress) (On Sale) Rock of Ages (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Rock of Ages (Awaiting Repress) (On Sale)

    The Band's Ultimate Live Album Recorded at Its Career Peak!


    Legendary Live Set Features Horn Arrangements by Allen Toussaint


    Incredible Sound and Virtuosic Performances


    The Last Waltz gets bigger billing, but The Band's 1972 live album Rock of Ages is actually the better representation of a live Band album. Recorded at the tail end of the group's Cahoots tour and over the course of four nights at New York's Academy of Music at the end of December 1971, the incendiary concert set bookmarks the close of the first phase of the collective's career.


    Rather than follow the lead of most other live records made at the time (and many since), The Band resists any temptation to improvise or extend its material. Instead, the group plays with an intensity, chemistry, and spirit that's nearly unrivaled by any other live album. The quintet also draws on a secret weapon: One Allen Toussaint, who tailors expert horn arrangements for multiple songs, a move that spices renditions of classics such as "Don't Do It" and "Chest Fever." To top it all off, the horn charts are performed by the Rock of Ages Horn Section-a five-piece ensemble that includes legendary trumpeter Snooky Young (Count Basie, Lionel Hampton) and saxophonist Joe Farrell (Charles Mingus, Elvin Jones).


    "I felt very much at home with The Band. You could tell in their music they know where they're coming from and they know where they're going. Each one had an extremely special interest in what they were doing." -Toussaint, as told to Rob Bowman


    Do they ever. Unencumbered by the myriad guests and grandiose sense that define The Last Waltz, and energized by Toussaint's invaluable work, Rock of Ages is the sound of a great band pulling out all the stops. Robbie Robertson's guitar solos take "Unfaithful Servant" to a higher ground; "The W.S. Walcott Medicine Show" kicks with raunchy R&B abandon; Garth Hudson delivers a show-stealing performance on "The Genetic Method," a thrilling organ piece that incorporates elements of Anglican church music, folk, classical, and pop-as well as "Auld Lang Syne," due to its being recorded on New Year's Eve.


    After various inferior editions and reissues, Rock of Ages is finally presented on an immaculate-sounding 180g 2LP set from Mobile Fidelity that lets Toussaint's contributions, horn section's energy, and the Band's feverish interplay shine like never before. Mastered from the original tapes, the open, airy, natural, and balanced sound will have you returning to Rock of Ages again and again.


    This title is not eligible for further discount.

    1. Introduction / Don't Do It
    2. King Harvest (Has Surely Come)
    3. Caledonia Mission
    4. Get Up Jake
    5. The W.S. Walcott Medicine Show
    6. Stage Fright
    7. The Night They Drove Old Dixie Down
    8. Across The Great Divide
    9. This Wheel's On Fire
    10. Rag Mama Rag
    11. The Weight
    12. The Shape I'm In
    13. Unfaithful Servant
    14. Life Is A Carnival
    15. The Genetic Method
    16. Chest Fever
    17. (I Don't Want To) Hang Up My Rock And Roll Shoes
    The Band
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Live at the Music Hall Live at the Music Hall Quick View

    $34.99
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    Live at the Music Hall

    Those who were fortunate to catch Phosphorescent at any of the their shows in 2013 can attest to the fact
    that this is no ordinary touring band. Built around the core of founding member/songwriter Matthew
    Houck, Phosphorescent has expanded from a loop-station based solo act into a fully fledged classic rock
    band to be held in the same regard as the likes of Crazy Horse. They spent most of 2013 touring behind
    their hugely acclaimed album Muchacho, and by the end of the year the band were at the peak of their
    powers. This 3xLP live album was recorded over the course of four jam-packed, sweltering holiday
    nights in mid-December.


    The shows featured the full line up of Matthew Houck (Voice, Guitar, Piano), Rustine Bragaw (Bass,
    Voice), Christopher Marine (Drums), David Torch (Percussion), Jo Schornikow (Organ, Voice), Scott
    Stapleton (Piano, Voice), Ricky Ray Jackson (Pedal Steel, Guitar, Voice). The songs are culled from across
    the catalogue of Phosphorescent albums stretching back to early live favorite 'Wolves', which is featured
    here in both solo form and in full band guise, through to current classics such as 'Song for Zula' & Ride
    On/Right On'.


    After the shows, Houck spent hours going through the recordings, piecing together this definitive live
    collection. This is far from a quick cash-in live album - in fact, it should should perhaps be seen as the
    ultimate Phosphorescent record, taking the recordings that make the studio album to a whole new level.
    Once Houck had pieced together the tracks, he and album mixer John Agnello worked through the
    tracks, mixing them to truly represent that amazing Phosphorescent sound - one part cowboy bravado,
    one part wounded master.


    You can hear how Houck's voice cracks over over the tender 'Tell Me Baby ' and how it soars in the
    perhaps definitive Phosphorecent live song 'Los Angeles'. The musicianship on display here is supreme,
    particularly Ricky Ray's sublime pedal steel and the dual keyboard work of Schornikow and Stapleton,
    playing opposite each other and playing off each other. This album should be considered an addition to
    the pantheon of classic live records - The Who's Live at Leeds, Frampton Comes Alive, Neil Young's Rust
    Never Sleeps, The Band's The Last Waltz, Bob Marley's Live, Cheap Trick's Live at the Budokan - like those,
    it is a defining moment in the catalogue of Phosphorescent.

    1. Sun Arise! (An Invocation/An Introduction) (Live)
    2. A New Anhedonia (Live)
    3. Terror In The Canyons (The Wounded Master) (Live)
    4. The Quotidian Beasts (Live)
    5. Tell Me Baby (Have You Had Enough) (Live)
    6. Nothing Was Stolen (Love Me Foolishly)(Live)
    7. Dead Heart (Live)
    8. Down To Go (Live)
    9. Song For Zula (Live)
    10. Ride On/Right On (Live)
    11. A Picture Of Our Torn Up Praise (Solo, Live)
    12. Muchacho's Tune (Solo, Live)
    13. Wolves (Solo, Live)
    14. Joe Tex, These Taming Blues (Live)
    15. Los Angeles (Live)
    16. A Picture Of Our Torn Up Praise (Live)
    17. South (Of America) (Live)
    18. Wolves (Live)
    19. At Death, A Proclamation (Live)
    Phosphorescent
    $34.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Beautiful Noise Beautiful Noise Quick View

    $24.99
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    Beautiful Noise

    Beautiful Noise is the third album by Neil Diamond on Columbia Records (tenth studio album overall), originally released in 1976. Dry Your Eyes was performed with The Band at their farewell show and is featured in Martin Scorsese's The Last Waltz.


    Beautiful Noise marked a radical departure in production, style, arrangements and compositional diversity for Diamond. It was billed at the time of its release as something of a comeback album for the artist and did mark a new and highly productive phase of his recording and touring career.

    1. Beautiful Noise
    2. Stargazer
    3. Lady-Oh
    4. Don't Think... Feel
    5. Surviving The Life
    6. If You Know What I Mean
    7. Street Life
    8. Home Is A Wounded Heart
    9. Jungletime
    10. Signs
    11. Dry Your Eyes
    Neil Diamond
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Love Now Love Now Quick View

    $16.99
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    Love Now

    Mean Lady is the duo of Katie Dill and Sam Nobles. They are from Delaware and they're both really nice. Really, really nice. For their new debut LP the duo have written a collection of songs about lust, innocence and vulnerability.


    Pitchfork have premiered first single "Far Away," writing, "'Far Away' wouldn't feel out of place on the last Youth Lagoon record, an out-of-time waltz flanked by aqueous sound effects. It's a prelude to something far more vigorous, though, as squishy beats, sprightly piano plinks, and an approximation of a sitar server as the backdrop for Katie Dill's transcontinental love letter."


    Through bubbly synths and rhythmic production, Dill and Nobles managed to cobble together a timeless, concise pop record. It's a finished product that could only exist when kids from Delaware grew up, trashed all their soul records and then got high some time after DJ Shadow started to suck but probably before J Dilla died.


    Love Now is deep and rich. The sound is Sam's wonderfully abrupt sampling and skipping drum beats underneath the band's live instruments. All of this is anchored by Katie's songwriting and sharp, but sweet vocals. Take heed: this is an important debut for a young band.

    1. One Big Family
    2. Far Away
    3. Mother Earth
    4. Bop Bop
    5. Why'd'ya Haftabee Sucha?
    6. Daisies
    7. Lonely
    8. Pony Ony O
    9. I Will Marry You
    Mean Lady
    $16.99
    Vinyl LP - Sealed Buy Now
  • Beyond Ugly Beyond Ugly Quick View

    $19.99
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    Beyond Ugly

    Domino is proud to present the third album, Beyond Ugly, from the Bristol, UK duo of Malachai.


    Beyond Ugly is the last panel in the band's Ugly triptych and that it was completed at all came as a
    shock to all concerned, least of all the group. After the conclusion of the campaign for their sophomore
    album, Return To The Ugly Side, members Gee Ealey and Scott Hendy drifted apart with no definitive
    plans to take up arms together. It was a chance meeting in Bristol that drew the two back into one
    another's orbit and to the realization that there was some unfinished monkey business. The duo reengaged slowly, simply working up a track at a time, more for the cathartic act of creating good music
    rather than the artificial construct of "delivering an album." Lo and behold, the creative process built
    an inertia of its own and Beyond Ugly began to take shape.


    And what a fine shape it is... Beyond Ugly recaptures the sonic stew of debut album, The Ugly Side
    Of Love, a potent of brew of post-summer of love and some good ol' Bristol-fashion psychedelic
    comedown. However, there's a healthy dose of renewed restlessness and anger emanating from Ealey
    that permeates the album thanks to some spirited vocal performances, from the anthemic and vengeful
    soliloquy of "Sweet Flower" to the civilly disobedient "I Deserve To No."


    Of course, Malachai isn't a one-man show. As Rakim had Eric B... Hendy, the duo's musical director, has
    truly outdone his past efforts and provides a sturdy musical platform from which Rev. Ealey delivers his
    sermons, whether the occasion calls for an exotic sturm-und-clang ("I Deserve To No") or a genteel softshoe waltz ("Hear It Comes").


    Malachai have always enjoyed // suffered the curse of being a "musician's band." Geoff Barrow of
    Portishead originally released The Ugly Side Of Love on his Invada imprint before Domino swooped
    in and there was no bigger proselytizer of Malachai's prowess than Sergio Pizzorno of Kasabian and
    both take their support a step further with guest appearances on "Dragons Ball" and "The Love"
    respectively. Additionally, "Segs" Jennings, bassist from punk legends The Ruts joins the fray on
    "Sweet Flower."


    The album concludes with a montage of hallucinations from across the band's discography before what
    can be best described as the ominous twilight tranquility of "End." Is this really where the Malachai
    story ends? As shown by the creative triumph of Beyond Ugly, sometimes it's best not to plan at all and
    just let it happen. We'll do our best to let you know when it does.

    1. Sweet Flower
    2. Don't Try This At Home
    3. Dragons Ball
    4. Holes
    5. Hear It Comes
    6. I Deserve To No
    7. White Nuthin' Sky
    8. The Love
    9. Army
    10. Dark Before The Dawn
    11. End
    12. Down To Earth
    Malachai
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Never Were The Way She Was Never Were The Way She Was Quick View

    $25.99
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    Never Were The Way She Was


    180g LP In Gatefold Jacket Includes Art Print Poster


    "Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
    exhilarating and frightening." - Pitchfork


    "Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
    expressive sound palette,." - The New York Times


    Two of Constellation's acclaimed solo instrumental artists join forces on this
    tremendous new album of original compositions for horn and violin.


    Colin Stetson has developed a unique and renowned voice as a performer and
    composer, chiefly on bass and tenor saxophones, where he rallies an array of
    technical strengths and innovations (circular breathing, contact micing of his own
    body and the body of his instrument, vocalizations through the reed) to make some
    of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
    work of recent years. His brilliant trilogy of New History Warfare records (2007-
    2013) has been resoundingly celebrated by critics, fans and fellow musicians
    across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
    industrial/dark ambient, black metal and indie rock.


    The solo violin work of Sarah Neufeld has emerged more recently, and especially
    through 2011-2014, in the period between her primary band Arcade Fire's last two
    albums. While no stranger to modern/minimalist composition with her Bell Orchestre
    ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
    deliberate and evocative solo violin practice combining rock, folk, ambient and
    modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.


    Stetson and Neufeld first began playing in duo formation while on tour together as
    soloists in 2012, joining each other on stage for one or two of their respective
    pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
    Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
    (including the Blue Caprice soundtrack). Duo compositions for their debut album
    emerged throughout 2014, and were road-tested that spring with performances at
    the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
    (Germany). The album was recorded without overdubbing, looping, sampling,
    cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
    and mixed in Montreal by Mark Lawson (Arcade Fire).


    Never were the way she was is guided by the metaphorical narrative of the life of
    a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
    search for a world that resembles her experience. The album's expansive sonic
    trajectory and multiplicity of structures and voicings belies the fundamental
    economy of two acoustic instruments combining in real time. The result is a musical
    chronicle that powerfully establishes its own spatial and temporal horizon, a
    soundtrack that requires no images but profoundly compels the imaginative. From
    the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
    to the stately long tones of "And they still move", the dark drone-inflected sea-saw
    waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
    epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
    impressively diverse) integration of composition, performance, timbre and texture
    while holding their respective instruments in sparkling juxtaposition. Never were
    the way she was is a sum quite definitively and thrillingly greater than its parts.

    1. The sun roars into view
    2. Won't be a thing to become
    3. In the vespers
    4. And still they move
    5. With the dark hug of time
    6. The rest of us
    7. Never were the way she was
    8. Flight
    Colin Stetson and Sarah Neufeld
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Take Pride In Your Long Odds Take Pride In Your Long Odds Quick View

    $18.99
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    Take Pride In Your Long Odds

    Based in Denton, Texas, Centro-matic began in 1995 as a home recording
    project for singer/songwriter and guitarist Will Johnson. Seventeen years and
    10 albums later the band is getting ready to release their 11th studio album in 2014. Johnson and his compatriots-Scott Danbom (keyboards, violin, harmonies) Matt Pence (drummer, producer), Mark Hedman (bass, guitar)
    have made yet another incredible album. Always approaching recording with
    new ideas the band has done it again with Take Pride In Your Long Odds. Two
    years since their last album Candidate Waltz, Take Pride In Your Long Odds
    finds the band refreshed and excited to play again with their infectious exuberance and vigor.
    1. Take Pride In Your Long Odds
    2. Every Mission
    3. Salty Disciple
    4. Cross Path
    5. Anything Torn Out
    6. Academy Of Lunkers
    7. Calling You Glad
    8. Cynthia Glass
    9. Hey There, Straps
    10. Relative Unto The Aces
    11. On The Ride Back
    12. Through The Fog, Then Down
    Centro-matic
    $18.99
    Vinyl LP - Sealed Buy Now
  • Late Night Tales: Django Django Late Night Tales: Django Django Quick View

    $35.99
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    Late Night Tales: Django Django

    Django Django is the latest band invited to curate a prestigious Late Night Tales collection, set for release on 5th May. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics' end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).


    Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it's no surprise to learn that Django producer/drummer Dave Maclean's brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).


    "Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs," is how Django Django describe themselves. Which is another way of saying they're pop adventurists, as at home with Mad Mike's Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.


    Check out mixes that rock between two-step delights like Roy Davis Jr's 'Gabrielle' to Nilsson's lyrically winsome 'Coconut'. At one end of the Django spectrum there's James Last, the terminally unhip Teuton, whose 'Inner City Blues' shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman ('Bass Drums') and Hudson Mohawke and Lunice collaboration TNGHT's 'Bugg'n'. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless 'Surf's Up' makes a welcome appearance halfway through, while Seals & Crofts' "Sweet Green Fields" show what sun-drenched pop can sound like when it's done well. And because it's Late Night Tales there's a sparkling cover version of 'Porpoise Song', the theme from The Monkees daffily brilliant 'Head', an admirably lysergic termination to this waltz through pop's nooks and cranberries. "You should never be afraid to make a fool of yourself for art," Dave Maclean once said. Let's raise a dram to Scotland's favourite fools on the hill.


    "We wanted to produce a mix that represented the band. It's what we're all into, so everyone put forward suggestions. It's what we are as a band; and we're kids that have grown up with an obsession about our mum and dad's record collections, like '50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents' collections, with our tastes mixed in. Our Late Night Tales pays homage to that."

    Dave Maclean (Django Django)

    LP1
    1. Leo Kottke - The Tennessee Toad
    2. Gulp - Game Love
    3. Bob James - Nautilus
    4. James Last - Inner City Blues
    5. Philip Glass - Floe
    6. Map Of Africa - Bone
    7. Seals & Crofts - Sweet Green Fields
    8. The Millennium - To Claudia On Thursday
    9. The Beach Boys - Surf's Up
    10. Primal Scream - Carry Me Home


    LP2
    1. Massive Attack - Man Next Door
    2. TNGHT - Bugg'n
    3. Outkast - Slum Beautiful
    4. Timmy Thomas - Why Can't We Live Together
    5. Harry Nilsson - Coconut
    6. Canned Heat - Poor Moon
    7. Rick Miller - Future Directions
    8. Django Django - Porpoise Song
    9. Benedict Cumberbatch - Flat Of Angles pt.4

    Django Django
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Change Becomes Us Change Becomes Us Quick View

    $29.99
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    Change Becomes Us

    Only Wire would attempt to make their fourth album after their tenth. At the beginning of their career, between 1977 and 1979, the great British art punk quartet released three perfect albums, Pink Flag, Chairs Missing and 154, each wildly different from the other. Then they splintered, though a bunch of post-154 songs-in-process came to light later, in the dodgy live recordings that made up the bizarre, messy Document and Eyewitness (1981) and 1996's Turns and Strokes.


    Since they first reunited in 1985, Wire has had an exceptionally weird relationship to its own past. During their commercial peak in the latter half of the 80s, they refused to play anything from the pre-breakup era, and for the first few years of their current incarnation, they mostly acted as if they'd jumped straight from Pink Flag to the year 2000. At the beginning of this decade, they started looking back in earnest-- not in a hey, kids, we wrote 12 x U, remember? way, but in a cleaning up loose ends way. 2011's Strays EP contained four pieces that had been kicking around their live repertoire for a long time but had never been recorded to their satisfaction before; the Black Session album that came out last year actually included a few relatively faithful versions of old songs.


    And now they've gone back to the material they'd have recorded for the album that never happened after 154. The 13 titles on Change Becomes Us are new, but the songs themselves aren't; they're all more or less newly rewritten versions of the Document and Eyewitness/Turns and Strokes repertoire. It's not the first time they've reckoned with some of those sketches, either. B/W Silence and Time Lock Fog are respectively adapted from Lorries and 5/10, which singer/guitarist Colin Newman previously reworked on his 1982 solo album Not To. Doubles & Trebles is a new version of Ally in Exile, which Wire mutated first into Art of Persistence on 2000's The Third Day and then into I Don't Understand on 2002's Read & Burn 01; positioned as the new album's opener, its arrangement and lyric (about a solitary agent in enemy territory) explicitly allude to the way Reuters introduces Pink Flag.


    The Wire of 1980, and the band's members on the solo records that immediately followed the split, were radicals who were trying to pry open the pop-recording form and avoid repeating themselves. The Wire of 2013 have settled on a sweet-and-prickly sound that suits them, and sonically Change Becomes Us is of a piece with Red Barked Tree and Object 47, the other studio albums they've recorded since the 2004 departure of guitarist/texturalist Bruce Gilbert. (These days, his spot is filled by Matt Simms, who's 30 years younger than the rest of the band.)


    Considered as a set of songs, though, it's fantastic-- a clear look at the twisty, glittering material that had previously only been a few sparkles of possibility shining through the muck of those difficult live albums. The band who wrote these songs were a couple of years away from becoming hardcore punk icons-- there are hints of that when drummer Robert Grey breaks into a high-speed two-step on Adore Your Island and Stealth of a Stork. And they were so deeply invested in non-obviousness that their lyrics sometimes read like cryptic crossword clues: the hook of Eels Sang Lino-- recast here as Eels Sang-- is an anagram for in Los Angeles.


    But the Wire of 1979 and 1980 were also developing their enduring fascination with unlikely kinds of beauty, and their 21st century incarnation has built some of their most fetching songs from some of the most ragged and jagged ideas to come from their younger selves. (Re-Invent Your Second Wheel, sung by bassist Graham Lewis, is a languorous waltz whose DNA has traces of the in-your-face Document and Eyewitness experiment Zegk Hoqp.) History and transformation are, understandably, recurring themes in the new lyrics on Change Becomes Us, and it's a treat to have this missing link in the Wire story repaired, even if it's as much an anomaly in the present moment as Document and Eyewitness was in its time.


    - Douglas Wolk (Pitchfork)

    1. Doubles & Trebles
    2. Keep Exhaling
    3. Adore Your Island
    4. Re-Invent Your Second Wheel
    5. Stealth Of A Stork
    6. B/W Silence
    7. Time Lock Fog
    8. Magic Bullet
    9. Eels Sang
    10. Love Bends
    11. As We Go
    12. & Much Besides
    13, Attractive Space
    Wire
    $29.99
    Vinyl LP - Sealed Buy Now
  • Duskland Duskland Quick View

    $16.99
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    Duskland

    "He dwells in the same darkness as Cass McCombs, punctuating the cobwebbed stillness with lowing organ and severe, almost pagan imagery. The Crimson moon, the city of refuge: Thesewould be hapless signi ers in
    another singer's mouth. Cale's drawl molds them back into tremendous fra gments, oating in a skyline somewhere just beyond the dusk. All of Duskland possesses that same fantastic self-assurance." -Stereogum


    Zachary Cale has been releasing records under his own name for just shy of a decade. Duskland,
    the title of his latest record, is a work of craftsmanship full of elegant lyricism and mysterious
    imagery; a collection of songs that look directly into the face of darkness yet drive beyond it,
    forging new paths.


    Allegorical in nature, Cale's songs move away from the inward reveries of his last album, Blue Rider,
    and divide outward into the voices of others. The album projects images of wide-open spaces and
    landscapes constructed from half remembered dreams. There isn't always a clear resolution, characters
    remain in a state of twilight, wandering from place to place in search of an undefined illumination. The
    lyric: So many lifetimes I lived in one / I've got to bury them now / No surprises this time around /
    Not beneath this crown, taken from I Left The Old Cell, aptly captures the human complexities found
    throughout the songs.


    Taking cues from artists like Oh Mercy/Time Out of Mind era Dylan and Nick Cave's work with the
    Bad Seeds, Duskland evokes a restless spirit, one that is informed by American myths and tall tales.
    There's a Western flair to many of the album's songs with nods to soundtrack composers such as
    Morricone and the dream-laden noir of Badalamenti. Many of the album's highlights maintain a
    ceremonial grace. Sundowner opens the album with a lush organ progression played over a
    plaintive march. As the tension builds, Cale muses Branded as a fugitive / Dressed in the clothes
    of an innocent / Sirens ricochet / From bloodless lips I hear them call my name. From there the
    album moves forward like one long processional; Cale leads his band through up-tempo folk rock
    and charming country waltzes to minor key dirges and atmospheric instrumentals until ending with a
    horn section dragging over a funeral beat in the long form ballad Low Light Serenade.

    1. Sundowner
    2. Blue Moth
    3. I Left The Old Cell
    4. Evensong
    5. Basilica
    6. Dark Wings
    7. I Forged The Bullet
    8. Changing Horses
    9. Low Light Serenade
    Zachary Cale
    $16.99
    Vinyl LP - Sealed Buy Now
  • Ask The Night Ask The Night Quick View

    $14.99
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    Ask The Night

    Orenda Fink has sculpted a diverse & heralded career since Azure Ray released their last album in 2003. Through solo debut Invisible Ones & bands Art in Manila & O+S, she has remained a consistently creative force & returns with Ask the Night, her second solo album & second project of 2009.Ask the Night is a reflection of the Southern cultural & familial roots that helped shape her aesthetic. Songs defy simple categorization & move between old-time waltz, country, folk and haunting bluegrass; instrumentation includes acoustic guitar, mandolin, banjo, accordion, upright bass & pump organ.

    1. Why Is the Night Sad

    2. High Ground

    3. Sister

    4. That Certain-Something Spring

    5. The Garden

    6. Wind

    7. Alabama

    8. The Mural

    9. Half-Light

    10. The Moon Knows

    Orenda Fink
    $14.99
    Vinyl LP - Sealed Buy Now
  • NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble Quick View

    $37.99
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    NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble

    Mono


    On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.


    For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.


    Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.


    When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.


    But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.


    StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.


    A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.


    Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."

    LP1
    1. Autumn In New York
    2. Jeepers Creepers
    3. These Foolish Things
    4. She's Funny That Way
    5. Nuages/Swing
    6. It Might As Well Be Spring
    7. Hambourg Souvenir
    8. Vours qui passez sans me voir
    9. Lady Be Good
    10. A Flower Is A Love-Some Thing


    LP2
    1. I Can't Believe That You're In Love With Me
    2. Manoir de mes reves
    3. How About You?
    4. The Lady Is A Tramp
    5. St. Louis Blues
    6. A Girl In Calico
    7. I'll Remember April
    8. Blue Moon
    9. How High The Moon
    10. Pennies From Heaven

    Stephane Grappelli
    $37.99
    Vinyl LP Mono - 2 LPs Sealed Buy Now
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