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The World Is A Beautiful Place'
REDI-TOP-2241xThe World Is A Beautiful Place
Whenever, If EverWhenever, If Ever is the highly anticipated and long overdue full debut full length for the atmospheric indie rock band from Willimantic, CT. Having
released several EPs and splits, The World Is A Beautiful Place deliver an album so huge that these other releases have only hinted at their true potential.1. Blank #9
2. Heartbeat In The Brain
4. Picture Of A Tree That Doesn't Look Okay
5. You Will Never Go To Space
6. Layers of Skin We Drag Around
7. Gig Life
8. Ultimate Steve
9. Low Light Assembly
10. Getting Sodas$18.99Vinyl LP - Sealed Buy Now
Dark PlaceSome singers can create a mood far before the first syllables of lyric have been
woven into a full story; a tone, mixed to dissolve perfectly into music, can say it
all. Such is the case with Jessie Baylin, whose ethereal voice shoots the opening
notes of Dark Place, her fourth album, into instant emotive territory - it envelops
in a mysterious gauze, setting the stage for what is her most raw, personal
work yet and also her most thrilling.
Baylin's always been adept at capturing the fragile, complex state of
human relationships with a hand that understands the middle ground - things
aren't always what they seem, and she isn't afraid to play in that treacherous territory.
She often weaves a forlorn lyric with an optimistic vocal lick, or a cheerier
song with a foreboding crunch of guitar, looming like a distant thunderstorm; it
sometimes makes it difficult to tell if a track is innately happy or sad, but that's
the point. Dark Place is the epitome of this dichotomy.
It's the combination of elements on Dark Place that make it such a
rattling look into not only Baylin's mind but the human condition: her voice, in its
other-worldly tone that can be both angelic and deeply plaintive, cuts through
poetic lyrics with throbbing guitars that carve scratches at the beautiful surface,
bounding free of both classification and genre. She's Nico, if she could sing like
Nina Simone; she's Dusty Springfield fronting Mazzy Star. "Dusty," she says,
before adding, "on Quaaludes."1. Creepers (Young Love)
2. To Hell And Back (
3. Black Blood
4. White Noise
5. Kiss Your Face
6. All That I Can Do
7. The Ringer
8. London Time
10. Dark Place
11. Do You Wanna Dance$18.99Vinyl LP - Sealed Buy Now
The World Is Real (Awaiting Repress)LAKE's comprehensive pop vision has always been anchored in an honest mournfulness, a sensitivity to nature, and the vulnerability of life. These mark
LAKE's more down tempo, contemplative grooves, which are given their fullest voice yet on The World Is Real, LAKE's fourth album for K and sixth overall.
It follows 2008's Oh, the Places We'll Go, 2009's Let's Build A Roof, and 2011's Giving & Receiving, and was similarly recorded at Dub Narcotic Studio at K headquarters in their hometown of Olympia, Washington.
The songwriting partnership of Ashley Eriksson and Eli Moore is the locus of LAKE's creative engine, but the additional members are as integral and
longstanding. They are the diversely talented Andrew Dorsett, Markly Morisson, and Lindsay Schief. The creative sound that surrounds LAKE is storied in collaboration, sonic adventure and an allegiance to exploring the limits of crafting pop songs. They have toured, recorded and allied with some of the most pioneering figures in contemporary independent music: R. Stevie Moore, Chris Cohen, Karl Blau, and Phil Elverum's Mt. Eerie, for example.
Lead track Do You Recall? offers wide and subtle nods to working-class 80's classics like Mellencamp's Jack & Diane, or Hornsby's The Way It Is. Featuring drum machine and nostalgic guitar riffs, the lead and group vocals float through droning synths like wind to a bounded world.
Dog in the Desert one of the album's centerpieces, was initially inspired by the text-works of conceptual artist, Richard Long, and his "art made by walking in landscapes" (richardlong.org). Eriksson's voice, and the dark plodding instrumentation of the song, take Long's images and shape them into a meditation on abandonment, loss and reconciliation with nature.
Tellingly, the earthbound bass groove on Dog in the Desert is a quotation of Steely Dan's Black Cow. It is not the only song to directly live sample Fagen and Becker: Perfect Fit mashes up the chordal rhythms of Peg to excellent effect.
It's clear that LAKE enjoys to boldly tread and rework the classics in this way, most notably in Mark Morrison's first personal LAKE offering Takin' My Time, a direct reference to the Isley Brothers song "Caravan of Love." This smooth R&B pop seducer - a wild crowd favorite at LAKE's local Olympia outings - is a bit of an aside from The World Is Real's more meditative core.
Other highlights on The World Is Real: Bury the House takes its 60's styled psychedelic setting for a playful, self-deprecating riff on LAKE's own new age-y ideals: Bury the house / under the garden / make an attempt to go outside. Composure and "I Wish For You" have the pop attributes of Pet Sounds and Smile era Beach Boys - faintly forlorn, but still warm and sweet. And the community oriented compassion exhibited by LAKE's members is beautifully summarized in the opening lines of album closer Reconcile: How do we exist under the sun
but not in bliss? / What could have been? / Act on it.
Lovers of hybrid pop will hear the bright whirring electronic keys that notably set McCartney II apart from the rest of Paul's catalog, as well as the bittersweet organ and keyboard influence of Yo La Tengo, and the minimalist funk of Talking Heads on
this record. However, precise comparison is difficult: The World is Real avoids easy genre comparisons. An album full of the articulation of discontent and loss, LAKE captures these emotions in tandem with the pop music joys they have so expertly reigned in for many years.1. Do You Recall?
2. Bury The House
3. Combat Culture
5. Go Back
6. Dog In The Desert
7. Perfect Fit
8. Takin' My Time
9. I Wish For You
10. In The Stubborn Eyes Of A Demon
11. Reconcile$18.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Wild WorldAt first glance the striking artwork for Bastille's hugely anticipated second album, 'Wild World', may prompt a number of questions. Who are the two individuals balanced precariously above a cityscape? Why are they there? What will happen next? But Dan Smith's own interpretation of the image is one that runs through many of the songs on Wild World, "To me, the image isn't about what's just happened or what happens next," he begins. "It's not about how they got there or how they get down. It's about sharing a moment - two friends existing in that split second in that exact space, two people framed in the vast context of this huge mad metropolis that we've all built. They're there out of choice."
The London four-piece release their hugely anticipated second album, 'Wild World' in 2016. The album follows the band's global four million selling, multi-platinum debut, Bad Blood.
The announcement follows a fever pitch build spearheaded by infectious new single 'Good Grief', which received an incredible reaction across media and charted as last week's highest new entry as well as achieving the most week-one streams ever for an alternative single. The surreal video for the track clocked up over half a million views in just 48 hours and the band's recent triumphant Glastonbury set drew one of the largest crowds of the weekend and was hailed by the NME as "A masterclass in how to win Glastonbury."
Wild World retains the vivid, rich, filmic song-writing of its predecessor but pushes the band's distinctive sound in exciting new directions. Lyrically, too, it's a leap forward, "If our first album was about growing up and the anxieties surrounding it" Dan explains, "Our second is about trying to make sense of the world around you, both as you see it and as it's presented to you through the media. It's also about asking questions of the world and of the people in it. We wanted the album to be a bit disorientating - at times extroverted and introverted, light and dark."
Written by Dan Smith and co-produced with Bastille fifth member Mark Crew, Wild World was recorded in the same tiny, South London windowless basement studio where the band recorded its predecessor. It's a collection of fourteen songs (nineteen on the deluxe edition) that sees Bastille at their boldest and most daring. Anthemic yet thought-provoking tracks include the fiery, string-laden, 'The Currents', a poignant and timely song that was written about, "Specific public figures on both sides of the Atlantic, and how it can be hard to believe they can think certain thoughts, let alone say them out loud or get on a podium and broadcast them." As well as the bombastic 'Send Them Off!' which boasts the attitude of a classic hip hop song set against the lyrical narrative and insecurities that are part of Bastille's own DNA, whilst referencing both The Exorcist and Othello. The track exemplifies Dan's belief in shuffle culture and the end of rigid genre boundaries. There's also the pensive, stripped back Depeche Mode-esque sound bed for the band's beautiful album trailer, 'Two Evils' which was recorded in one take; As well as the irresistible and rousing 'Snakes' and the guitar heavy 'Blame', which Dan describes as, "Our first foray into big guitar riffs, in a fictional standoff between two gangsters."
But at the heart of it all, there's a sense of escapism that runs through Wild World and a fascination with the human condition and the relationships we all forge, fight over and sometimes forget. "The world can seem a fucked up place," Dan concludes. "But people - well, people can be amazing. The relationships you choose to have in your life are the main solace. They're the things that make life awesome."1. Good Grief
2. The Currents
3. An Act of Kindness
7. Two Evils
8. Send Them Off!
10. Four Walls (The Ballad of Perry Smith)
12. Fake It
14. Winter of Our Youth$35.99Vinyl LP - 2 LPs Sealed Buy Now
Black Beauty28-page, full-color book (11" x 11")
Extensive essay by Ben Edmonds (Creem, Rolling Stone, Mojo) featuring all-new interviews
Abundant, never-before-seen photographs by Herbert Worthington (Fleetwood Mac's Rumours)
Brilliantly mastered by multi-GRAMMY® nominee Dan Hersch (Paul Simon, Kinks, Cars,The Band)
Mastered for vinyl by multi-GRAMMY® winner Doug Sax (The Who, Rolling Stones, Pink Floyd)
Black Beauty, the never-before-released masterpiece by Arthur Lee's legendary psychedelic rock band Love, is available on 180-gram vinyl LP. Recorded in 1973 for the ambitious new label Buffalo Records,
the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee's wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release
in any format, anywhere! With unparalelled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased,
full-length studio album, from an undisputed musical
genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album the New York Times called "one of the most affecting and beguiling albums of all time. With Black Beauty, Arthur Lee manages to combine searing 70's-rock with gorgeous melodies and stellar songwriting - topped off by his most distinctive, snarling, soulful vocals ever. With its wonderfully eclectic collection of songs, the
album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee's fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.
It's tempting to play what-if with Love's lost labor, Black Beauty, which was recorded in 1973 but shelved for nearly four decades. What if Buffalo Records hadn't gone out of business just prior to the album's release? What if Black Beauty had actually hit stores? What if it hadn't languished in limbo until years after Arthur Lee's death? Would it have stopped Love's slide into obscurity? Would it have signaled a comeback for the man who masterminded Forever Changes, still one of the most complex and compelling artifacts of 1960s Los Angeles? Would his life and career have played out any differently? Would we think of him today as something other than a cult artist, inspired as well as damned by his era?
It's difficult to imagine any answers to those questions, but it says a lot about Lee that the album even raises these what-ifs and coulda-beens. The very qualities that made him such a fascinating voice-- restlessness, excitability, paranoia, perfectionism, single-mindedness-- may have doomed any commercial prospects more than his notorious fear of travel ever did. After recording Forever Changes, he fired the band and hired new musicians to take their places. Every subsequent album featured a different line-up, although the changes seem based more on personality than on musical direction or ability. Never stagnant, Love was in constant flux, always in a state of development but never quite arriving. So the operative question becomes: Was this the version of Love that Lee had been working toward?
For Black Beauty-- which is finally seeing release via High Moon Records, although the reissue has been delayed for two years-- Lee assembled guitarist Melvan Whittington, bass player Robert Rozelle, and drummer Joe Blocker. This may be the hardiest and most muscular of Love's post-Changes rosters, with remarkable force and range. With crisp production by Paul Rothchild, best known for his work with the Doors, Love build from a potent blues rock foundation not dissimilar to that of Jimi Hendrix, but without the distracting shamanistic persona and guitar pyrotechnics. "Walk Right In" struts into country rock territory, rewriting Cannon's Jug Stompers 1929 hit into a plea for empathy, and "Beep Beep" attempts a sort of pop reggae, albeit not entirely convincingly.
On the whole, this particular line-up sounds perfectly rough and unrehearsed, generating a tense energy on "Skid" and "Stay Away" even as they suggest a band still figuring out exactly what they can do together. It's a strong album, but it's not another Forever Changes, whose accomplishments in retrospect were unrepeatable, or even another Four Sail. On the other hand, Lee wasn't aiming to craft something in that vein. Still, especially considering the professional setbacks he had faced in the years leading up to Black Beauty-- which includes being dropped by Elektra and shuffling through a series of independent labels-- Lee sounds engaged and invigorated, forgoing the bitterness that had rankled the band for a slightly more hopeful outlook. On stand-out "Can't Find It", he sings, "Every time I cry my heart out, and every time I play the fool, but there's gotta be something in this lonely world for me." The confession is all the more bittersweet for being capped with the line, "but I can't find it without you." It's ostensibly a love song, but could just as easily be addressed to his audience. His creative satisfaction relies on having a listener to complete the circuit, which makes this album's long shelf life all the sadder.
-Stephen M. Deusner (Pitchfork, May 15, 2013)1. Young & Able
2. Midnight Sun
3. Can't Find It
4. Walk Right In
6. Beep Beep
7. Stay Away
8. Lonely Pigs
9. See Myself In You
10. Product Of The Times$26.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Long Live Happy BirthdayTwo brand new songs from the band The World Is A Beautiful Place And I Am No Longer Afraid To Die.1.Even More Forever
2.Katamari Duquette$8.99Colored 7 Vinyl Single - Sealed Buy Now
ADAD-DEA-8411xBear In Heaven
Time Is Over One Day OldBear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
at some point they become dead weight, and being true to yourself means casting them off,starting anew.
This plays out as a powerful analogy for the band across the arc of it's career.
They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
interactions with the world that are both difficult to express and anathema in daily conversation.
While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
This album isn't about being dark, it's about releasing darkness and frustration.
When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
positive."The result is a record that will stay with you.1. Autumn
2. Time Between
3. If I Were To Lie
4. They Dream
5. The Sun and The Moon and The Stars
6. Memory Heart
8. Way Off
9. Dissolve The Walls
10. You Don't Need The World$18.99Vinyl LP - Sealed Buy Now
ADAD-EPI-4212xThe World Is A Beautiful Place And I Am No Longer Afraid To Die
Always Foreign (Pre-Order)The World is a Beautiful Place & I am No Longer Afraid To Die have announced the forthcoming release of their third full-length, Always Foreign. Due out on Epitaph, Always Foreign follows the Connecticut-bred collective's acclaimed 2015 album Harmlessness.
Produced by TWIABP guitarist Christopher Teti, Always Foreign confronts everything from the opioid epidemic to xenophobia to emotional abuse in relationships. Throughout the album, TWIABP match their sprawling arrangements and layered lyricism with a raw emotionality.
"When we started writing we were fresh off Trump being elected, so there's an anger to the album that's different from what we've done in the past," says TWIABP vocalist David F Bello. "There's a lot more resistance thinking throughout the songs-not in a way that's strictly anti-Trump, but also addressing things like white supremacy and controlling elements of the state."
Along with Bello, Cyr, and Teti, the TWIABP lineup includes Tyler Bussey (guitar, banjo, synth, vocals), Dylan Balliett (guitar, vocals), Katie Dvorak (synth, vocals), and Steven K Buttery (percussion, vocals). Formed in Connecticut in 2009, TWIABP made their full-length debut with Whenever, If Ever (a 2013 release hailed as "revolutionary" by Pitchfork) and later delivered Harmlessness (praised as "bold and complex and dazzling" by Noisey and "grandiose and dramatic" by NPR).1. I'll Make Everything
2. The Future
6. Dillon and Her Son
7. Blank #12
8. For Robin
9. Marine Tigers
10. Fuzz Minor
11. Infinite Steve$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
Jaakko Eino Kalevi"[It] occupies a heavy-eyed place between waking and sleeping, mesmerizing in
its dualities and shoegaze textures." - Stereogum
"Brings some fluttering flights of feeling that dips and dives beneath the subtext,
and masqueraded text, and duplicitous talk" - Impose
Jaakko Eino Kalevi, the self titled album, marks the start of a striking new
chapter for the Berlin-based artist. The ten-track collection finds Jaakko on
spellbinding form, composing sumptuous and wildly original music that teems
with ideas and more than delivers on the promise of its predecessor, the
breakthrough 2013 EP Dreamzone.
From the alluring opener 'J.E.K.' to ravishing finale 'Ikuinen Purkautumaton
JÄnnite', this is a richly immersive and hyper-vivid record that sparkles with
modern pop gems like 'Double Talk', and 'Deeper Shadows'. Throughout,
Jaakko cuts a cool, Zen-like figure - a street-smart sage who sings in English but
expresses his most intimate thoughts in Finnish. He wrote, performed, recorded
and sang almost everything on the record himself with a few guest vocals by
Suad Khalifa and Sonja Immonen.
The album was mixed in New York by Nicolas Vernhes (The War On Drugs and
Run The Jewels) and the warmth he added helped draw the songs together
and underlined the unusual, head-turning quality of Jaakko's songwriting. Even
though he covers a remarkable range of styles and moods across the album, it
feels beautifully weighted. What strikes you, too, is how ambitious the record
is yet how at ease he sounds. Jaakko Eino Kalevi is the most vivid portrayal
yet of Jaakko's sensual world - a Technicolor and wondrous place where
everything happens in its own time, and where nature and technology get along
2. Double Talk
3. Deeper Shadows
5. Mind Like Muscle
6. Night At The Field
7. Don't Ask Me Why
9. Hush Down
10. Ikuinen Purkautumaton JÄnnite$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
EndureWith the new album, Endure, Assemblage 23 furthers his distinctive place in the narrative of modern EBM and industrial. an intensely personal, & aptly titled look into the heart of the artist, Endure is a beautiful album engorged with emotion. There is an overarching feeling of resignation to push through the melancholia that the world can inspire, a determination to endure, and to thrive.1. Endure
4. Salt The Earth
6. Call The Dawn
7. Butterfly Effect
10. December$23.99Vinyl LP - Sealed Buy Now
South AmericaColored Vinyl!
When it came to writing their sophomore album South America, Thieves And Villains decided to sculpt the album as if they were the only four people on earth to hear it. Looking for a new sense of direction, the band mentally escaped to a beautiful hiding place that they named South America. They found that this venture in their collective minds would allow them to be free, which in-turn, helped create music that excited them, and that they would ultimately fall in love with.
However, the record was still being created under the same confines as many bands today; a spastic sinking ship of a country that has never been as stressed out, paranoid, or misled as it is right now, an America that is truly going "south." The result of this is the album title that came to represent the dichotomy of one location being the place you hate and love the most; the place you escape to, yet the place you despise.
Thieves And Villains took the same indie-rock vibe as Vampire Weekend, combined it with the childlike sense of wonder found in an early Daneil Johnston song, and added the quirkiness implemented in the Pinkerton-era of Weezer. With the help of producer Tim Gilles, the band took an old approach and made it new again. In a world of over-produced and over-auto-tuned songs recorded take after take, they set out to bring music as a whole, back to its roots.
"We recorded the entire album to analog tape on Mr. Gilles' vintage tape machines and used all our own gear and live tones. We didn't do takes of anything to death and approached every section with a real 'what you see is what you get' logic. What you're listening to is not the product of hours of tweaking, its the product of a few friends having fun and making music the old fashioned way." Colored vinyl pressing from Victory Records!1. 16 Hits
2. Song for Dean Moriarty
3. Virgina Woolf
4. I Want A Friend Like You
5. Drunk in Amsterdam
6. Island Waterfall Blues
8. Central Park
9. Some May Call it Rain
10. The Ascetic Life is the Life for Me
11. American Boy
12. South America
13. South Street Hymnal$15.99Colored Vinyl LP - Sealed Buy Now
Future's Past (Awaiting Repress)DAVE MASON--Rock & Roll Hall of Fame inductee and TRAFFIC co-founding member--has announced the release his new album, FUTURE'S PAST (Something Music/MRI) featuring new versions of his classic songs plus new material that he has written and performed on tour over the last few years. Renowned for such Traffic hits as Feelin' Alright (covered by Joe Cocker) and Hole In My Shoe plus his solo signature tracks We Just Disagree and Only You Know and I Know, MASON's acclaimed solo career continues to flourish as he tours the U.S. with his new project billed as DAVE MASON'S TRAFFIC JAM.
The cover art illustration for FUTURE'S PAST was done by none other than Mr. Graham Nash from a photo he made of DAVE while at Nash's place in Hawaii.
Of the new release, MASON says, There is a great version of 'Dear Mr. Fantasy' that is kind of a re-write. There is a version of 'World in Changes' that is absolutely nothing like the original and there is a great live version that is absolutely beautiful of 'Sad and Deep as You.' There are two or three songs that were on a CD called 26 Letters 12 Notes that I did seven years ago, a Robert Johnson song, 'Come On in My Kitchen' and a brand new song called 'That's Freedom.'
- Broadway World1. Dear Mr. Fantasy
2. World in Changes
3. You Can All Join In
4. As Sad And Deep As You
5. Good 2 U
6. El Toro (Spanish Blues)
7. Come On In My Kitchen
8. How Do I Get To Heaven
9. That's Freedom$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Giving And ReceivingOn Lakes newest full-length album, Giving & Receiving, the sense that the world was at a serious state of unrest during its inception is haunting. The album was put together during the time when the Gulf oil spill was bumming everyone out, and this did a great deal to seep into the songs themselves, such as on the albums title track with the lyrics: there used to be fish in the ocean baby.
But thats not to say that the album is depressing, it actually soars with beautiful melodies and gentle, yet deliberate instrumentation. Written partially while staying at a little cabin in Northern Sweden, which band member Ashley says is the only place shes ever truly heard silence, songs like Skeleton Costume, and Pilgrims Day were born in a shed there, and have the creaky barn wood/fresh air sound to prove it.
The album as a whole is all about moving forward; realizing what we as people are given every day, and figuring out how to pay back for it whenever possible. In the bands own words: Giving and Receiving is meant to be uplifting. It offers an antidote to depression. The more that you give, the more that you receive.1. Intro
2. One Small Step
3. Roger Miller
5. The Stars
6. Stumble Around
7. Giving & Receiving
8. Mother Natures Promise
9. Skeleton Costume
10. Bird and the Berry
12. Pilgrims Day
14. Distant Stars$16.99Vinyl LP - Sealed Buy Now
Behold & See (Awaiting Repress)
Custom Spinach-Colored Vinyl
Nestled Into A Jacket With Beautifully Restored Artwork
It was legendary record producer Alan Lorber that came up with the concept of The Bosstown Sound -- The Sound Heard 'Round The World to market and promote the best and brightest of the Bean Town sixties psychedelic scene. (Boston's key groups at the time included Orpheus, Beacon Street Union, Ultimate Spinach, Chamaeleon Church and others). The Ultimate Spinach, arguably the finest of them all, produced magnificent examples of surreal psychedelic record-making, now prized by crate-diggers and outsider music fans alike.
The Spinach's self-titled debut album is now considered a psychedelic classic, but it's the group's second record, Behold and See, that is perhaps their finest achievement. Ostensibly a concept album, it's centered around lead singer/songwriter/keyboardist/guitarist Ian Bruce-Douglas' cynical worldview. He skewers normal society with all the fervor of Zappa and all the surreality (and insanity) of Bob Markley on songs like Visions of Your Reality and the four-part Suite: Genesis of Beauty. Add in the lush, floating vocals of Barbara Jean Hudson, fuzz guitar and some great late-60s psych jangle and you've got the formula for an unhinged classic that stands up to the best of the non-coastal psych sounds of the late-60s.
For decades, the only available version of Behold and See was a heavily-edited director's cut" which omitted an entire song and presented edited versions of others. On this edition, Sundazed proudly presents the album in its rare, original, superior dedicated mono mix, unexpurgated and unedited. This ultimate edition is presented on (of course! and at last!) custom spinach-colored vinyl and nestled into a jacket with beautifully restored artwork. Behold and See is the perfect place to dig into the Bosstown Sound" - a tremendous and beautiful album now on Sundazed!!!1. Gilded Lamp Of The Cosmos
2. Visions Of Your Reality
3. Jazz Thing
4. Mind Flowers
5. Where You're At
6. Suite: Genesis Of Beauty (in four parts)
7. Fifth Horseman Of The Apocalypse
8. Fragmentary March Of Green$24.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
BloomBloom is the fourth full-length album by Beach House. Like their previous releases, Beach House (2006), Devotion (2008) and Teen Dream (2010), it further develops their distinctive sound yet stands apart as a new piece of work. The landscape of Bloom was largely designed on the road, between the countless sound checks and myriad experiences during two years of touring. Throughout this period, melodies, chords, rhythms, words and textures surfaced in moments of their own choosing. These spontaneous ideas were later gathered and developed in Baltimore, MD where the band members Alex Scally and Victoria Legrand live and work.
Bloom was then recorded in late 2011 over a period of seven weeks at Sonic Ranch Studios in Tornillo, TX and mixed for another two at Electric Lady in NC. The band co-produced the record with Chris Coady. Bloom is meant to be experienced as an album. A singular, unified vision of the world. Many songs were omitted or dropped because they lacked a place within our vision for this album, notes Scally. Though not stripped down, the many layers of Bloom are uncomplicated and meticulously constructed to ensure that there is no waste. Each chord and melody performs its role to form a whole.
The songs have depth and reveal themselves in new ways through repeated listenings. As a complete work, Bloom transcends the banality of simple emotions and arrives at a realm of honesty and complexity. It soberly reveals how frightening and temporary, yet beautiful, our existence is. It creates an honest reflection of death, as it must to relate to life. To this Legrand adds, Bloom is a journey. For me, it is about the irreplaceable power of imagination as it relates to the intense experience of living. A bloom is only temporary, a fleeting vision of life in all of its intensity and color, beautiful even if only for a moment. 2LP pressing with expanded outer sleeve in glow in the dark in, four inner sleeves and MP3 coupon.1. Myth
4. Other People
5. The Hours
7. New Year
9. On The Sea
10. Irene$20.99Vinyl LP - 2 LPs Sealed Buy Now
Bad YearAfter the release of their 2014 debut EP The World Is A Terrible Place And I Hate Myself And Want To Die, The Weaks went to work on creating the best rock and roll record of the decade. Bad Year, the first full length record from The Weaks, is filled with more guitars than all of the songs you've heard on the radio in the last ten years combined. Slowly making their way towards superstardom, The Weaks have taken everything you love about Weezer, Superchunk and Cheap Trick and squeezed them Together in eleven tracks of purified rock.
The Weaks keep the same tongue in cheek Tomfoolery that earned them their cult following With The World Is A Terrible Place And I Hate Myself And Want To Die (see Bad Year tracks 2, 9 & 11), and just like on that EP, Bad Year's cheeky titling is backed up by well-crafted, beautifully recorded, brilliantly catchy songs. The songwritingduo of Evan Bernard and Chris Baglivo may be silly, but they are no joke. Alternating between shredding rockers and pop-y sing-alongs, The Weaks have put their back into delivering you your new favorite record.1. Kick It
3. Still Courting
4. Bad Year
7. Black Box
9. I Don't Want To Be An Anarchist (Anymore)
10. Welcome To Earth
11. Frances Quinlan Will Have Her Revenge On Philadelphia$17.99Vinyl LP - Sealed Buy Now
Tides End"Tides End" is the second Minks album, but you could say it's a world away from the first. Moving out of New York City to try and cure a bout of writer's block, frontman/songwriter Sonny Kilfoyle wound up in the East End of Long Island. Surrounded by water on three sides, it's the same place that drew Warhol, Pollock, de Kooning, Steinbeck and more to escape the constant barrage of information of the urban landscape.
The result is not just a romantic trip into isolation, but a melodic and warm experience to immerse yourself in. It's a pop record, with all the hooks and harmonies you'd expect from that, delivered with experience, depth and hope.
The escapist mentality of the location directly and literally affected "Tides End," as the LP is named for a beachfront estate Sonny had wandered upon one day while out for a drive. Occupied by one family for generations, who after financial decline, are now forced to sell all they own. The experience of seeing old East Coast wealth, surrounded by beautiful Rococo paintings yet no modern appliances was the initial spark to record the LP. Kilfoyle
himself purchased a portrait "Margot," which inspired and named one of the LP's catchiest tracks.Visions of sipping gin and lemonade's on the dunes with their future in peril could be something clearly reflected in the choruses of "Everything's Fine" and "Playboys of the Western World." Themes of affluence, decadence and eventual decay in spite of the outside world are everywhere, even by the skull and shells amidst an explosion of color in the Everest Hall painting that graces the cover. This is "Tides End," indeed.
Armed with a new arsenal of material, Sonny connected with producer and engineer, Mark Verbos, who had moved to New York from Berlin after a prolific career in techno and electronic music. The entire album was recorded at Mark's studio, a former electric room in the base of the Brooklyn side of the Williamsburg Bridge. "It was actually a very uninspiring and uncreative but it forced us to use our imagination and find new ways to work together,"says Kilfoyle. So when they encountered a creative impasse they would consult The KLF's
"manual" or Verbos would choose a card from Brian Eno's "Oblique Strategies." To clear the cobwebs of influence, the producer chose to only allow Sonny to listen to Seal, Simply Red, Enigma, and early Chicago house music during the recording process. This helped build texture and depth in a recording that blended ambiance and immediacy to the established foundation of all the of Minks' previous work.1. Romans
2. Everything's Fine
4. Playboys of the Western World
6. Painted Indian
7. Hold Me Now
8. Doomed and Cool
9. Ark of Life
10. Tides End$19.99Vinyl LP - Sealed Buy Now
ADAD-WES-3514xHeather Woods Broderick
GliderBeautiful post-folk ballads a thing of tremendous sonic depth one of the year's best debuts BOOMKAT
A bold and beautiful album CYCLYC DEFROST
haunting and atmospheric. THE 405
...compelling...it never dissolves after the first listen instead it only acquires new layers, new musical textures. THE GUARDIAN
It's a ravishing, terrific, gorgeous album-the rare kind that throws its listeners into reverie. PORTLAND MERCURY
Heather Woods Broderick excels at distilling her experiences into a soulful melancholy
that's enduring both for it's intimate relatable moments and its persistent
sense of mystery. Her uncanny ear for evocative production and gorgeous vocal
harmonies serves her well on her new album Glider. Throughout the album, the rich
dreamlike atmospheres she creates hint at a darkness looming on the horizon, while
the singularity of her ethereal voice always seems to linger long after the music has
As a talented multi-instrumentalist and vocalist, Heather has had the opportunity to
record and tour with plenty of incredible artists including Horse Feathers, Efterklang,
and Sharon Van Etten, which has kept her moving house and traveling around
the world for much of the past decade. She's currently living in Portland, Oregon,
but it's easy to imagine how her peripatetic lifestyle might diminish her sense of a
place to call home, while also strengthening her resilience, and her connection to
the reassuring constants in her life. As she explains Living in so many different
places has made me able to feel pretty comfortable everywhere. Her uncommon
sense of ease and grace, despite her hectic life, stems in part from her deeply
rooted and intertwined musical and familial background.
Music took root in Heather's life before she was even born, when her parents, both
musicians, met for the first time at one of her mom's gigs, which her dad was
attending. The two married and moved to Maine where Heather, second of three
children, was born at home. When she was 8-years-old the family moved across the
country to Oregon, and soon after moving, she asked if she could take piano
lessons, a practice she would continue through high school and into college. In
elementary school band she learned flute, and later picked up cello and guitar.
Though the songs on Glider aren't explicitly about touring, her life on the road
provides the backdrop and context for her songs that are often about relationships
that naturally fade as two people grow apart. I've realized that I really used the
songs on Glider and the time I put into writing them as a way to pay some attention
to things I'd been putting off, and to find some clarity around certain events, says
Heather. Building on what she learned from her first solo effort From the Ground
(2009), the dynamic structures and emotional complexity of her new songs are
evidence of how much she's grown as a person and as a songwriter. More confident
and self-assured than ever, songs like Fall Hard evolve from vulnerable bare piano
and vocals to hypnotizing swells of vocals reminiscent of Grouper or Cocteau Twins'
Elizabeth Fraser. Her voice soars in stride with a wall of guitars on Wyoming,
while Mama Shelter introduces a gentle groove as Heather conjures the sensuality
of Stevie Nicks. The album closes with the heartbreaking All for a Love, ending
with the refrain I can see our love is dragging you down. As dark as the sentiment
can be, Heather always seems to be leaning into the light.1. Up In the Pine
2. Mama Shelter
3. Fall Hard
5. The Sentiments
6. A Call For Distance
9. All For A Love$17.99Vinyl LP - Sealed Buy Now
REDI-MEM-4689xSchool of Language
Old FearsThe new School Of Language album is called Old Fears and it's set for release on Memphis Industries on 7 April 2014. Old Fears. It's a pop record. A place of clipped falsetto, melancholic funk, iridescent electro, shimmering post-punk, futurist prog. A self-contained sphere of strange sensations. Beguiling textures. Lengthening shadows. At times it is both liminal and minimal, at others emotive and external. Ambiguous and ambient. Tantalising and tempered. Modern. Unique. And funny too. "I wrote a lot of notes and they seemed to distinctly split into things to do with love and things to do with fear," says David Brewis. "A lot of it has ended up with me looking back at when I was 19, 20 - my formative years. So though I wouldn't want to call it a concept album it's definitely themed." Old Fears. Here each song has been honed and polished into something pure, like a vast block of marble chiselled down into a perfectly tiny delicate egg of FabergÉ-esque perfection. Recorded throughout 2013 in Field Music's studio on the banks of the River Wear in Sunderland, synth flourishes sit alongside the staccato jarring guitars of 'A Smile Cracks' and the metronomic rhythms of 'Dress Up'. Like a Ballard novel or a George Shaw painting, 'Between The Suburbs' offers perhaps the most lyrical and poetic moment, where "Dogs chase patterns, play to attention / Bulbs glare on greasy roads...". The title track meanwhile is reminiscent of the haunting giallo film scores of Goblin or kosmische music at its most moving while 'Moment Of Doubt' displays shades of Brian Eno and Robert Wyatt. Other oblique influences come in the form of early Justin Timberlake and N*E*R*D albums, "a bunch of disco records", Canadian experimentalist Sandro Perri, Dr John, Fela Kuti and Shalamar. Old Fears. A haunted collection that occupies a strange, hazy hinterland of permanent gloaming. One where snatched melodies pass each one another like cars gliding by at night on their way back to the silent suburbs. These are polished pieces composed without contrivance. Old Fears. An album that is neither retrogressive or futurist, but simply anchored in the moment. Pure. By beautiful album closer 'You Kept Yourself' one is left with the sensation of seeing, smelling and tasting the world anew.1. Distance Between
2. A Smile Cracks
3. Suits Us Better
4. Between The Suburbs
5. Old Fears
6. Dress Up
7. Moment Of Doubt
8. Small Words
9. So Much Time
10. You Kept Yourself$17.99Vinyl LP - Sealed Buy Now
Schubert: Symphonies Nos. 8 & 3Carlos Kleiber conducts the Vienna Philharmonic Orchestra as they play Franz Schubert's 3rd and 8th Symphonies.
The year 1815 saw a veritable flood of music pour from the pen of the eighteen-year-old Franz Schubert: during that single year he produced no fewer than four operas and operettas, two symphonies, two masses, many sacred and secular choral pieces, sonatas and other works for piano, as well as some 145 lieder, among them the Erlkonig. Schubert wrote all this vast amount of music, which seemed to flow from him effortlessly, in his little room during the evenings. The position of assistant teacher exempted him from military service, and his daily nine hours of school duties did not stem his immense creative urge.
On the 24th of May, Schubert began the composition of his Third Symphony in D Major, which he finished on the 19th of July. This work, written with undisturbed facility directly in full score, is unproblematic. At that time, Schubert was untroubled by doubts concerning formal construction, or by a sense of the need to solve problems by exploring unknown territory. The last movement in particular, a Presto vivace in which the instruments toss the spritely theme about between them, also bears witness to the growing individuality of its composer, who was rapidly becoming a mature master of his art.
The secret of the Unfinished symphony has never been completely solved. Schubert wrote the two complete movements in 1822 and began a third movement, but for unknown reasons did not finish it. He evidently considered the two movements a work in their own right, to judge from his dedication of the score to the Steiermarkischer Musikverein. The artistic director of that association kept the score to himself, and it was not untnil 1865 that this symphony received its first performance. The occasion was a triumph, and it became a posthumous act of homage to the composer who had died so young.
Eduard Hanslick praised this symphony enthusiastically, declaring that it belonged among Schubert's most beautiful instrumental works. The Unfinished is more than that - its place is among the supreme achievements in the world of music.1. Symphony No. 8 in B minor, D. 759 Unfinished
- Allegro moderato
- Andante con moto
2. Symphony No. 3 in D major, D. 200
- Adagio maestoso - Allegro con brio
- Menuetto. Vivace
- Presto vivace$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
PasserbyIn a world where instant gratification is the norm, patience has become
a rare commodity. But for Zoë Randell and Steve Hassett, who make up
indie-folk duo Luluc (pronounced Loo-LUKE), letting things unfold in
due time not only defines their career trajectory, it also works as a pretty
good description of their approach to making music. Music that Sub
Pop co-founder Jonathan Poneman describes as bracing, subtle, tender
So while it may seem like Randell and Hassett's history is littered with
all kinds of good luck-from their initial meeting to their relationship
with The National's Aaron Dessner to opening slots with artists like
Lucinda Williams, Fleet Foxes, and JosÉ Gonzàlez; to their deal with Sub
Pop; to grabbing the attention of Nick Drake's producer-being in the
right place at the right time isn't just about fate. It's about knowing when
something feels right and having the confidence that people will respond
when they're ready.
There's no question that everything these Australians (who split their
time between Melbourne and their adopted hometown of Brooklyn) have
done in their lives has been leading up to this summer's Passerby, their
second album overall and first available worldwide. Passerby is a gorgeously
crafted 10-track album full of beautiful, slow-burning melodies and
delicate harmonies, which drip out of their mouths like honey. The
attention to detail is unmistakable, and highlights like "Reverie On
Norfolk Street" and "Early Night" are as haunting as they are hummable.
Unadorned guitars and voices make up the bulk of the dreamy sound,
though the power of the added instrumentation can't be overstated, with
well-placed piano, percussion, double bass, sax, trumpet, trombone,
and more adding color to the cosmopolitan atmosphere. Band favorites
like Simon and Garfunkel and Gillian Welch (and, of course, Nick Drake)
can be felt throughout Passerby, while the poignant restraint aligns them
well with labelmates Low.
Co-produced by the band and Dessner, Passerby shows off all of Luluc's
best qualities, retaining the gentle beauty of the duo's debut while adding
textures built with a cadre of impressive players. It's the trophy celebrating
Luluc's airtight case that good things-no, make that great things-really
do come to those who wait. The wait is over. The world is ready to hear
Luluc quiet and clear.1. Small Window
2. Without a Face
4. Winter is Passing
5. Tangled Heart
7. Reverie on Norfolk Street
8. Early Night
9. Gold on the Leaves
10. Star$15.99Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Bob Dylan's Greatest Hits (On Sale)Bob Dylan's Greatest Hits on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity
Mastered from the Original Master Tapes, Five-Times Platinum Collection of Dylan's World-Changing Singles Spanning 1963 Through 1966
Experience These Precedent-Setting Songs in the Best Fidelity Possible: Wider Grooves Translate into More Information, Detail
Includes Anthems Such as Blowin' in the Wind, The Times They Are A-Changin', Like A Rolling Stone, and Mr. Tambourine Man
Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.
Mastered from the original master tapes on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version offers listeners of all stripes to hear some of the world's most important music ever recorded in supreme fidelity. While the tracks stem from several different albums, on this release, they share more in common than Bob Dylan-they share rich, sonic traits steeped in astounding dynamics, great balances, tremendous soundstaging, and realistic imaging. Wider grooves mean more information reaches your ears.
Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what's missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan's Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work-as well as for audiences that find some of his deeper cuts an acquired taste.
Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems ("Blowin' in the Wind," "The Times Are A-Changin'") sit alongside defiant rock statements ("Positively Fourth Street"), landscape-changing epics ("Like a Rolling Stone"), beautiful blues-inspired odes ("I Want You"), and surrealist dreamscapes ("Subterranean Homesick Blues"). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era's social movements.
Gathered in one place, it's no wonder the songs here gave Dylan what remains the biggest-selling album of his career. Accept nothing less than the best version in existence.
This title is not eligible for further discount.1. Rainy Day Women #12 & 35
2. Blowin' In The Wind
3. The Times They Are A-Changin'
4. It Ain't Me, Babe
5. Like A Rolling Stone
6. Mr. Tambourine Man
7. Subterranean Homesick Blues
8. I Want You
9. Positively 4th Street
10. Just Like A Woman$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Birds (Pre-Order)Seth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.
Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.
Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.
The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.
Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.
The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.
Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.
Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.
For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.
I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.1. Sunshine
2. Water On Fire
4. Just Because I Can
5. People Like Us
6. Like I Do
7. For What It's Worth
8. Too Much Water
9. Justice For All
10. Hasn't Hit Me Yet
11. I'm Still Looking$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
$49.99 $44.99 Save $5.00 (10%)
Nashville Skyline (On Sale)Relaxed 1969 Album Soothes With Country Sounds and Amicable Simplicity
Hyper-Detailed 45RPM Version Allows You to Experience Dylan's All-Time Cleanest Vocal Performances Like Never Before: Soft, Smooth Croon a Dramatic Change from His Past
Songs Reflect Rustic Charm, Cozy Retreat, Idyllic Satisfaction
Includes Duet With Johnny Cash, Plus Lay Lady Lay and Tonight I'll Be Staying Here With You
For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.
"Is it rolling, Bob?," Dylan famously queries producer Bob Johnson at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album-arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.
This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.
Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.
As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.
This title is not eligible for further discount.1. Girl From the North Country
2. Nashville Skyline Rag
3. To Be Alone With You
4. I Threw It All Away
5. Peggy Day
6. Lay Lady Lay
7. One More Night
8. Tell Me That It Isn't True
9. Country Pie
10. Tonight I'll Be Staying Here With You$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now