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Wind River Soundtrack (Pre-Order)Lakeshore Records is set to release WIND RIVER - Original Motion Picture Soundtrack on vinyl. The album features the original score by Nick Cave & Warren Ellis (HELL OR HIGH WATER, LAWLESS).
WIND RIVER is a chilling thriller that follows a rookie FBI agent (Elizabeth Olsen) who teams up with a local game tracker with deep community ties and a haunted past (Jeremy Renner) to investigate the murder of a local girl on a remote Native American Reservation in the hopes of solving her mysterious death. Written and directed by Taylor Sheridan, WIND RIVER also stars Gil Birmingham, Jon Bernthal, Julia Jones, Kelsey Asbille, and James Jordan.
The soundtrack to the beautiful Wind River was first and foremost the incessant wind or the grieving silence of the snow, said the composers, Nick Cave & Warren Ellis. Amid those elemental forces we made a kind of ghost score where voices whisper and choirs rise up and die away and electronics throb and pulse.
They added, It was a huge pleasure to work with Taylor Sheridan as he seemed to have a unique understanding of the power of music, that it could become the second-voice in the film.
*Cover art is subject to change1. Snow Wolf
3. Tell Me What That Is
4. First Journey
5. First Body
6. Second Journey
8. Never Gonna Be the Same
10. Meth House
11. Bad News
12. Third Journey
13. Second Body
15. Corey's Story
16. See You Tomorrow
17. Three Seasons in Wyoming
19. Shoot Out
20. Snow Flight
21. Memory Time
22. Survive or Surrender
23. Wind River$29.99Vinyl LP - Sealed PRE-ORDER Buy Now
AudioQuest Wind Interconnect Cable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
RCA to RCA
XLR & Custom Lengths Available Upon Request
In the simplest sense, wind is air in motion produced by the uneven heating of the Earth's surface by the sun. Because our planet is made of various land and water formations, from the severe heights of K2 to the placid Chicago River, it absorbs the sun's radiation unevenly, creating differences in air pressure and the ensuing movement of air from high-pressure areas to lower ones. Wind is also one of our most valuable natural resources: As an alternative to fossil fuels, wind is plentiful, renewable, widely distributed, clean, produces no greenhouse gas emissions, and uses little land.
While wind power may be more important today than ever before, it is by no means a new concept. Representations of ships under sail date as far back as 5500 B.C., while windmills may have been first used in Persia in 200 B.C. Among the classical elements, wind's close relative, air, is pure, powerful, and fundamentally important to life. In Japanese philosophy, wind is a symbol of all things that grow, expand, and enjoy freedom of movement, in some ways best represented by the human mind. People born under the astrological signs of Gemini, Libra, and Aquarius are thought to have dominant air personalities, marked by kindness and social grace. Of course, wind itself may be the most graceful of all elements. It fans the flames of our deepest passions, dances atop the surfaces of our longest rivers, sings in the rustling of the largest leaves, and carves its initials into our mightiest rocks. The physical effect is often astounding: From the forever-swirling formations of Coyote Buttes in Utah, to the sculpted cypress trees seemingly frozen in time along California's coast, wind holds a place as one of nature's most masterful artists.
SOLID PERFECT-SURFACE SILVER (PSS) CONDUCTORS: Solid conductors prevent both strand-to-strand contacts and magnetic interaction, major sources of distortion. Surface quality is critical because a conductor can be considered as a rail-guide for both the electric fields within a conductor, and for the magnetic fields outside the conductor. While less perfectly processed silver can have the same irritating tweeter-in-your-face sound as silver-plated strands, PSS Silver's smooth surface, extraordinarily careful processing, and high purity, deliver sound as smooth and beautiful as our PSC+ Copper, but with significantly higher resolution.
DIELETRIC-BIAS SYSTEM (DBS, US Pat #S 7,126,055 & 7,872,195 B1): Creates a strong, stable electrostatic field which saturates and polarizes (organizes) the molecules of the insulation. This dramatically reduces dielectric induced smearing of the signal, letting sound emerge from a "black" background.
CARBON-BASED 6-LAYER NOISE-DISSIPATION (NDS): Shields-the-shield, reducing RFI contamination of the equipment ground plane.
FEP AIR-TUBES (FEP IS A NOTABLY INERT FLUORO-POLYMER): Almost no contact between conductors and insulation reduces smearing and preserves dynamics.
TRIPLE-BALANCED GEOMETRY: Proper ground-reference conductor prevents using the shield as an inferior ground-reference conductor.
COLD-WELDED, HANGING-SILVER PLATING DIRECTLY OVER HIGH-PURITY RED COPPER PLUGS.$1,495.00Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available Buy Now
The Big PictureThe Big Picture is the twenty-sixth studio album by British singer-songwriter Elton John, originally released in 1997. It includes four worldwide singles: Live Like Horses (a duet with Luciano Pavarotti only for the single version), Something About the Way You Look Tonight (released as a double A-side with Candle in the Wind 1997), Recover Your Soul and If the River Can Bend.1. Long Way from Happiness
2. Live Like Horses
3. The End Will Come
4. If the River Can Bend
5. Love's Got a Lot to Answer For
6. Something About the Way You Look Tonight
7. The Big Picture
8. Recover Your Soul
10. I Can't Steer My Heart Clear of You
11. Wicked Dreams$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Way It Is
Mastered For This Recording By Kevin Gray At Cohearent Audio
180g Vinyl Pressed at RTI
Packaged In Gatefold Jacket
Liner Notes Contain All Lyrics
''Hornsby's Smashing Debut...An iconic musical Americana...A Perfect Album!''
Bruce Hornsby and the Range made a spectacular musical debut.''The Way It Is'' is a poignant, soulful, and powerful album with a flawless tracklist, beautiful melodies, feel-good rock numbers, phenomenal ballads, and socially conscious tunes such as the title track. There isn't a minute of ''The Way It Is'' that suggests it's a debut album. The album was an instant classic, one of the most complete and cherished recordings of the 1980s that went on to win the 1986 Grammy Award for Best New Artist. Not since Elton John and Billy Joel came along, had a piano player made such a major impact on the pop/rock music scene.
Perhaps it shouldn't be a surprise that the music is so accomplished, Hornsby was already a consummate musician and songwriter when he made it. The record presented a unique, fresh sound, distinguished by Hornsby's remarkable, whimsical piano playing. ''The Way It Is'' was unlike anything else on the radio at the time, a combination of pop, rock, folk, jazz, classical, bluegrass and country music. The band incorporates a wide range of instruments in the songs to support this mix - mandolin, guitar, violin, piano, and even harmonica. The songwriting is fantastic, Hornsby paints vivid portraits of life in the mountain ranges, winding rivers, jagged coasts, towering forests, and stretching farmlands of his beloved Virginia. He maintains a hopeful outlook for love and happiness even during tough times both emotionally and economically. Fellow musician Huey Lewis is featured on the album, lending his harmonica and vocal talents to the track, ''Down the Road Tonight''. Lewis also helped produce the song, along with the track, ''The Long Race'' and ''The River Runs Low''.1. On The Western Skyline
2. Every Little Kiss
3. Mandolin Rain
4. The Long Race
5. The Way It Is
6. Down The Road Tonight
7. The Wild Frontier
8. The River Runs Low
9.The Red Plains$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Love's Crushing DiamondMutual Benefit's newest offering is an emotional one, ripe with tender evocations of a love that just won't take. It would be hard to believe anyone who said this record is not in response to a great loss. We've all been there. Teetering on the border between letting go and great hope, Jordan Lee sculpted Love's Crushing Diamond to perfectly capture the dark pit of the unfortunately frequent and very real human state of vulnerability.
Each song accomplishes a very distinct purpose. Jordan will bring the listener back to very happy times, times when we wish we had behaved differently, times we wish we could erase... This violent back and forth gives off the impression that Jordan is toying with our emotions. In all honesty, it's remarkably exhausting, and at the end, we feel at peace. Jordan restores a much needed balance during a time of uncertainty.
We are warning you now, do not be afraid to let the emotions wash over you. Do not be afraid to cry. Do not be afraid to laugh. Do not be afraid to worry. Do not be afraid to experience a whole new echelon of fear. Jordan wants you to give into all these emotions while you navigate his 32-minute present. Watch yourself as you listen. Do you get angry or feel like you're too good for the record's message? They're wonderful coping mechanisms, anger and avoidance, but they'll only leave you worse off, grasping at straws when you realize it might be too late. So do yourself a favor, forgive and dive in.
I challenge you to imagine a scenario as you listen. You're in the orient, floating down a winding river. The only thing keeping you company is your thoughts. As the river twists and turns, you ask yourself where it will take you. You pass around a bend, and the countryside explodes into color. The sun beams down on your face. The vast expanse overwhelms you. Past doubts and worries dissolve. Fear is eliminated. We were made to be afraid, but you are perfectly serene. Prepare for a journey, close your eyes, and press play.
We were made to be this way. We were made to be afraid.
- Jonathan Abramson (Live For The Funk)1. Strong River
2. Golden Wake
3. Advanced Falconry
4. That Light That's Blinding
5. Let's Play / Statue of a Man
6. C. L. Rosarian
7. Strong Swimmer$15.99Vinyl LP - Sealed Buy Now
Fallin' Off The Edge (Awaiting Repress)The 1977 Seeds rarities compilation Fallin' Off The Edge was a great addition to the original band's catalog, as it collected some non-LP singles, outtakes, and alternate versions/mixes of songs.
As for non-LP songs from singles, Fallin' Off The Edge includes The Wind Blows Your Hair from 1967; Daisy Mae, the B-side OF The Seeds' first 45rpm release (Can't Seem To Make You Mine); The Other Place, which was the B-side of 1966's Try To Understand single; and one side of The Seeds' final release on GNP/Crescendo, Fallin' Off The Edge Of My Mind. (Curiously, that single's other side, Wild Blood, isn't included.) Unreleased tracks include She's Wrong, the zonked-out, poppy Chocolate River, and, most impressively, The Wind Blows Your Hair (reprise), an alternate version of the song with different (and much more frightening) lyrics.
- Sky Saxon Seeds1. The Wind Blows Your Hair
2. The Other Place
3. She's Wrong
4. Nobody Spoil My Fun
5. Fallin' Off The Edge Of My Mind
6. Pretty Girl
8. Chocolate River
9. Daisy Mae
10. The Wind Blows Your Hair [reprise]
11. Pushin' Too Hard$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
AudioQuest Water Interconnect Cable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
RCA to RCA
XLR & Custom Lengths Available Upon Request
Water-refreshing, soothing, cleansing water-covers more than 70% of our planet's surface and is the only substance in nature to appear naturally in all three common states of matter: solid, liquid, and gas. We know water as the nuclei of comets in space; as vapor in the soft clouds of our blue sky; as the crystals that form the many intricate patterns of snowflakes; as vast glaciers atop our planet's most tempting and challenging mountains; as brilliant, white icebergs drifting freely in artic oceans; as freshwater rivers that course through our land; as aquifers in the soil beneath our feet. On the molecular level, water can form large numbers of hydrogen bonds, giving rise to an unusually high surface tension and extreme capillary force, which, in turn, allows water to move upward through narrow tubes against the force of gravity-a life-giving property relied upon by all vascular plants, including our greatest trees: aspens, oaks, and redwoods.
Fascinatingly, the boiling point of water is highly dependent upon the barometric pressure of its environment: Water at the top of K2, for instance, will boil at a temperature different than that of water taken from the Mackenzie River, while the ocean's deepest waters, near geothermal vents, can reach temperatures of hundreds of degrees and yet remain liquid. According to Aristotle, among the classical elements, water held a special place between wind and earth, being both cold like earth and wet like wind, but stood distinctly at odds with fire. And people born under the astrological signs of Cancer, Scorpio, and Pisces are thought to have dominant water personalities: nurturing, sympathetic, and imaginative. Today, of course, we cherish water for all that it is, and know it best as the one thing that quenches our thirst when all else fails.
SOLID PERFECT-SURFACE COPPER+ (PSC+) CONDUCTORS: Solid conductors prevent both strand-to-strand contacts and magnetic interaction, major sources of distortion. Surface quality is critical because a conductor can be considered as a rail-guide for both the electric fields within a conductor, and for the magnetic fields outside the conductor. The astonishingly smooth and pure surface of all AudioQuest's Perfect-Surface metals nearly eliminates harshness and greatly increases clarity compared to all other premium coppers. The extreme purity of PSC+ further minimizes distortion caused by grain boundaries, which exist within any metal conductor.
DIELECTRIC-BIAS SYSTEM (DBS, US Pat #S 7,126,055 & 7,872,195 B1): Creates a strong, stable electrostatic field which saturates and polarizes (organizes) the molecules of the insulation. This dramatically reduces dielectric induced smearing of the signal, letting sound emerge from a "black" background.
CARBON-BASED 6-LAYER NOISE-DISSIPATION SYSTEM (NDS): Shields-the-shield, reducing RFI contamination of the equipment ground plane.
POLYETHYLENE AIR-TUBE INSULATION: Almost no contact between conductors and insulation further reduces smearing and preserves dynamics.
TRIPLE-BALANCED GEOMETRY: Proper ground-reference conductor prevents using the shield as an inferior ground-reference conductor.
COLD-WELDED, HANGING-SILVER PLATING DIRECTLY OVER HIGH-PURITY RED COPPER PLUGS.$450.00Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available Buy Now
Range Of LightS. Carey's chosen musical expression is a hugely beatific,restorative panorama of beauty - perfect given how
landscape and the wonder of nature inspire much of Carey's imagery. His new album Range of Light - the
follow-up to his 2010 debut All We Grow-takes its title from the name that 19th century naturalist John Muir
- Carey's hero - gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and
shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range
changing shadow form and color, or the ebb and flow of a river's current, his music is simultaneously restful
and rhythmic, complex and simple, and always evolving.
"My music has specific connections to nature and place, my surroundings, and my experiences," says Carey. I
travelled the Sierra Nevada area many times as a boy,fishing small mountain streams, hiking to the top of'half
dome', exploring the Redwood groves at Wawona, in awe of the Yosemite Valley. The term,'Range of Light',to
me, denotes the spectrum of light and dark a person can have in their life - peaks and valleys of happiness,
sorrow, challenges and growth - for me most recently and more specifically: marriage, having a baby, and
maintaining a spiritual connection to nature, place, friends and family as an adult."
While he studied classical percussion and piano at the University of Wisconsin in Eau Claire, Carey imbibed
rhythmic minimalists such as Steve Reich and Philip Glass. Immediately after graduating in 2007, he caught
wind that Eau Claire resident Justin Vernon was forming a band to take his For Emma, Forever Ago opus on
the road. Carey learnt the drum and vocal parts for the album,rehearsed with Vernon, and has been a mainstay
of the Bon Iver live band ever since.
While on tour with Bon Iver, Carey developed his own song writing ambitions, and after many less than
frequent recording sessions between tours, released All We Grow in 2010. Those nine songs sat between a
folk/modern classical hybrid and rarefied jazz climes. Carey's warm melodic nuances, reflected in the lush
folds of his singing, added to the mutable percussive syncopations of his instrumentation.
Range of Light incorporates elements of his previous work, but also amplifies Carey's percussive proclivities,
and is altogether more developed than its predecessors, with more input on the performance and even
composition side from the band of musicians and best friends he assembled originally to bring All We Grow
to life in the live setting. "Therewere times during recording sessions when there were three percussionists, all
with different styles and fortes, playing at once, adding different textures."
From the flurry of violins over a circular rhythm in 'Crown The Pines' and the beautiful cries of 'Alpenglow',
to the pensive depths of songs like 'Fire-scene' and 'The Dome', Range of Light is a still life of an artist in this
particular stage of his life; a stage that has been met with the highest of peaks and the lowest of depths all
within the range each of us treads through.1. Glass/Film
3. Crown The Pines
7. Fleeting Light
8. The Dome
9. Neverending Fountain$17.99Vinyl LP - Sealed Buy Now
Whatever Will HappenI was walking to the post office a few months ago when I saw 5 unkempt
figures heading my way. As they got closer, I recognized these guys. They had
played at our gallery last month, fogged the windows up good. Captivated the
crowd with their impossibly balanced creation of modern and classic, a blend of
Steely Dan cool and General Public pop, Squeezish hooks and Aztec Camera
guitar flair. It was like a crash course in 60s pop, 70s avant-garde, 80s new wave
and 90s popkid charm, with that unmistakable Puget Sound flavor. They were iji.
Iji's a band projecting their own brand of pop, nudging the genre into the
comfort zone of a punk community, embracing a desire for rack-a-chack, ethereal
and naivist sounds often unexplored by contemporaries.
Back on the sidewalk, I asked them what they were doing back in town.
Apparently after the Team Love show the band had decided to go night swimming.
Oblivious to the magical, secluded moonlit respite where the river bends wide or
the lake meets the shallow cliff, iji wound up breaking into the local community
pool, immediately getting arrested by the local community cops, and spending the
night in the local community clink. Now, rather than being out on tour in some
distant state or country spreading their transcendental party music, they had routed
themselves back up Hudson Valley way to appear in court and find that their
punishment was, essentially, all the cash in their merch box. A bummer; quickly
diverted by throwing together a few last minute shows and cruising on.
Shortly after this chance encounter Quarterbacks Dean came by the shop
and said he had heard the new iji album and did I want to give it a listen. I said
something like, fuck yeah, and that was that.
Zach Burba, the founder of iji, is what you might call a lifer. Iji is always
in a state of 'to be continued,' in the way that a journeyman is always and
perpetually transitioning into the master. They've put out numerous albums, singles,
cassettes, and splits over the past 10 years; toured coast to coast playing DIY
venues and houses where restrictions don't apply. This type of DIY pop is a
lifestyle; it's Kokopelli roaming the countryside sharing a song in exchange for a
roof and a bowl of soup.
On Whatever Will Happen, iji has whipped a notebook full of travel
poems into a full-length American Experimental Highway Pop Opus. The band's
eleventh or twelfth album is the first one recorded at Anacortes, Washington's The
Unknown Music Studio with a solid line-up, the Seattle underground music scene's
best players. Jake Jones and Curran Foster from Sick Sad World, Will Murdoch
from Pill Wonder, Evan Easthope from Neighbors, Erin Birgy of Mega Bog, plus a
handful of jazz horn players and inspired back-up singers. Whatever Will Happen
speeds past quiet beaches with soft-rock wind in the hair, through mountain passes
with windows-down-power-pop, into seedy cities with free-jazz flavor and shameless
The next time iji come to town, I'm going to take them up to the ridge and
show them a real swimming hole, something that's locals-only and worthy of their
greatness. And with that said, let's wrap this up by stating that Team Love is proud
to announce the release of Whatever Will Happen.1. Cruisin USA
2. Cool Moves
3. All The Light
4. Hard 2 Wait
5. Parking Lot Palms
6. Something Else
7. Eastern Beach
8. Dark Session
9. Crumbs and Wires
10. Bound 2 Glory
11. They Play
12. Let Fire Come$15.99Vinyl LP - Sealed Buy Now
The Percussion RecordThe O-Zone Percussion Group consists of selected percussionists at Indiana University of Pennsylvania. Their conductor, Dr. Gary J. Olmstead, has been Director of Percussion studies at IUP since 1966. He received a Bachelor of Music degree from the University of Michigan, Master of Fine Arts degree from Ohio University and Doctor of Musical Arts degree from the Cleveland Institute of Music. He is recognized nationally as a leading percussion educator and is active as a performer, conductor, and clinician.
Carl Adams has been a professor at Indiana University of Pennsylvania since 1979 teaching flute, jazz Improvisation and is a member of the IUP Faculty Woodwind Quintet. Active on both the classical and jazz scene, Adams has performed with the U.S. Military Academy Band, the Keystone Wind Ensemble and the Akron and Johnstown Symphonies. Solo recital appearances include the Kennedy Center, Wolf Trap, Carnegie Recital Hall and the Chautauqua Institution. He performs in a tri-state area with the Carl Adams Jazz Quartet and has appeared at the Pittsburgh Jazz Society, Nemacolin in Woodlands, Three Rivers Arts Festival, the Westin-William Penn (Pittsburgh) and in benefit concerts for the Westmoreland Symphony.
James Rupp is a veteran of the great 'big bands' of Woody Herman, Maynard Ferguson and Glenn Miller, including tours of the United States and Europe. Jim has recorded television specials with the Woody Herman Orchestra and the Bobby Floyd Trio and live albums with the Woody Herman and Glenn Miller Orchestras.
Jerry Tachoir is acclaimed by critics for his talent, versatality, and his studious grasp of the jazz idiom and brings an exciting and engaging dimension to his performances. He has been an active member of the Ludwig/Musser clinic staff since 1972. His most requested clinic features include improvisational techniques, harmonic awareness, and vibe technique.
The connection of the percussion ensemble with jazz/rock/popular music seems a logical one given the inclusion of various percussion instruments as integral parts of this music. The drumset, of course, was present from the beginning of jazz and rock. The vibraphon has long been a favorite jazz instrument and the xylophone was a favorite ragtime solo instrument in the early part of the 20th century. Ethnic percussion instruments from Latin America, Africa and other cultures have long been used in the jazz/rock/pop Idiom.
Dr. Gary J. Olmstead, conductor
Carl Adams, percussion
James Rupp, percussion
Jerry Tachoir, percussion1. Jazz Variants
2. A Time for Jazz
5. Suite for Drumset
6. Conflict of Interest
7. Rondo Barock
8. La Bamba$49.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Other Side Of DesireIn the hands of the eccentric jazz-pop poet Rickie Lee Jones, the phrase the other side of Desire could mean a lot of things. As it happens, it's where the gets her mail; the singer-songwriter has been living quietly in New Orleans for a little over a year. This past fall, she celebrated her 60th birthday with the Lost Bayou Ramblers, at d.b.a.
The Other Side of Desire is also the title of Jones' first album of original material in more than ten years. Written, recorded and rooted in the city of New Orleans, according to press materials, it was crafted with producers Mark Howard and John Porter, whose resumes are heavy with names like Roxy Music, Bob Dylan, Neil Young and the Smiths. (Porter, who also lived in New Orleans for a time, can count locals like the Honey Island Swamp Band, Jon Cleary and Tommy Malone on his personal roster as well.)
The album is pure Jones: warm and whimsical, with a keen storyteller's touch. This time around, it's infused with the sounds of New Orleans. Strains of swamp-pop, honky tonk and Cajun waltzes wind through The Other Side of Desire which, the release said, could not have been written without the backdrop of New Orleans; its river, trains, barroom ghosts and sudden bands all playing the same song.
Alison Fensterstock (The Times-Picayune)1. Jimmy Choos
2. Valtz De Mon Pere (Lovers' Waltz)
3. J'ai Connais Pas
4. Blinded By The Hunt
6. I Wasn't Here
7. Christmas In New Orleans
9. Feet On The Ground
11. Finale (A Spider In The Circus Of The Falling Star)
$19.99Vinyl LP - Sealed Buy Now
Over And EvenJoan Shelly's new album, Over And Even, was written in the back of an abandoned beauty parlor on the island of Thessaloniki. The whole thing had something to do with Vashti Bunyan. That's what Joan told me, but Joan Shelley is a poet, so she makes things up. In a small, dark room that smells of expired hair-do chemicals, there is talk of hypnosis. All the windows are blacked out. Look into my eyes. White walls are blinding in the ancient sunlight. A bowl of oranges shines like solid gold, waiting for you. There is a small classical guitar, a sunburn, and a key that turns a lock, and songs come pouring out. Maybe the Greek deal was really about Leonard Cohen. That's Joanie's jam: songs wide open enough to let the wind blow the curtains around, and solid enough to hang a ton of heartache on. She writes smart, beautiful songs full of poetry, history, mystery and nature. Like all the best sad songs, they will make you cry. Then they will drag you outside and leave you flat on your back, staring up at the stars. Joan lands on a note like a laser beam on a diamond. Colors fly around the room, and her voice bends between them. People say her voice reminds them of Sandy Denny. It's more than the vocal range. It's a quiet power that draws you in. Maybe Over And Even wasn't written last winter on a Greek island. Maybe these songs were written a hundred years ago in a farmhouse somewhere in Kentucky. That's where Joan is from, and that's where she and guitar player Nathan Salsburg recorded all the basic tracks live. All the people who played on Joan's new record -- and Daniel Martin Moore who recorded and engineered it -- are friends. That comes through somehow in the sound of the album. Will Oldham and Glen Dettinger are genius harmony singers. They leave the perfect amount of space for microscopic shifts in Joan's voice, without sacrificing their own awesome idiosyncrasies. Nathan Salsburg's guitar follows every twist of the melody. When the song breaks your heart in two, Nathan is there with a high E-string to sew it back together. Joan Shelley's voice flows out like a river. It never travels in a straight line. It follows bends and curves carved by history. We are all lucky just to be swept away, and go with her wherever she's going. But it's not over by half There's a gold in your eyes blooming out through the black And you're still standing, your hand on the map No its not over, not over by half the end.1. Brighter Than The Blues
2. Stay On My Sure
3. Over and Even
4. Not Over By Half
5. Ariadne's Gone
6. No More Shelter
7. Easy Now
8. Lure and Line
9. Jenny Come In
10. Wine And Honey
11. My Only Trouble
12. Subtle Love$17.99Vinyl LP - Sealed Buy Now
Bright Sunny SouthNonesuch Records releases Sam Amidon's label debut, Bright Sunny South in 2013. Produced by Amidon with his childhood friend and longtime collaborator Thomas Bartlett (a.k.a. Doveman) and legendary English engineer Jerry Boys (Buena Vista Social Club, Vashti Bunyan, R.E.M.) and recorded in London, the record features a band made up of Bartlett and multi-instrumentalists Shahzad Ismaily and Chris Vatalaro. Jazz trumpeter Kenny Wheeler also makes a cameo. Amidon himself not only sings but also plays banjo, fiddle, acoustic guitar, and piano on the album.
Amidon describes Bright Sunny South as a "a lonesome record" and a return to the more spare sound of his 2007 self-recorded debut, But This Chicken Proved Falsehearted: "There was an atmospheric quality to my last two records; those albums are like a garden of sounds," says Amidon, "but this one is more of a journey, a winding path. The band comes rushing in and then they disappear. It comes from more of a darker, internal space."
A longtime admirer of Boys' work, Amidon was particularly enamored of his recordings with Martin Carthy in the 1970s, as well as the Ali Farka TourÉ/Toumani DiabatÉ duet albums on World Circuit/Nonesuch: "Those are so beautiful. I listened to all of that. I loved the sense of documentation, the unadorned quality. Everything sounded so clear."
The Vermont-born and raised, London-based Amidon is known for his reworking of traditional melodies into a new form. In addition to country ballads and shape-note hymns, Bright Sunny South features interpretations of traditional and contemporary songs, including Tim McGraw's "My Old Friend" and Mariah Carey's "Shake It Off." The record also includes a version of "Weeping Mary," a shape-note hymn that his parents, Peter and Mary Alice Amidon, had recorded with the Vermont-based Word of Mouth Chorus for Nonesuch Records on the 1977 disc Rivers of Delight: American Folk Hymns from the Sacred Harp Tradition.
Bright Sunny South follows 2010's critically acclaimed I See the Sign, which earned Amidon praise from SPIN for his "quirky alchemy contrasting pretty sounds with violent lyrical undercurrents" and Pitchfork, which said, "[Amidon's] interpretations are so singular that it stops mattering how (or if) they existed before."
Prior to I See the Sign, which was released on the Iceland-based label Bedroom Community, Amidon released But This Chicken Proved Falsehearted (Plug Research, 2007) and All Is Well (Bedroom Community, 2008). In addition to his solo albums, Amidon has collaborated on performances pieces with musical polymath Nico Muhly, toured as part of Thomas Bartlett's group Doveman and the Brooklyn band Stars Like Fleas, collaborated with Beth Orton, and embarked on a series of live shows with the guitarist Bill Frisell.
Sam Amidon, sing, banjo, fiddle, acoustic guitar; piano (8)
Thomas Bartlett, piano, Hammond organ, Wurlitzer, Moog synthesizer; percussion & electric guitar (11)
Shahzad Ismaily, electric & acoustic guitars, electric bass, Moog bass; drums (2); shaker egg (7)
Chris Vatalaro: drums & percussion; flute (6); a taste of the Wurli (2)
Kenny Wheeler, trumpet (2, 5)
Doug Wieselman, clarinets (11)
Tyler Gibbons, electric bass (10)
Produced by Sam Amidon, Jerry Boys, and Thomas Bartlett
Engineered and Mixed by Jerry Boys
Recorded at Snap Recording Studios and Livingston Studios, London
"Weeping Mary" Engineered by Patrick Dillett at No Fat Studios, New York, NY
Violin and bass on "Streets of Derry" Recorded by Tyler Gibbons at Red Heart Studios, Marlboro, VT
Assistant Engineers: Ben Mclusky at Snap; Sonny at Livingston
All songs are traditional, reworked & arranged by Sam Amidon, except track 4 written by McEwan/Wiseman, arranged by Sam Amidon and Thomas Bartlett; track 8 by Cox/Carey/Austin/Dupri, arranged by Sam Amidon; track 11 by McCurry/Power, arranged by Sam Amidon and Thomas Bartlett
Design by John Gall
Executive Producer: David Bither1. Bright Sunny South
2. I Wish I Wish
3. Short Life
4. My Old Friend
5. He's Taken My Feet
7. As I Roved Out
8. Shake It Off
10. Streets of Derry
11. Weeping Mary$24.99Vinyl LP + Bonus 7 - Sealed Buy Now
InteriorsInteriors, Cameron Mesirow's second full-length release as
Glasser, is a more considered, confident, and much more
sharply personal album than its predecessor. It's central
themes are love and anxiety and the spatial constraints
of both in the landscape of one's life. In the three years
since Cameron released her breakout debut "Ring", she
toured around the world (with Jónsi of Sigur Rós, The XX,
Delorean, among others) and left her California home for
New York. Along the way, she discovered a new partner
in producer Van Rivers (Fever Ray, Blonde Redhead)
whose background in techno production added expansive
spatial elements to her music that reflect both the looming,
condensed architecture of Glasser's new adopted home
as well as the intricate internal worlds she conjures in on
The tension between interior and exterior space fills the
album. In architect Rem Koolhaas' book Delirious New
York, which Mesirow credits as an inspiration, the author
suggests that New York's massive, stoic-faced buildings
are monuments rife with secrets. Interiors is Cameron's
attempt to exorcise and address some of those metropolitan
secrets. "I thought a lot about the physical impositions in
my life, and about the fluid emotional boundaries in my
relationships," Mesirow says. "There's no limit to what can
be said about these structures. I can't help but live and
work in them, exploring their many folds."
The instrumentation of the album is a mixture of synthetic
and organic sounds, real strings, reeds and drums
combined with programmed ones, a purposeful coupling
of natural enemies. "I like music where you're not thinking
about what a specific instrument is," she says. "An
instrument-less quality. It doesn't come from a band, but
from a whisper in the wind." As on Ring there are sounds
used for unlikely purposes; vocals used as percussive
accents, or melodic themes assembled from environmental
sounds. The song "Design" illustrates this with Cameron's
own pitched-down vocals serving as a writhing bass line
in the frantic depiction of lust. The Glasser we find on
Interiors is smoother and smokier, more confident and
defined against an increasingly stoic electronic music
backdrop. The effect is a paragon of sonic architecture--a
soundspace that's packed tight but never feels crowded.1. Shape
5. Window I
6. Keam Theme
9. Window III
10. Window II
11. New Year
12. Divide$18.99Vinyl LP - Sealed Buy Now
For My ParentsMono, the Japanese instrumental rock quartet, who have been called one of the most distinctive bands of the 21st century by Pitchfork, present their new Temporary Residence album For My Parents. There is no doubting a Mono song when you hear it; cinemascopic song structures, engrossing lyrical melodies, sublimely transcendent execution; and no denying their uncanny ability to feel perfectly at home in both pristine symphony halls and dirty rock clubs. For My Parents obliterates that divide, showcasing a sensitivity and maturity that simultaneously acknowledges where they came from and where they're going.
For the new album the band worked with legendary New York producer Henry Hirsch, recording in a converted cathedral overlooking the Hudson River, and mixing with longtime friend Fred Weaver in rural Pennsylvania. Embracing their evolution as a preeminent neoclassical noise juggernaut, Mono once again enlisted the Wordless Music Orchestra, who had previously accompanied the band in NYC during their worldwide series of orchestral concerts.
Coming more than three years after the highly regarded Hymn To The Immortal Wind, For My Parents represents the longest span of time between Mono albums, resulting in sharper songwriting, subtler dynamics, stunning production, and the most thoughtfully developed arrangements of their career. The unique combination of soul-stirring melodies, cinematic East-meets-West arrangements, and firm command of elusive emotional intangibles is what makes Mono so Mono.1. Legend
3. Dream Odyssey
4. Unseen Harbor
5. A Quiet Place$24.99Vinyl LP - 2 LPs Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Blood On The Tracks (On Sale)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.
A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.
For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.
Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.
Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for further discount.1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Abraxas (45 RPM Box Set) (Out Of Stock)Santana Abraxas Numbered Limited-Edition Ultradisc One-Step 45rpm Vinyl 2LP Box Set From Mobile Fidelity
Limited To 2,500 Copies
Mobile Fidelity's Premier Ultradisc One-Step Release: Mastered From The Original Master Tapes, Santana Abraxas UD1S 45RPM Box Set Reaches Sonic Heights Never Before Achieved By Analog
Deluxe Packaging Includes Opulent Box, Special Jackets, Unique Insert, And Fine-art Print Of The Original Mati Klarwein Painting: No Expense Spared On Very Limited Audiophile Pressing
Get Literally And Figuratively Closer To The Music Of Santana's 1970 Masterwork: Set Ranked By Rolling Stone As 205th Greatest Album Of All Time Includes Black Magic Woman And Oye Como Va
Abraxas stands alone as the consummate Latin rock album. The confident sound of Santana stretching out and carving out a distinctive new genre, the 1970 set is daubed with psychedelic accents and Afro-Latin grooves. Not surprisingly, Abraxas immediately captured the public's ear, spending six weeks as the nation's #1 album and spawning the cosmic "Black Magic Woman" as a Top 5 single that's since become one of the most widely recognized songs in history. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this ambitious work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, Mobile Fidelity's deluxe 45RPM set is mastered from the original master tapes and overflows with the information, clarity, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. Experience Abraxas the way it is meant to be heard, with the instruments and musicians placed in the proper channels. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. Every imaginable detail is brought to the forefront and properly scaled, bringing you closer to the music and enhancing your emotional connection to this legendary record.
A confluence of celebratory vibes, bluesy jams, mellow vocals, and hip-shaking grooves, Abraxas is a cornerstone of any music collection. Picking up on the momentum of its excellent 1969 self-titled debut and drifting into more versatile territory, Santana reimagines what's possible in melding various disciplines and styles. Mysticism and spirituality abound amidst cohesive performances involving a vibrant mÉlange of purring organs, conga beats, and fluid bass lines. And that says nothing of the bandleader's extraordinary playing.
Wild, free, and loose, the group conjures the feeling of mountains and rivers on the lead-off instrumental "Singing Winds, Crying Beasts," leads a salsa parade on the definitive version of Tito Puente's "Oye Como Va," and explores its sensual side on the stellar showcase "Samba Pa Ti," a tune indicative of the album's Latin vibes and percussion. Sonically, Abraxas takes advantage of studio techniques such as cross-fading and mixing lacking on its predecessor.
As stated in The Mojo Collection: "Dissatisfied with the sound of their debut, the group brought in as a co-producer veteran jazz engineer Fred Catero, whose skills proved invaluable in balancing the new range of musical flavors Santana [was] bringing into its sound: the result was a giant step on from [the band's] debut."
But just like 1969's equally essential Santana, Abraxas lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold CD releases, Abraxas had never been heard correctly. For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Abraxas were included. Rest assured that, in addition to enjoying reach-out-and-touch it sound, this 45RPM 2LP edition gets all the specifications exactly right.
This title is not eligible for discount.1. Singing Winds, Crying Beasts
2. Black Magic Woman/Gypsy Queen
3. Oye Como Va
4. Incident At Neshabur
5. Se A Cabo
6. Mother's Daughter
7. Samba Pa Ti
8. Hope You're Feeling Better
9. El Nicoya$99.99180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock