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Time Fades Away'
Time Fades Away...Time Fades Away ranks with the bravest and most painfully honest albums of his career... - Mark Deming (All Music Guide)
Originally released in 1973, Time Fades Away is a live album consisting of previously unreleased material. It was Young's first live album, and was recorded with The Stray Gators on the tour following 1972's highly successful Harvest .1. Time Fades Away
2. Journey thru the Past
3. Yonder Stands the Sinner
5. Love in Mind
6. Don't Be Denied
7. The Bridge
8. Last Dance$24.99Vinyl LP - Sealed Buy Now
AmberAmber, the second full-length from Autechre and considered by many to be their ambient opus (though we imagine they wouldn't call it that!) having been out of print on vinyl since 2001. Amber contains eleven tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling 'techno' and moved into more territories of abstract ambience. These eleven crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90's. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future.There is something uniquely immersive about Amber, it's almost as if as you are playing it the sounds are fading away before they even begin, when played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear.1. Teartear
11. Foil$24.99Vinyl LP - Sealed Buy Now
Hermit Of Mink HollowFirst Time Audiophile Vinyl And Gatefold Cover Presentation Of This 1978 Masterwork
Mastered Impeccably By Joe Reagoso From The Original Bearsville Records Tapes
As founding member of the late sixties Philly rockers Nazz, multi-instrumentalist, vocalist, songwriter and producer Todd Rundgren was barely in his 20's when he began his long solo journey with success as one of the music industry's most prolific
and celebrated rock artists.
For his masterpiece Hermit Of Mink Hollow, Todd Rundgren delivers 12 solid performances which made this one of his most revered efforts in the late 70's. As with many of his solo albums, Todd played all of the instruments, sang and produced this major fan favorite and nailed one of the finest albums of his career and also catapulted Todd Rundren's marquee as a singer/songwriter even further with his smash hit single Can We Still Be Friends.
Album opener All The Children Sing immediately brings the listener onto a magical journey as only Todd Rundgren can deliver. Filled with exceptional guitar work, solid lyrical imagery and his stellar vocals, the artist truly delivers a fine opening
track for this musical event. Followed quickly by two stellar ballads the aforementioned smash Can We Still Be Friends and the R&B infused Hurting For You, the LP continues to thrill the listener with even more Todd Rundgren staples like the hard rockin' Determination, the bossa nova groove of Too Far Gone, and his follow-up hit single You Cried Wolf.
Known to write some very key social commentary oriented songs in his long career, Todd nails some of his finest ever with his brilliant Bag Lady and Bread. Soon to be followed with more hard rockers like his guitar driven Out Of Control, the stellar piano ballad Lucky Guy, and the beautiful Fade Away which closes out the Hermit Of Mink Hollow album, making this one of the most important and finest albums of his career.
This amazing album hasn't been on vinyl for several decades that is until now ..Friday Music is honored to announce for the first time ever on 180 Gram Audiophile Vinyl, the classic Todd Rundgren masterwork Hermit Of Mink Hollow. As a continuing installment in our career spanning Todd Rundgren Friday Music 180 Gram Audiophile Series, this limited edition album will also be presented for a short time in a first time gatefold cover which will feature the original inner sleeve artwork and lyrics, not seen in decades.
Mastered from the authorized original Bearsville Records tapes by Joe Reagoso (Todd Rundgren, Meat Loaf, The Cars) at Friday Music Studios, the Hermit Of Mink Hollow album will be one of the most anticipated audiophile albums released this year.
Todd Rundgren Hermit Of Mink Hollow A history making rock album from a rock legend, an audiophile dream release first time 180 Gram Vinyl & Gatefold Cover is now an audiophile vinyl dream come true From your friends at Friday Music.1. All The Children Sing
2. Can We Still Be Friends
3. Hurting For You
4. Too Far Gone
8. Bag Lady
9. You Cried Wolf
10. Lucky Guy
11. Out Of Control
12. Fade Away$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Official Release Series Discs 5-8 (Box Set)The Neil Young Official Release Series Volume 2 limited edition box set includes On The Beach, Time Fades Away, Tonight's The Night and Zuma. Remastered from the original analog studio recordings at Bernie Grundman Mastering. Historically accurate artwork reproduced by Neil Young's long time art director Gary Brden. Reissued on 180g audiophile vinyl for the first time in over 40 years and pressed at Pallas Mfg Germany.LP1 - Time Fades Away
1. Time Fades Away
2. Journey Through The Past
3. Yonder Stands The Sinner
5. Love In Mind
6. Don't Be Denied
7. The Bridge
8. Last Dance
LP2 - On The Beach
1. Walk On
2. See The Sky About To Rain
3. Revolution Blues
4. For The Turnstiles
5. Vampire Blues
6. On The Beach
7. Motion Pictures
8. Ambulance Blues
LP3 - Tonight's The Night
1. Tonight's The Night
2. Speakin' Out
3. World On A String
4. Borrowed Tune
5. Come On Baby Let's Go Downtown
6. Mellow My Mind
7. Roll Another Number (For The Road)
9. New Mama
10. Lookout Joe
11. Tired Eyes
12. Tonight's The Night - Part II
LP4 - Zuma
1. Don't Cry No Tears
2. Danger Bird
3. Pardon My Heart
4. Lookin' For A Love
5. Barstool Blues
6. Stupid Girl
7. Drive Back
8. Cortez The Killer
9. Through My Sails$159.99180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
The Complete Live At Raji's (Pre-Order)Pressed On 180g, Multi-Color Vinyl And Pressed At Record Industry
Each 2-LP Set Is Individually Numbered And Strictly Limited
Features Brand New Artwork And Never Before Seen Photos And Liner Notes
Comes In A Gatefold Tip-On Stoughton Sleeve
First Time Issued On Vinyl In The U.S. And Only The Second Time It Will Be Pressed To Wax Since The First Edited Version Was Released In 1989 In Europe
Features The Complete Show On Vinyl For The First Time, Including Tracks See That My Grave Is Kept Clean, When You Smile, All Along The Watchtower, And Tell Me When It's Over, That Are Making Their Debut Appearance On The Format
Though never commercially successful, Paisley Underground darlings the Dream Syndicate were critically acclaimed and held up their version of neo-psychedelic rock n' roll through the vapid MTV-dominated synth years of the 1980s. Influenced by the Velvet Underground, Neil Young and Television, the Syndicate led by vocalist, guitarist and band leader, Steve Wynn, formed the original version of the band with guitarist Karl Precoda in 1982 after moving back to Los Angeles. Drummer Dennis Duck, who played in the Pasadena band, Human Hands, joined the Syndicate and suggested the band's name in reference to Tony Conrad's early 1960s NY experimental ensemble that included John Cale.
The band performed their first live show at Club Lingerie in Hollywood on Feb 23, 1982, and later signed to Slash Records' subsidiary, Ruby Records,releasing their enigmatic and best-known album, The Days of Wine and Roses. After a brief hiatus in the latter 1980s, Wynn, Duck and bassist Mark Walton joined with guitarist Paul Cutler who had produced the band's very first EP. By 1988, the band was on Enigma Records and began a relationship with producer Elliott Mazer, who produced Neil Young's Time Fades Away. Mazer produced Live at Raji's which showcased the band's long, feedback soaked improvisations and even though it was released AFTER the Mazer-produced studio album, Ghost Stories, it was recorded prior to that on Jan 31, 1988, at Raji's in Hollywood; not 1989 as originally listed on the album upon release.
What Run Out Groove presents here is the complete show, including 4 tracks making their debut on wax. Live at Raji's would see its release for the first time in the U.S., since the original vinyl album debuted in Europe back in 1989. If you like R.E.M., Mazzy Star, Rain Parade, Galaxie 500, Big Star, The Velvet Underground, Television and Grant Lee Buffalo you won't want to miss this title.LP 1
1. See That My Grave is Kept Clean
2. Still Holding On To You
3. Forest For the Trees
4. Until Lately
5. That's What You Always Say
6. When You Smile
8. All Along the Watchtower
9. Tell Me When it's Over
1. The Days of Wine and Roses
2. The Medicine Show
5. John Coltrane Stereo Blues$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Magnolia Electric Co
10th Anniversay Deluxe Edition
Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
Previously Available In Japan.
Includes Rare Photos From The Era In Which It Was Recorded
The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
it's hard to look them right in the eyes. But you should.
With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country
While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
different place. Now something's got to change.
This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
Ohia rig barreling through Peoria Lunch Box Blues.
Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
Songs: Ohia has recorded to date.LP 1
1. Farewell Transmission
2. I've Been Riding With The Ghost
3. Just Be Simple
4. Almost Was Good Enough
5. The Old Black Hen
6. Peoria Lunch Box Blues
7. John Henry Split My Heart
8. Hold On Magnolia
9. The Big Game Is Every Night (Bonus Track)
10. Whip Poor Will (Bonus Track)
1. Farewell Transmission (Demo)
2. I've Been Riding With The Ghost (Demo)
3. Just Be Simple (Demo)
4. The Old Black Hen (Demo)
5. Peoria Lunch Box Blues (Demo)
6. John Henry Split My Heart (Demo)
7. Hold On Magnolia (Demo)
8. The Big Game Is Every Night (Demo)
9. Whip Poor Will (Demo)$24.99Vinyl LP - 2 LPs Sealed Buy Now
The DelugeWhite Colored Vinyl
Cascade and The Deluge are variations on the latest tape-loop
and delay composition from the inimitable William Basinski.
Cascade is the CD/Digital variant, and The Deluge is the vinyl LP
companion - pressed on exquisite 180 gram white colored vinyl.
In Cascade, a single ancient lilting piano tape loop repeats
endlessly carrying one along in its tessellating current. In The
Deluge, the same loop is processed through a series of feedback
loops of different lengths, creating a spiraling crescendo of
overtones that eventually fades away to silence. In the
denouement, a series of limpid piano loops leads to an urgent
orchestral theme that builds and gradually dies.
William Basinski is a classically trained musician and composer
who has been working in experimental media for over 30 years in
NYC and most recently, California. Employing obsolete
technology and analogue tape loops, his haunting and
melancholy soundscapes explore the temporal nature of life and
resound with the reverberations of memory and the mystery of
time. His epic 4-disc masterwork, The Disintegration Loops
received international critical acclaim and was one of Pitchfork's
Top Albums of the Decade. Installations and films made in
collaboration with artist-filmmaker, James Elaine have been
presented in festivals and museums internationally, and his
concerts are presented to sold-out crowds around the world.
Basinski was chosen by Music Director, Antony Hegarty to
create music for the Robert Wilson opera, The Life and Death of
Marina Abramovic which had its world premiere at the
Manchester International Festival in July 2011 and toured Europe
in 2012 and North America in 2013. Orchestral transcriptions of
The Disintegration Loops by Maxim Moston have been
performed at The Metropolitan Museum of Art, Queen Elizabeth
Hall and La Batie Festival in Geneva, Switzerland. Basinski is
currently touring the world in support of his latest works, Cascade
and The Deluge.1. The Deluge
2. The Deluge (The Denouement)
3. Cascade$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Holst The PlanetsZubin Mehta conducts the Los Angeles Philharmonic Orchestra for this audiophile recording of Holst's The Planets.
The scoring of the Planets is rich and extravagant (quadruple wood-wind, enormous brass and a percussion section requiring three players, not to mention such exotic additions as bass flute, bass tuba and organ) and yet the sound is always clear and transparent. There are two other ingredients to add to this formula - melodic invention and a great sense of rhythm. Holst had these in plenty. If his methods seemed novel during his life-time they have become commonplace since - but never dull.
The suite opens with Mars, the Bringer of War with its relentless, hammering five four rhythm. The movement is in simple ternary form. Brass dominates in the tremendous build-up and release of forces....
Venus, the Bringer of Peace is also the goddess of love and Holst allows his music more sensuality than elsewhere. Gone are the harsh pounding rhythm and snarling brass. They are replaced by serenity and coolness...
Mercury, the Winged Messenger is a symphonic scherzo of unparalleled lightness and volatility. The effect is obtained by mixing tonalities and time signatures. The distant keys of B flat and E are juxtaposed and there is a constant mixture of triple and duple time...
Jupiter, the Bringer of Jollity comes as a contrast to the vapid Mercury, with its boisterous dances and broad hymn tune...The king of gods would surely have been pleased with such a regal anthem...
Saturn, the Bringer of Old Age is Holst at his deepest and most intensely personal. It is an excursion into cold and dreary open spaces so often explored right up to the end of his life. The syncopated oscillations between two dissonant chords seem to be borrowed from Schoenberg while the slow melody of the double basses surely epitomizes senescence itself...
Uranus, the Magician: Trumpets and trombones blare out a portentous invocation, echoed by tubas and timpani. Bassoons are next on the scene to establish the piece's galumphing 6/4 gate...
Neptune, the Mystic: This is real music of the stars - free from all earthly sentiment. It is a vision of remote beauty and ideal perfection. Silvery sounds unfold yet without the remotest suggestion of a theme to disturb the spiritual concentration. There is constant shifting of harmony and changing tone colour. The icy tinkling of celesta and glockenspiel and the wordless, disembodied female chorus which floats over and around the closing pages were later (some 35 years later) to find their way into Vaughan Williams' Sinfonia Antarctica. There is, and can be, no end to this music - it fades away but cannot die: it is as infinite as space itself and as intangible as the most distant parts of the subconscious. - from liner notes
This title is not eligible for discount.Gustav Holst (1874-1934)
The Planets - suite
1. I. Mars, the Bringer of War - Allegro
2. II. Venus, The Bringer of Peace - Adagio
3. III. Mercury, the Winged Messenger - Vivace
4. IV. Jupiter, the Bringer of Jollity - Allegro giocoso
5. V. Saturn, the Bringer of Old Age - Adagio
6. VI. Uranus, the Magician - Allegro
7. VII. Neptune, the Mystic - Andante$54.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
The Way We SeparateThomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon,
introduced themselvesto the world with theNo Body and ForNow EPs,
both released last year on Ghostly International. The EPs were united
by minimalist, R&B-inuenced instrumentation, and also by a lyrical
theme, with both serving as meditations on the darkness that
underpins the most intense of human emotions: love.
The duo's debut album The Ways We Separate both consolidates and
developsthese ideas. The album focuses, asthe title suggests, on the
idea of separation - both within the context of relationships and in a
more intimate, psychological sense. As Mullarney explains, The
narrative contained inside The Ways We Separate deals with two kinds
ofseparation: one where two entities grow apart, and the other where
we grow apart from ourselves. Over the course of a relationship, the
two sometimes happen together, one being the result of the other.
Desires, passions and regrets are central to the songs on The Ways We
Separate, which take a variety of perspectives to construct a nuanced
reection on the album's central theme. 'Between the Waves' draws a
clever analogy between relationships and soundwaves falling out of
phase: I know all the ways we separate/ Where we start to fade at
di erent frequencies. 'Overseer' catalogues a parting of the ways with
discom ting clarity: Isn't it ne?/ Taking it slow?/ Watching you watch
me walk out your door. And album closer 'Split in Two' explores how th
extremes of love and loss can take you far away from being the person
you thought you were, making explicit the connection between the two
ideas of separation: What I'd do for you?, sings Thomas Mullarney,
Split myself in half/ Divided into two.
Musically, The Ways We Separate nds Beacon working with a richer
sonic palette than ever before -as Gossett says, The production on
this album is much more expansive than anything thing we've done
thusfar. We spent a lot of time exploring new gear and experimenting
with how to pull a wide range of sound out of various instruments.
Some ofthe key sonicsthatshaped this LP are analogue synthesis, lots
of heavily processed guitar work, and vocal layering/processing. While
the abiding mood remains that of late-night introspection, the
production draws from elements of hip hop and a wide gamut of
electronic music, marrying intricate beats and subtle textures to
honeyed pop melodiesthat belie the album's conceptual depth. Rarely
has bleakness sounded so pretty - this is a record that's deceptively,
compellingly beautiful, an exploration of a place both discom ting and
darkly seductive.1. Bring You Back
2. Feeling's Gone
3. Between The Waves
6. Late November
7. Studio Audience
10. Split in Two$18.99Vinyl LP - Sealed Buy Now
AmeriKKKa's Most Wanted (Remastered)Remastered
When Ice Cube split from N.W.A after the group's seminal Straight Outta Compton album changed the world forever, expectations were high, too high to ever be met by anyone but the most talented of artists, and at his most inspired. At the time Cube was just that. With AmeriKKKa's Most Wanted the rapper expanded upon Compton, making a more full-bodied album that helped boost the role of the individual in hip-hop.
Save the dramatic intro where a mythical Ice Cube is fried in the electric chair, his debut is filled with eye-level views of the inner city that are always vivid, generally frightening, generally personal, and sometimes humorous in the gallows style. Ripping it quickly over a loop from George Clinton's Atomic Dog, Cube asks the question that would be central to his early career, Why there more niggas in the pen than in college?, while sticking with the mutual distrust and scare tactics N.W.A used to wipe away any hopes of reconciliation (They all scared of the Ice Cube/And what I say what I portray and all that/And ain't even seen the gat). What I'm kicking to you won't get rotation/Nowhere in the nation he spits on the classic Turn Off the Radio, which when coupled with the intoxicating Bomb Squad production and Cube's cocksure delivery that's just below a shout, makes one think he's the only radio the inner city needs.
The Bomb Squad's amazing work on the album proves they've been overly associated with Public Enemy, since their ability to adapt to AmeriKKKa's more violent and quick revolution is underappreciated. Their high point is the intense Endangered Species, a live by the trigger song that offers It's a shame, that niggas die young/But to the light side it don't matter none. This street knowledge venom with ultra fast funk works splendidly throughout the album, with every track hitting home, although the joyless You Can't Fade Me has alienated many a listener since kicking a possibly pregnant woman in the stomach is a very hard one to take. Just to be as confusing as the world he lives in, the supposedly misogynistic Cube introduces female protÉgÉ Yo-Yo with It's a Man's World before exiting with The Bomb, a perfectly unforgiving and visceral closer.
Save a couple Arsenio Hall disses, AmeriKKKa's Most Wanted is a timeless, riveting exercise in anger, honesty, and the sociopolitical possibilities of hip-hop.
- David Jeffries (All Music Guide)1. Better off Dead
2. The Nigga Ya Love to Hate
3. AmeriKKKa's Most Wanted
4. What They Hittin' Foe?
5. You Can't Fade Me/JD's Gaffilin'
6. Once Upon a Time in the Projects
7. Turn Off the Radio
8. Endangered Species (Tales From the Darkside)
9. A Gangsta's Fairytale
10. I'm Only Out for One Thang
11. Get off My *** and Tell Yo ***** to Come Here
12. The Drive-By
13. Rollin' Wit the Lench Mob
14. Who's the Mack?
15. It's a Man's World
16. The Bomb$24.99Vinyl LP - Sealed Buy Now
Hollow BonesHollow Bones, the most anticipated blues rock album of the year from Long Beach, California's Rival Sons will finally be upon us! Having supported some of the biggest and best names in rock history, including being hand-picked to support Black Sabbath on their final world tour, following sold out tour after sold out tour, and just recently being added to the main stages at Europe's premier festivals such as Download, Hellfest and Rock Am Ring, the Rival Sons hype train continues to gain momentum, and Hollow Bones will surely propel them to their rightful place at the pinnacle of today's rock scene!
Arguably the most soulful voice in rock music today, Jay Buchanan's vocal performance on the album is as fiery and passionate as ever. Infused perfectly with Scott Holiday's fuzzy guitars, a powerful bassline courtesy of Dave Beste, and held together by the precise drumming of Mike Miley, and the two-times Grammy award winning talent of producer Dave Cobb, the lead single, Hollow Bones, Pt. 1 and the electrifying anthem Pretty Face encapsulate the harmonious blend that we've all come to know and love, now further refined and perfected to create a unique, timeless sound that sets the band apart.
Of course, no Rival Sons album would be complete without a heartfelt tune or two, provided here by the raw, dark Fade Out, which showcases the band's immense songwriting capabilities with haunting melodies and a touch of wistful melancholy. The final track, All That I Want, is an incredibly tender, touching finale, with the guitars this time taking a backseat allowing Jay Buchanan to deliver a breathtaking performance that'll tug at your heartstrings in a way that only he can. The man himself offers his own views on their latest work:
Each record we've made has been part of a distillation toward revealing the band's essence. This record, finally is the release of the unapologetic, wild beast that has long lived within the ribs of Rival Sons howling to be freed.
In keeping with a theme the band have touched upon several times, the stunning album artwork comes courtesy of renowned Brooklyn-based artist Martin Wittfooth, who's exhibited extensively in galleries and museums throughout North America and Europe. This particular piece, entitled Rainsong, is an oil-based painting featured in his latest solo exhibition, Offering, which was displayed at the famous Jonathan LeVine Gallery, New York in late 2015.
Through his work, Martin Wittfooth has presented a dystopian world, devoid of human life and filled with strong symbolic implications that the root cause is our own disrespect for the natural world. In contrast to some of his earlier work, which have often featured creatures removed from their own natural environments and instead surrounded by trash and decay, Offering explores the ancient art of shamanism, demonstrating a more optimistic view that perhaps its current revitalisation can peel away the materialistic obsessions through which we are collectively destroying our planet. In Martin Wittfooth's own words, the reemergence of shamanism appears to be having a great impact on consciousness around the globe by severing individual attachments to the ego-driven, ideology-based monotheistic modality that has shaped so much of the human enterprise over the past millennia.1. Hollow Bones, Pt. 1
2. Tied Up
3. Thundering Voices
4. Baby Boy
5. Pretty Face
6. Fade Out
7. Black Coffee
8. Hollow Bones, Pt. 2
9. All That I Want$17.99Vinyl LP - Sealed Buy Now
Perpetual SurrenderDIANA are an enigmatic foursome from Toronto, where they must be putting something in the water with the
number of great bands hailing from there. Consisting of Joseph Shabason, Kieran and singer Carmen Elle, with Paul Mathew recently joining the live line up, Shabason and Adams met while studying jazz at music college where they played extensively together. Having lent their skills (saxophone and drums, respectively) to many bands,including Bonjay, The Hidden Cameras and Shabason's recent contributions to Destroyer's excellent Kaputt, it was a leap of faith to make their own full-length. But the time had come.
After a songwriting sabbatical in the Canadian countryside, Shabason and Adams went into the studio with engineer and co-producer Roger Leavens. They asked Toronto musician and vocalist Carmen Elle to sing on a track, as both Kieran and Joseph knew her from her work with other bands such as the much feted but short-lived Spiral Beach, all of whose members have since gone on to play in various successful Canadian bands from Austra to Doldrums. The pair thought her voice might add something special, this turned out to be a huge understatement. Even though Shabason and Adams wrote the songs, the lyrics and melodies belonged to Elle the moment they escaped her mouth, each nuance of phrasing and melody deepening the sentiments. With this last dazzling piece of the puzzle in place, DIANA was born.
Right from the first note we're reeled into DIANA's intimate world, with the dense, ambient swell that begins album opener 'Foreign Installation'. A heady mix of drums, electric guitar and lush production, all sewn together and lifted by Carmen's soothing vocal, their sound is addictive from the off. The pace is picked up with 'That Feeling', the detached refrain We were blind to all the ways we sat and watched it fade away echoing through a mist of synths layered over insistent drums and bass. It is future music with an undeniable pop sensibility,
though never overwhelming, the glossy yet sparse production always leaving just enough room for the
Album highlight 'Perpetual Surrender' boasts an impressive travelling bassline, with Carmen's gorgeous vocal repeating "I need saving from myself" over blown beats and perhaps the year's best indie sax solo, all coming together to create well over four minutes of eerie, blissed-out ambience.
Though there are glances to music past and kinship with music present, there is a progressive and contemporary feel to the record. DIANA comparisons traverse eras and genres; from the soft-focus soft rock and pop of Roxy Music to the dreamy production of jj and Chromatics, topped off with the Balearic disco swirl of Studio. While referencing so many, Carmen's unique vocal brings them their own voice. For DIANA, the point is to push things forward, summed up with the embryonic bliss of instrumental closer 'Curtains', a startling piece of atmospheric
production that stays with you long after the last sound has echoed into the ether.1. Foreign Installation
2. That Feeling
3. Perpetual Surrender
4. Strange Attraction
6. Born Again
7. New House
8. Curtains$17.99Vinyl LP - Sealed Buy Now
Gord Downie, The Sadies, And The Conquering SunGord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:
Hello there / Gentle Son / A crater / We're creating!
Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:
Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing
Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.
It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.
The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.
Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun
Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.
Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.
Drive it like we stole it / Through the snowflakes, into the cold of the sun
On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:
Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!
The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:
You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough
One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:
And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?
Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:
You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs
Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:
It is the work, day is your word, night is the glue.
by Jonathan Shedletzky1. Crater
2. The Conquering Sun
3. Los Angeles Times
4. One Good Fast Job
5. It Didn't Start To Break My Heart Until This Afternoon
6. Budget Shoes
7. Demand Destruction
8. Devil Enough
9. I'm Free, Disarray Me
10. Saved$22.99Vinyl LP - Sealed Buy Now
VersusSome bands burn out, other bands fade away. Emarosa did neither of these things. They
released their previous self titled album in June of 2010, the album was praised by both fans and
critics, and the band toured the world over, headlining everything from club shows to festivals.
Then right at the peak of the bands success, they took a surprising step back. It wasn't a break
up, and it wasn't a proper hiatus, it was just a band who had been busy relentlessly touring and
recording for 5 years deciding that they needed to take a deep breath.
It's been 4 years and Emarosa is back, and stronger than ever. The nice thing about taking a
break when you're at your peak, is that everyone is anxiously waiting for you to return. Emarosa's fanbase is still here, and it's just as rabid as it's ever been. They have been begging for the
band to return. And that's exactly what the band has done. Emarosa's new album Versus is
the bands strongest material to date. And while the bands absence from the scene these past 4
years has been frustrating, it's all forgiven the moment you hear the album in it's entirety. The
band has been busy playing the new songs on tour with Chiodos this past spring, and they will
head out on tour making a stop at Riot Fest then hi ing the entire U.S. with Yellowcard and
Memphis May Fire this fall to support the album around its release.
They always say that good things take time, and in the case of Emarosa it's the truth.1. People Like Me, We Just Don't Play
2. American Deja Vu
3. A Hundred Crowns
4. I'll Just Wait
5. But You Won't Love A Ghostv
6. Say Hello To The Bad Guy
7. Cliff Notes
9. Gold Dust
10. Same Tight Rope
11. 1996 On Bevard$16.99Vinyl LP + CD - Sealed Buy Now
The Chirping Crickets (200 Gram Vinyl)Ranked 420/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Country, Rockabilly And R&B Fused Into Epochal Rock 'n' Roll
Remastered By Kevin Gray At Cohearent Audio From The Original Analog Master Tapes
Plating And 200-Gram Vinyl Pressing By Quality Record Pressings
Old-style Tip-on Gatefold Jacket From Stoughton Printing
One of rock's greatest albums, this is the debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime. The Chirping Crickets contains the group's number one single That'll Be the Day and its Top Ten hit Oh, Boy!. Other Crickets classics include Not Fade Away, Maybe Baby, and I'm Looking for Someone to Love.
These are among the best rock 'n' roll songs of the 1950s or ever, making this one of the most significant album debuts in rock 'n' roll history - ranking with Elvis Presley and Meet the Beatles, writes AllMusic.
What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Kevin Gray at Cohearent Audio. Followed by state-of-the-art plating and pressing on 200-gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on jacket to round out the package.
Born Charles Hardin Holley on September 7, 1936, in Lubbock, Texas, Holly was nicknamed Buddy by his mother. She felt that his given name was too big for her little boy. Holly, the altered form of his last name, would later result from a misspelling in his first recording contract. Holly learned to play piano and fiddle at an early age, while his older brothers taught him the basics of guitar.
In early 1956, Holly and his band began recording demos and singles in Nashville under the name Buddy Holly and the Three Tunes, but the group's lineup was later revised and dubbed The Crickets. Holly wrote and recorded his breakthrough hit, That'll Be the Day, with The Crickets in 1957. The song's title and refrain are a reference to a line uttered by John Wayne in the 1956 film The Searchers. Between August 1957 and August 1958, Holly and the Crickets charted seven different Top 40 singles.
Composer and singer John Fogerty, of Creedence Clearwater Revival fame, inducted Buddy Holly into the Rock And Roll Hall of Fame at the 1986 Hall of Fame induction ceremony. What Buddy Holly meant to him, Fogerty said, was destiny calling. Fogerty, 12, bought That'll Be The Day and soon began dreaming of forming his own combo, like the group of musicians - The Crickets - he saw on the album cover. And in Liverpool, England, the same thing was going on with four other guys. They named their group The Beatles, because Buddy Holly's group was called The Crickets.
We are, each of us, made up of the people we love and the people we admire, Fogerty, said. We take those reflections, and hopefully, grow.
Holly's talented life was cut short in a plane crash on Feb. 3, 1959, that also claimed the lives of Ritchie Valens and J.P. The Big Bopper Richardson. This album is a tribute to what was, and what might have been a lengthy pioneering musical career.1. Oh, Boy!
2. Not Fade Away
3. You've Got Love
4. Maybe Baby
5. It's Too Late
6. Tell Me How
7. That'll Be The Day
8. I'm Looking For Someone To Love
9. An Empty Cup (And A Broken Date)
10. Send Me Some Lovin'
11. Last Night
12. Rock Me My Baby$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now
DeadweightPressed On Colored Vinyl
WAGE WAR If you think that you've already heard it all when it comes to heavy music, you just haven't heard Wage War. The group - which is composed of vocalist Briton Bond, guitarist/vocalist Cody Quistad, guitarist Seth Blake, bassist Chris Gaylord and drummer Stephen Kluesener - formed in Ocala, Florida, in 2013 and instantly started playing all over the area, quickly getting signed to Fearless Records the old fashioned way: By sending a song to the label. From there the group linked up with the production team of Andrew Wade (Neck Deep, Motionless In White) and A Day To Remember vocalist Jeremy McKinnon who produced their 2015 debut Blueprints together and returned to produce the sophomore full-length Deadweight, which the band started writing immediately after they finished their debut.
"I'm very proud of Blueprints but a lot of those songs were written seven years ago so who we are as people and musicians these days is drastically different," Quistad explains - and a listen to Deadweight confirms that statement. "I think a big strength of this new record is the continuity of sitting in a room together and playing instead of trying to send files back and forth," he continues. "We were truly grinding out songs and I think this album still sounds like Wage War but, at the same time, it has some of our most melodic moments as well as some of the heaviest." The latter is evidenced on songs like "Stitch" which is certain to incite frenzied mosh pits for years to come and displays an aggression that the band has only hinted at in the past.
"We really tried to not overthink things on this record and just do whatever worked for the song, even if it was something that people might not necessarily expect," Quistad says. For this reason, the band decided it made sense to enlist the aforementioned producers who truly understood Wage War on a deep level. "There were so many early mornings and late nights making this record and it was such a pleasure to work with Andrew and Jeremy again because you could tell that they really cared about it and would go to any ends to make it the best that it could be." From the explosive production to the alternately screamed and sung vocals of "Don't Let Me Fade Away," all seven of the people involved in the making of TBA worked as one unit in working toward the same collective goal.
Lyrically, Deadweight sees the band exploring both personal to political issues in a way that's as raw and honest as the music that supports them. "This record is very much a snapshot of the past year; we are all very positive people but in 2016 we went through so much from seeing the world for the first time to scraping the bottom at some point emotionally or with relationships," Quistad admits. From 3 a.m. run-ins with refugees in Europe to flying home only to be confronted with the aftermath of the Pulse nightclub shooting in Orlando, there was no shortage of content to draw from this time around. "We didn't hold anything back when it came to this record, so hopefully it's as therapeutic for listeners as it was for us."
In a heavy music scene that's increasingly formulaic, Wage War pride themselves on the fact that they listen to a diverse range of music. "I'm a big fan of country music which surprises a lot of people and other guitarist Seth is really into pop music," Quistad explains. "We have an appreciation for all kinds of stuff and I think that all of it bleeds into the album in some way even if it's not always blatant." Take the song "Johnny Cash" which recalls the country tradition of paying homage to a pioneer of a genre while still retaining the heaviness of the act. "We get called metalcore a lot but we've never pledged allegiance to any genre because we always want to do something beyond that in the sense that we just listen to what we love and try to incorporate that into Wage War."
More than anything though, the band can't wait to get back on the road and start playing the songs from Deadweight live. "We played three hometown shows at the end of last year where we would include a new song and it was so cool to see the crowd react to the new material," Quistad says - and it's obvious that palpable excitement goes both ways. "This album is the truest representation of Wage War in the sense that we wanted to put every part of us under the microscope and come up with something that we're not only proud of but also encompasses what we want to be as a band and the kind of musical statement we want to lay down," he summarizes. "I would say this is a defining album for our band."
This title is not eligible for further discount.1. Two Years
3. Don't Let Me Fade Away
8. Never Enough
11. My Grave Is Mine To Dig
12. Johnny Cash$18.99Colored Vinyl LP - Sealed Buy Now
Seventh SwamphonySeventh Swamphony is the seventh studio album by the Finnish melodic death metal band Kalmah and is their first album with new keyboardist Veli-Matti Kananen. The album was recorded at Tico-Tico Studios in Kemi, Finland, and was mixed and mastered by Jens Bogren.
Few would deny that in the late 1990s and very early 2000s, Finnish death metal began shifting it's direction across the board. Although Amorphis themselves never lost any stride, the whole 'depression metal' thing just kinda faded away, to be replaced by something far more aggressive and energetic. Bands such as Children of Bodom, Norther, and Insomnium broke through with a sound that although was still firmly rooted in the brutality of death metal, were not too shy to throw in the occasional thrash and black metal influence to in turn create something new and exciting. With the exception of perhaps the aforementioned Insomnium, Kalmah had always been perhaps the most flat-out extreme and agro, and has steadily upped the ante with every succeeding release.
Right from the get-go, this disc opens up with a synth-hit-infused blasting skank-beat that flows easily into the pit-worthy yet SUPER-catchy chorus. This kind of sets the tone for this whole disc, and you get eight incredibly intense-yet-focus fistpumping/headbanging perfect examples of memorably melodic death metal that oozes every ounce of brutality that it can out of the riffage contained herein. A theme that is echoed in practically every song they've ever done is their effortless use of solemn, slightly-folksy lead guitar melodies on top of the high-energy thrashy rhythms underneath. Songs such as Deadfall and Wolves On The Throne are amazing and true-to-form for this band; heavy on melody and light on respite. The former song also features a glimpse of the ivory-tickling prowess of new keyboardist Veli-Matti Kananen, who in both his melody lines and also in his soloing has an almost youthful whimsy as he jams up and down the board. Once you notice it for the first time, you tend to notice that this may be one of the most keyboard-heavy albums the band has ever done, but that is because this may be the first time since 2002 that the band's keyboardist has had anything meaningful to add to the table in terms of songwriting. Maybe that's a bit drastic, but that's sure what it sounds like here, and that isn't to say that the omnipresent keys drown out the massive wall of guitar and bass. Antti Kokko is still one of underground metal's unknown guitar heroes with how deftly he weaves his melody lines through these tracks, and never mind how ridiculous his solos are. Need a point of reference? He's a straight-faced, serious, no-B.S. version of Alexi Laiho. And his brother Pekka Kokko's voice has never sounded better either, easily crossing from the higher-pitched, black metal-version of Mille Petrozza he always used to do on the older records with the flat-out demonic growl he's wielded since the masterful The Black Waltz album. He even manages to weave in a bit of clean singing for the first time that I can remember hearing on a Kalmah record, and speaking of which...
...remember how in the first paragraph we kind of stated that the melancholic Finnish death metal of yesteryear has been kind of hard to find as of late? Well, Kalmah decided to dish out their own version in fourth track Hollo. After listening to it maybe 10 times now, I've realized that I just need to stop the internal dialogue on whether or not it's a good direction for the band and instead just focus on how amazing the song itself is. For most of the track it really is one of the best pieces of old school Amorphis-worship that I've ever heard, before doing a Viking metal shift about halfway through, complete with calling horns and battle-ready gang vocals. Apart from this tune, the most that Kalmah otherwise deviates from what they know works is the almost-punky opening of Windlake Tale.
A lot of people unfairly write this band off as Bodom clones, and it's really unfortunate when they put out such amazingly dark and heavy records like this that really set them apart. If anything, I feel that this record will continue to appease Kalmah's core fanbase who've stuck it out since the beginning, but with it's perfect mixjob (except for some questionable leveling of the opening melody of Wolves on the Throne) where everything comes through crisp and clear (or as crisp and clear as a band as loud and agro as this likes to get), it can be an easy-to-get-into album for those still uninitiated.
Raise a horn of mead to the swamplords...they did it again!
- ArnoldHablewitz (The Metal Archives)1. Seventh Swamphony
5. Windlake Tale
6. Wolves On a Throne
7. Black Marten's Trace
8. The Trapper$19.99Vinyl LP - Sealed 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