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Sons Of SoulSons of Soul is the 1993 third studio album by American R&B group Tony! Toni! TonÉ! The band originally recorded for the album at several studios in California, including Westlake Recording Studios and Paradise Recording Studio. When they became jaded with the various people frequenting those studios, Tony! Toni! TonÉ! moved their sessions to Caribbean Sound Basin in Trinidad, where they ultimately wrote and recorded most of the album.
Sons of Soul was produced entirely by the group, who worked with various session musicians and utilized both vintage and contemporary recording equipment. They intended to pay homage to their musical influences-classic soul artists of the 1960s and 1970s-and incorporated live instrumentation, funk, and hip-hop elements such as samples and scratches. Lead singer and bassist Raphael Wiggins handled most of the songwriting, which featured quirky, flirtatious lyrics.
Sons of Soul was originally released by Wing Records and Mercury Records on June 22, 1993, to widespread critical acclaim. The record's commercial success included a 43-week chart run on the Billboard 200 and a double platinum certification from the Recording Industry Association of America (RIAA), for sales of at least two million copies. With its success, Tony! Toni! TonÉ! became one of the most popular R&B acts during the genre's commercial resurgence in the early 1990s. However, after an ill-fated tour, the band went on hiatus and pursued individual projects before reuniting in 1995.1. If I Had No Loot
2. What Goes Around Comes Around
3. My Ex-Girlfriend
4. Tell Me Mama
6. Slow Wine
7. (Lay Your Head On My) Pillow
8. I Couldn't Keep It To Myself
9. Gangsta Groove
10. Tonyies! In The Wrong Key
11. Dance Hall
12. Times Square 2:30 A.M. (Segue)
15. Castleers$24.99Vinyl LP - 2 LPs Sealed Buy Now
Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Like the first tone of a scale, the Tonik interconnect provides the foundation of truly accurate performance and value. Through the use of Kimber Kable's legendary tri-braid field geometry, VariStrand™, Ultrapure copper conductors and our special recipe PE dielectric, the Tonik allows music to flow with power, smoothness and harmonic richness. Tonik single-ended uses our Ultratike™ RCA type connector. Tonik balanced features studio grade XLR connectors with silver plated contacts.$74.00Tonik Interconnect - Multiple Options Available Buy Now
Out to LunchOut To Lunch is one of Eric Dolphy's lasting classics and most forward looking statements featuring Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with a cold harsh tone that provides the perfect edge to the set. Despite a large number of later recordings, he almost never hit this level again and it's his playing that gives the set such a unique sound. Includes the tracks; Straight Up & Down, Gazzelloni, Hat And Beard, Out To Lunch and Something Sweet, Something Tender. Out To Lunch is an innovative document by one of the most emotional, resourceful reedmen in jazz history.1. Hat And Beard
2. Something Sweet, Something Tender
4. Out To Lunch
5. Straight Up And Down$24.99Vinyl LP Reissue - Sealed Buy Now
Ghost On GhostIron and Wine makes its Nonesuch Records debut with Ghost on Ghost. Ghost on Ghost is the fifth release from singer-songwriter Sam Beam, using the pen name Iron and Wine. The album was produced by Beam's longtime associate Brian Deck (Modest Mouse, Califone, Fruit Bats) and follows 2011's Kiss Each Other Clean, which debuted at #2 on the Billboard chart to critical acclaim.
Rolling Stone said of Kiss Each Other Clean that "pop music hadn't seen anything like it since the heyday of Cat Stevens," while Pitchfork said it "more closely resembles the lush, gold-toned singer songwriter records of the late 60s and early 70s-Astral Weeks, Goodbye Yellow Brick Road."
For Ghost on Ghost, Beam sought to move from what he called the "anxious tension" of his two previous records. "This record felt like a reward to myself after the way I went about making the last few," he says.
Helping achieve Beam's vision was a group of stellar musicians including Rob Burger, Steve Bernstein, Brian Blade, Curtis Fowlkes, Tony Garnier, Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr, Doug Wieselman, Kenny Wolleson, and Anja Wood. Burger (Tin Hat Trio) has worked with Beam intermittently through the years and handled arrangements for strings and horns on Ghost on Ghost. For the album's cover, Beam, who is also a visual artist, chose an image from the series "Private Views" by noted photographer Barbara Crane.
This LP also includes a bonus CD.1. Caught in the Briars
2. The Desert Babbler
4. Low Light Buddy of Mine
5. Graces for Saints and Ramblers
6. Grass Windows
7. Singers and the Endless Song
8. Sundown (Back in the Briars)
9. Winter Prayers
10. New Mexico's No Breeze
11. Lovers' Revolution
12. Baby Center Stage$22.99Vinyl LP - Sealed Buy Now
Cinema, Circus & Spaghetti17 years strong, Sexmob are a venerable New York City music institution. The band's four founding members-Steven Bernstein, Briggan Krauss, Tony Scherr and Kenny Wollesen-defy genre, instead replacing it with their own inimitable musical language. It's fitting then that for their first new album in over seven years, Sexmob would choose to re-imagine the music of Nino Rota. It was Rota's imaginative compositions that set the tone for the surrealist films of the legendary director Federico Fellini. The Italian filmmaker once said, My films, like my life, are summed up in circus, spaghetti, sex, and cinema. Thus accordingly Sexmob have dubbed their tribute, Cinema, Circus & Spaghetti. The 13-track collection is a welcome return to form by these giants of the NYC downtown scene as they dive headlong into Rota's iconic Fellini film melodies. The quartet fearlessly blows apart musical parameters whether steering the arrangements through gutbucket swing or igniting them with New Orleans brass band second-line fervor; dubbing them out into ether or blasting them with punk jazz abandon. These classic themes are the perfect foil for Sexmob's improvisational psychedelia, old world beauty and hypnotic groove.1. Amacord
2. Il Teatrino Delle Suore (Juliet of the Spirits)
3. La Strada
4. Volpina (Amacord)
5. Paparazzo (La Dolce Vita)
6. Toby Dammit's Last Act (Spirits of the Dead)
7. La Dolce Vita
8. Zamparo (La Strada)
9. Nadia Gray (La Dolce Vita)
10. The Grand Hotel (Amacord)
11. Gelsomina (La Strada)
12. I Vitelloni$16.99Vinyl LP - Sealed Buy Now
Ballads For TwoChet Baker often sounded at his best during his later years when playing with a quiet trio consisting of himself, guitar and a bassist. For this reissue from the German Inak label, the trumpeter is joined in 1979 not only by guitarist Larry Coryell and bassist Buster Williams but by the mellow-toned vibraphonist Wolfgang Lackerschmid (who gets co-leadership) and a very restrained Tony Williams on drums. Although the CD only has 36 minutes of music, the mostly little-known material (five originals by the sidemen plus Here's That Rainy Day) suits Baker fine. The emphasis is on slower tempoes (other than Buster Williams's closing blues) including a pair of jazz waltzes and Baker's chops sound fine within the limited scope that he plays. The overall results are not essential but are worthwhile.
-All Music1. Blue Bossa
2. Five Years Ago
3. Why Shouldn't You Cry
5. Softly, As In A Morning Sunrise
6. You Don't Know What Love Is
7. Waltz For Susan$32.99Vinyl LP - Sealed Buy Now
Modern NatureTHE CHARLATANS:- Tim Burgess, Mark Collins, Martin Blunt and Tony Rogers - release their twelfth album, MODERN NATURE on BMG Chrysalis. The album comes after a brutally difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on, to honour Brookes' memory - Jon was adamant that there was going to be another Charlatans record, and you have to put that into your own thoughts. The band went into their studio Big Mushroom in January 2014 and as Tim recalls We were aching for the summer when we wrote it. It was freezing and we were trying to write songs that made us happy. " The result is Modern Nature. Featuring eleven new tracks, including the recent limited edition 7" single and 6 Music A List record 'Talking In Tones', the album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs' backing singers Melanie Marshall and Sandra Marvin, strings by Sean O' Hagan and brass courtesy of Dexys' Big Jim Paterson. Q have already described the album as "one the finest of their career."1. Talking In Tones
2. So Oh
3. Come Home Baby
4. Keep Enough
5. Tall Grass
7. Let The Good Times Be Never Ending
8. Need You To Know
9. Lean In
10. Trouble Understanding
11. Lot To Say$26.99Vinyl LP + CD - Sealed Buy Now
DreamcarIn the summer of 2014, No Doubt s Tony Kanal [bass], Tom Dumont [guitar], and Adrian Young [drums] and singer Davey Havok [AFI, Blakq Audio] began writing and demoing music together. Without telling a soul outside of their significant others, the four musicians clandestinely moved into a cramped downtown Los Angeles rehearsal spot and revved up what would become DREAMCAR. The result of this collaboration is their self-titled debut album, DREAMCAR, produced by Tim Pagnotta [Neon Trees], with whom the band found a kindred spirit.
The band's name actually reflects their ambitions. DREAMCAR speaks to a nostalgia, but as much as it speaks to the past, it also speaks to the present and the future, singer Davey Havok says. It mirrors hopes, aspirations, and attaining the unattainable. I would hope the songs do the same thing. Rife with shimmering guitar tones, percussive slap bass, bombastic drums, and a neon-lit dancefloor dreaminess, DREAMCAR gleefully nods to the decade of Boy George and Back to the Future through a kaleidoscope of wisdom earned from three decades creating and connecting with fans worldwide.
The first single Kill For Candy instantly enchants with its upbeat energy and sweet, saccharine chant punctuated by a twisting and turning guitar and driving rhythms. The album swings between the Frankie Goes To Hollywood-style risquÉ spoken narrative of On The Charts to the delicate longing of the synth-washed Slip On The Moon where Havok pleads, Just look for me, I will look for you. Born To Lie builds from a breathy verse into an expansive refrain, while the opener After I Confess sees his hypnotic and haunting vocal soar over airy and open soundscapes. Ultimately, it's that combination of delectable and dangerous which will leave listeners everywhere satisfied. This is a big moment for us, Kanal leaves off. It's a new beginning. We can't wait to perform the songs live.1. After I Confess
2. Kill For Candy
3. Born to Lie
4. On The Charts
5. All Of the Dead Girls
6. Ever Lonely
7. The Assailant
8. The Preferred
9. Slip on the Moon
10. Don't Let Me Love
11. Do Nothing
12. Show Me Mercy$24.99Vinyl LP - Sealed Buy Now
On StageGreen Colored Vinyl
Pressed At RTI
"I have a feeling we're not in Kansas anymore. We must be over the rainbow!" The famous Wizard of Oz introduction sets the
mood for the thrills, imagination, and aural adventurous that is Rainbow's classic double live album On Stage. Recorded in late
1976, approximately one year before front man Ronnie James Dio's departure from the band, the set stands as one of the decade's
pivotal concert records. On par with Kiss' Alive, UFO's Strangers in the Night, and Deep Purple's Made In Japan, the effort teems
with blistering performances and unfettered energy.
Freed from the confines of the studio, Dio and guitarist Ritchie Blackmore instill passionate bravado and swagger to every
song they attack. At the peak of his powers, Dio sings with leather-lunged gusto and theatrical purpose, hitting seemingly
impossible highs and reaching down to bring dark overtones to the lows. His melancholic showing on a cover of Deep Purple's
"Mistreated" blows away the original. As a perfect foil, Blackmore takes the opportunity to stretch out solos and indulge in bluesy
improvisations, turning "Man on the Silver Mountain" into a multi-part medley and the slowly building, fantasy-themed "Catch
the Rainbow" into an epic workout.
Rainbow's rhythm section is equally inspired. Drummer Cozy Powell jump-starts high-voltage passages with urgent beats and
timely playing. In sync with the irreplaceable contributions of organist/keyboardist Tony Carey, bassist Jimmy Bain supplies a taut
foundation. On Stage is in effect a document of a vital hard-rock band pushing itself to the maximum and succeeding in taking its
audiences on an unforgettable journey. Blackmore's inventive passages and colorful tones are alone worth the price of admission.
Martin Birch's steady, lively production puts it over the top. Unlike many heavily edited albums from the era, Powell is heard front
and center, the drums given as much space and presence as Blackmore's humming guitar, Dio's inimitable singing, and Carey's
howling organ. You're given an invitation to stand onstage with the quintet.
Pressed on green-colored vinyl at RTI, America's best pressing plant, and presented in a faithful reproduction of the original
gatefold sleeve, Wax Cathedral's deluxe reissue of this live scorcher renders the music in the highest fidelity it's ever enjoyed.
Always meant to be heard since its original release in 1977, On Stage is restored to all its glory.1. Intro: Over the Rainbow
2. Kill the King
3. Catch the Rainbow
5. Sixteenth Century Greensleeves
6. Still I'm Sad$28.99Colored Vinyl LP - Sealed Buy Now
Born With StripesSan Diegos The Donkeys strike a balance of smiling, surfer mysticism and winking, slacker mystique. They reanimate the charming hallmarks of sunshine-rock past without being sepia-toned retro or bubblegum-cloying. There is an innate playfulness and honesty to the music they make. Its a dynamic that has made public champions of keen-eared musicians like John Darnielle (Mountain Goats) and Craig Finn (The Hold Steady). It was Darnielle who claimed The Donkeys were benevolent keepers of what he called The Antidote to an unnamed sickness plaguing indie rock.
Born With Stripes is an altogether less twangy affair than the bands 2008 Dead Oceans debut, Living On The Other Side. The nods to Grateful Dead and Buffalo Springfield are better balanced with echoes of other Cali arists, notably Pavement and Beck. The country-rock flairs are often overtaken by powerpop hooks. What some might call a lazy melody is really just a melody on its own clock. Nice and relaxed.
Ceiling Tan, feels like a lost weekend in Tijuana with Mutations and Crooked Rain, and may well be the bands mission statement. I Like The Way You Walk also cops a 90s alt-rock lick, but ditches any esoterica for earnest yearnings and sweet nothings.
What makes the Donkeys so potent is not their ability to rehash the past, its that their records embody a pureness, an authenticity that is unmatched in contemporary music. We were not the only ones to feel this undeniable connection. The Donkeys had a brush with Hollywood when Lost producer Eddy Kitsis heard the band, and cast them as Geronimo Jackson, a band he had written into the Lost story as an obscure San Francisco band from the 70s, who were peers of the Grateful Dead. Kitsis heard the Donkeys and felt they so embodied this fictitious band, that he actually had the band re-record their song Excelsior Lady as Dharma Lady and weaved it into the TV show.
The album was mixed by Pernice Brothers Thom Monahan, whose involvement not only gives us the crispest, warmest Donkeys recordings to date, it also serves to remind us of the bands loose connections to an array of psych-dappled kindred spirits: Vetiver, Papercuts, BrightblackMorning Light, Devendra Banhart. Monahan was not the only outsider the band collaborated with on Born With Stripes. The playful album artwork was created by California illustrator and cartoonist Tony Millionaire, best known for his comics Maakies and Sock Monkey, and as the creator of the Adult Swim show Drinky Crow.1. Don't Know Who We Are
2. I Like The Way You Walk
4. Born With Stripes
6. West Coast Raga
7. New Blue Stockings
8. Ceiling Tan
10. Bullfrog Blues
12. East Coast Raga$16.99Vinyl LP - Sealed Buy Now
Bus StopNo rest for the Hollies in 1966! Hot on the heels of Beat Group!, Bus Stop rolled into U.S. record shops, right on schedule. Written by Gouldman, the title track became the bands first Top Ten U.S. single, peaking at #5, and featuring their bell-tone harmonies to perfection. In addition to the sparkling single, the album is packed with their renditions of contemporary hits like Simon and Garfunkel's I Am A Rock, Smokey Robinson and the Miracles' Mickey's Monkey' and the Fred Neil/Roy Orbison chestnut Candy Man. Self-penned songs We're Through, Don't Run and Hide and You Know He Did also shine brightly and prove there was no danger of covering up the band members writing skills. With this disc, the Hollies put the rock world on notice that they were the British Invasions most beat-filled battalion!
Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntables request. Get in the queue!
Perhaps the most undervalued band of the original British Invasion, The Hollies hits are well known in the U.S. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip Wild Thing Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies third and fourth Imperial label albums, from 1966.1. Bus Stop
2. Candy Man
3. Baby Thats All
4. I Am A Rock
5. Sweet Little Sixteen
6. Were Through
7. Dont Run And Hide
8. Oriental Sadness
9. Mickeys Monkey
10. Little Lover
11. You Know He Did
12. Whatcha Gonna Do Bout It$24.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
SavagesMax Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.
Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.
"All of the things that make SOULFLY killer are combined in Savages," Max declares.
»Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.
"I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."
A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.
SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.
In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).
Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"
Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."
Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."
Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."
Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."
Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."
Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."
Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."
Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.
Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"
Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.LP 1
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Complete Discography (Awaiting Repress)In the mid-to-late 1980s, Moss Icon pioneered a progressive, highly emotive sound that stood in stark contrast to just about everything even remotely considered punk-rock at the time. In retrospect, they more resembled an inspired marriage of the bleak post-punk leanings of Joy Division with the raucous riffage of the Wipers, albeit considerably less accessible thanks to Moss Icon's more sinister tone, Tonie Joy's exploratory arrangements, and frontman Jonathan Vance's almost stream-of-conscious sociopolitical rampages.
In the decades since Moss Icon's disbandment, bootlegged t-shirts and patches have been easier to come by than actual recordings, and the Internet is filled with misconceptions and misinformation, incidentally lending an enigmatic, almost mythical status to the band. Rather than attempt to pull back the curtain, this collection, compiling the group's entire official catalog, serves to permanently document the very important contributions of one very important group from a very formative era of underground music. 19-song, 3LP set with download coupon from Temporary Residence.LP1
2. I'm Back Sleeping, Or Fucking, Or Something
3. Divinity Cove
5. As Afterwards The Words Still Ring
6. Lyburnum - Wit's End (Liberation Fly)
7. Cricketty Rise (Haverton Roads - Browns and Greens)
8. Happy (Unbounded Glory)
5. As Afterwards The Words Still Ring
6. Familiar Presides
1. The Life
2. Kick The Can
3. Hate in Me
4. What They Lack
5. Kiss The Girls And Make Them Die$39.99Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
$24.99 $22.49 Save $2.50 (10%)
Love Swings (On Sale)Numbered Limited Edition
1961 Album of Standards Established Darin As A Sophisticated Singer
Concept Effort Divided Into Halves That Explore the Emotional Gamut of Romance: One Side Upbeat, the Other Heartbreaking
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): Darins Voice, Torrie Zitos Orchestral Arrangements Set Up Shop In Your Listening Room
Bobby Darin didnt want to be simply known as the singer that scored the novelty hit Splish Splash. Determined to be recognized as a top-tier vocalist on par with the likes of Frank Sinatra and Tony Bennett, the Bronx native set out to put an authoritative stamp on pop standards. And did just that with Love Swings. Divided into two conceptual halves, the 1961 masterpiece is the singers defining statement, a splendidly effective and smartly performed record that addresses the wild emotional fluctuations associated with romance and finds Darin nailing every note.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents Darins buoyant album with all the brassiness, boldness, and lushness any fan of vocal pop music would ever want. His voice is transparent and immediate, the diversified instrumental arrangements are placed in sharp relief, the songs replete with airiness, warmth, and the sough-after breath of life. The sound is so good that this somewhat-forgotten LP should now finally gain the recognition its long deserved.
Yes, love swings, but like a pendulum: back and forth, state the records liner notes, explaining the concept behind a set that is split into two thematically connected halves. On the first side, Darin delves into the giddy feelings and incredible happiness associated with romances first bloom. Infatuation, devotion, and gaiety take hold, Darin conveying every ounce of joy and pleasure tied to gliding, uptempo staples such as Rodgers and Harts I Didnt Know What Time It Was and the lounge-bound sway of Long Ago (And Far Away). Darins voice, and his ebullient support band (conducted by Torrie Zito), epitomize glee, delight, and bliss.
On the flip side, Darin, ever the realist and proving himself capable of sophisticated material, probes loves disillusions and heartache with incredible panache. The pace slows, the mood darkens, and the lights dim. Zitos orchestrations embrace denser, more poignant tones, and Darin delivers sad, aching tunes like In Love In Vain and Something to Remember You By with stunning realism and haunting impact. Its as cohesive of a vocal performance as youll hear from the era, a journey that takes you from the highs to the lows, and everything in between.
Yes, the human voice is the most difficult element to accurately reproduce on record. Yet Mobile Fidelitys Silver Label LP does wonders with this Darin classic, opening up the highs, clearing out a previously foggy midrange, and, as importantly, restoring to print in analog a vocal tour de force. Unavailable on vinyl for eons, Love Swings demands to be heard on this sumptuously remastered LP, which runs circles around its digital brethren.
About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!
This title is not eligible for further discount.1. Long Ago and Far Away
2. I Didn't Know What Time It Was
3. How About You
4. The More I See You
5. It Had To Be You
6. No Greater Love
7. In Love Vain
8. Just Friends
9. Something To Remember You By
11. Spring Is Here
12. I Guess I'll Have To Change My Plan$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
My Funny Valentine (On Sale)Numbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.
This title is not eligible for further discount.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Miles In The Sky (On Sale)Numbered, Limited Edition
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.
Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
This title is not eligible for further discount.1. Stuff
3. Black Comedy
4. Country Son$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Workbook 25 (Out Of Stock)
Debut Solo Album From Bob Mould!
25th Anniversary 2-LP Edition
Includes The B-Side, Bonus Track, "All Those People Know."
Available On Vinyl For The First Time Since Its Original Release
"Bob Mould's Workbook, a plaintive, sepia-toned, glimmering, acid-scratched, coal-black masterpiece of disgust, dissolution and redemption. Its
meditative acoustics and electric feedback squall proceeded and even predicted the sonics of several albums by Mould's contemporaries. Workbook
haunted my Walkman in 1989. So glad it's back for the 21st century."
-Scott Devendorf, The National
"Bob Mould has been one of my favourite artists for the last 30 years, and Workbook is a great album"
Alt-rock superstars HÜsker DÜ called it a day in 1987, but the band's Bob Mould would reappear two years later with his first solo album-the incredibly
impassioned and personal Workbook.
In addition to writing and producing the entire album, Mould sang all the vocals and played many of the instruments, sharing duties with The Golden
Palominos' Anton Fier on drums, Pere Ubu's Tony Maimone (bass) and cellist Jane Scarpantoni from Tiny Lights. While always recognized as an
astonishing guitarist, Mould's fretwork on Workbook traveled to levels yet unheard or imagined.
The album has since taken on iconic status, and Omnivore is proud to present Workbook 25
The album will be available on vinyl for the first time since its original release and will be pressed on 2 LPs for sonic superiority. The vinyl edition will also
include the B-side, bonus track, "All Those People Know."
As innovative as HÜsker DÜ was, fans had to wonder if Bob Mould could take them on another journey as rewarding. Workbook not only proved he could,
but did.LP 1
2. Wishing Well
3. Heartbreak A Stranger
4. See A Little Light
5. Poison Years
6. Sinners And Their Repentances
1. Brasilia Crossed With Trenton
2. Compositions For The Young And Old
3. Lonely Afternoon
4. Dreaming, I Am
5. Whichever Way The Wind Blows
6. All Those People Know *Bonus Track$34.99Vinyl LP - 2 LPs Sealed Temporarily out of stock