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69 Love Songs'
69 Love Songs (Awaiting Repress)The limited-edition box set includes: all 69 love songs remastered for vinyl on six 10 vinyl records, all housed in a super-sized 69 Love Songs box, with a 10 version of the original booklet featuring liner notes written by Lemony Snicket author Daniel Handler.
Remastered vinyl reissue of The Magnetic Fieds' classic 1999 3-CD box set rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime's worth of listening. Stephin Merritt solidifies his songwriting genius on his most ambitious and fully realized work - AMG. This release is beautifully packaged in a 10-inch slip case box with three double gatefold sleeves and the original booklet in 10-inch size.LP 1
1. Absolutely Cuckoo
2. I Don't Believe in the Sun
3. All My Little Words
4. A Chicken with Its Head Cut Off
5. Reno Dakota
6. I Don?t Want to Get Over You
7. Come Back from San Francisco
8. The Luckiest Guy on the Lower East Side
9. Let's Pretend We're Bunny Rabbits
10. The Cactus Where Your Heart Should Be
11. I Think I Need a New Heart
12. The Book of Love
1. Fido, Your Leash is Too Long
2. How Fucking Romantic
3. The One You Really Love
4. Punk Love
5. Parades Go By
6. Boa Constrictor
7. A Pretty Girl is Like
8. My Sentimental Melody
9. Nothing Matters When We're Dancing
10. Sweet-Lovin' Man
11. The Things We Did and Didn't Do
2. Love is Like Jazz
3. When My Boy Walks Down the Street
4. Time Enough for Rocking When We're Old
5. Very Funny
6. Grand Canyon
7. No One Will Ever Love You
8. If You Don't Cry
9. You're My Only Home
10. (Crazy For You But) Not That Crazy
11. My Only Friend
12. Promises of Eternity
1. World Love
2. Washington, D.C.
3. Long-Forgotten Fairytale
4. Kiss Me Like You Mean It
5. Papa Was a Rodeo
6. Epitaph for My Heart
7. Asleep and Dreaming
8. The Sun Goes Down and the World Goes Dancing
9. The Way You Say Good-Night
10. Abigal, Belle Of Kilronan
11. I Shatter
2. It's a Crime
3. Busby Berkeley Dreams
4. I'm Sorry I Love You
5. Acoustic Guitar
6. The Death of Ferdinand de Saussure
7. Love in the Shadows
8. Bitter Tears
9. Wi' Nae Wee Bairn Ye'll Me Beget
10. Yeah! Oh, Yeah!
11. Experimental Music Love
2. Love is Like a Bottle of Gin
3. Queen of the Savages
4. Blue You
5. I Can't Touch You Anymore
6. Two Kinds of People
7. How to Say Goodbye
8. The Night You Can't Remember
9. For We Are the King of the Boudoir
10. Strange Eyes
11. Xylophone Track
12. Zebra$99.99Limited Edition Deluxe Box Set Vinyl LP - 6 LPs Sealed AWAITING REPRESS Buy Now
KaputtDan Bejar started Destroyer as a solo home-recording project in the early to mid-'90s. Destroyer's two recent limited edition 12s, Bay of Pigs and Archer on the Beach, were lauded by critics and sold out in the first month of release. Upon hearing Bay of Pigs, Pitchfork declared Bejar a songwriter of the highest order, and The AV Club was one of many outlets to declare the song, a real epic, a meditation on life and love in times of crisis. Kaputt is Destroyer's ninth album. This double LP version contains the exclusive, 20-minute bonus song The Laziest River and a coupon for full album download.1. Chinatown
2. Blue Eyes
3. Savage Night at the Opera
4. Suicide Demo for Kara Walker
5. Poor in Love
8. Song for America
9. Bay of Pigs (Detail)$22.99Vinyl LP - 2 LPs Sealed Buy Now
ZabaCreated in Epworth's own studio it is undoubtedly among this year's most striking debuts. The title, lifted from Dave's favorite childhood story, comes from
William Steig's The Zabajaba Jungle. Steig's evocation of childhood adventure, exoticism and discovery is brilliantly fresh. ZABA is one complete beast
and a journey you will get most from if you immerse yourself fully and listen from start to finish. The sound of the record, Dave says, is like a backdrop
of man-made wilderness...
Influenced by the exploratory, New World scenarios of Apocalypse Now, The Island of Dr Moreau, Heart of Darkness, The African Queen and Mosquito
Coast, ZABA's songs tackle the humanization of nature and human interference with nature. Even now a lot of my favorite books are those books that I
grew up with, he says. Things like Zabajaba, like Roald Dahl, like Wind in the Willows. I suppose all I've been doing is using those little creatures and
animals to cover up what I really meant, to disguise who and what I was really talking about.
Inspired by Kanye West and Charles Darwin, Nina Simone and the Velvet Underground, ZABA is a rich and textured work, a very special record indeed.
With Dave producing and Epworth as A&R and mentor, the studio became their home and the band were free to record, improvise and write at their own
speed, making their sound a bigger, brighter, heavier and more intense experience than ever before.
The first single, Gooey is wobbly and child-like, a hymn to naivety. There's a confidence in the way children act, Dave says. I was trying to push that
confidence into the beat. Walla-Walla goes back to Dave's love of Timbaland and Dr Dre, while Intruxx, initially the introduction to the entire record,
summarizes this entire new world you're entering.1. Flip
2. Black Mambo
5. Walla Walla
10. Cocao Hooves
11. JDNT$22.99Vinyl LP - Sealed Buy Now
News Of The WorldQueen are proud to announce the re-release of their entire studio album catalog on remastered long playing heavyweight vinyl. The album packaging will include every detail of the original releases in their original 12 format. Bonus posters, extra pictures and all the unique content of the original albums will be faithfully reproduced. The next 5 albums include the very first album, Queen, along with News Of The World, Flash Gordon, A Kind of Magic and Innuendo, with successive releases coming approximately every six months.
Queen's 1977 release News Of The World solidified the band's position as '70s rock royalty while expanding upon their artistic vision with an eclectic collection of songs. Although the album is famous for its anthemic We Will Rock You/We Are the Champions opening medley, it also features the Roger Taylor-sung Sheer Heart Attack which is as close as Queen ever came to punk as well as the provocatively sensual Get Down, Make Love.1. We Will Rock You
2. We Are The Champions
3. Sheer Heart Attack
4. All Dead All Dead
5. Spread Your Wings
6. Fight From The Inside
7. Get Down, Make Love
8. Sleeping On The Sidewalk
9. Who Needs You
10. It's Late
11. My Melancholy Blues$19.99Vinyl LP - Sealed Buy Now
Love ScenesLike a mink draped over mahogany, Diana Krall's luxuriously supple alto adorns the vintage songs of romance and longing found on Love Scenes with a palpable aura of glamour and late-night cool. Her ostensibly effortless command of phrasing and intonation, whether the mood is seduction or a sweet sassiness, further fortifies the opinion that the Canadian vocalist-pianist possesses one of the great female jazz voices to surface in the late 1990s.
Augmented by spare but skillful instrumentation from bassist Christian McBride and guitarist Russell Malone, Krall sustains a largely quiet (though hardly sleepy) ambience throughout the album's 12 selections, from Irving Berlin's How Deep Is the Ocean (How High Is the Sky), which she also uses as a showcase for her touch at the keyboard, to Gershwin's They Can't Take That Away from Me. Her swing is artfully subdued (All or Nothing at All), and her wry, expressive approach to Peel Me a Grape is pure charm. Yet Krall shines most luminously on languid gems such as I Don't Stand a Ghost of a Chance with You and Garden in the Rain. Anyone in search of an album ideal for watching city lights at 2 a.m. should keep Love Scenes in mind. --Terry WoodLP 1
1. All Or Nothing At All
2. Peel Me A Grape
3. I Don't Know Enough About You
4. I Miss You So
5. They Can't Take That Away From Me
6. Lost Mind
1. I Don't Stand A Ghost Of A Chance With You
2. You're Getting To Be A Habit With Me
3. Gentle Rain
4. How Deep Is The Ocean (How High Is The Sky)
5. My Love Is
6. Garden In The Rain$34.99Vinyl LP - 2 LPs Sealed Buy Now
I Love ChristmasSparkling performances of traditional and original Christmas songs by Tommy James, plus a special appearance by the original Shondells! In his illustrious career, Tommy has had 23 Gold singles, 9 Gold and Platinum albums, and has sold over 100 million records! During 1968-69 Tommy James & The Shondells sold more single records (45s) then any artist in the world, including the Beatles!1. I Love Christmas
2. God Rest Ye Merry Gentlemen
3. Winter Wonderland
4. Silent Night
5. The Christmas Song (feat. "The Singing Toys")
6. Born on the First Day of Christmas
7. Little Drummer Boy
8. Jingle Bell Rock
9. It's Christmas Again (with original Shondells Mike Vale, Eddie Grey & Ron Rosman)
10. Matthew 1:18 (The Birth of Jesus)
11. Hark! The Herald Angels Sing$17.99Vinyl LP - Sealed Buy Now
Light Of LoveMusic Go Music have the simple syrup of pop extravagance running through their veins. These arena-sized songs are composed with such savage efficiency that you find yourself humming along before two bars have gone by. They are as assured and crafted as ABBA and ELO's best songs of '76, yet Music Go Music sound fresh. "Light Of Love" is a true celebration of pop music's potential.
12" Vinyl1. Light of Love
2. I Walk Alone
3. Explorers of the Heart$11.9912 Vinyl LP - Sealed Buy Now
Chain Gang Of LoveImport
'Chain Gang Of Love', originally released in August 2003, is The Raveonettes' first full length album after they debuted with the critically acclaimed 'Whip It On' mini album in 2002.
Their sound has often been compared with that of the noisy and distorted Jesus And Mary Chain, while the Velvet Underground and even the vocal harmonies of the Everly Brothers are never far away either. The most noticeable difference in sound between the debut EP, which had all songs in B-flat minor, and this album is that here all songs are in B-flat major. The result is an album drenched in an uplifting fifties and sixties sound.
Because of this wall of sound you might expect a Phil Spector production, but Sune Rose Wagner himself (one half of the Danish duo which is The Raveonettes) and Richard Gottehrer (producer for a.o. Blondie and The Go-Go's, and founder of Sire Records) were responsible for this remarkable and uplifting release.Side A
That Great Love Sound
The Love Gang
Let's Rave On
Dirty Eyes (Sex Don't Sell)
Love Can Destroy Everything
Chain Gang Of Love
The Truth About Johnny
New York Was Great$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Includes Five Previously Unreleased Tracks by Stephin Merritt
Limited to 2000 Copies
Obscurities is a collection of Stephin Merritts (The Magnetic Fields) hard-to-find recordings dating back to his time on Merge (19941999) and prior. The 14 tracks on Obscurities, including five previously unreleased songs, were recorded prior to the release of The Magnetic Fields seminal album 69 Love Songs, which established Merritt as one of this generations most talented songwriters. Three of the unreleased tracks hail from The Song from Venus, the unfinished science fiction musical written by Merritt and Daniel Handler, aka Lemony Snicket. Also included are four songs culled from various Merge-era 7 vinyl singles by The Magnetic Fields; two from The 6ths, Merritts guest vocalist-laden side project; one from an audio book; one from the Oh, Merge compilation CD; and a track from a rare K Records cassette-only release.
Among the tracks on Obscurities is The Song from Venus Forever and a Day, a solo-acoustic ukulele-based love song reminiscent of 69 Love Songs The Book of Love. Also included on Obscurities is The Sun and the Sea and the Sky, a previously unreleased 69 Love Songs outtake. Merritt points out: This song didnt go on 69 Love Songs because it wasnt actually about romantic love. The album concludes with You Are Not My Mother and I Want to Go Home, which originally appeared in the audio book version of Neil Gaimans Coraline, for which Merritt composed the soundtrack.1. Forever and a Day (previously unreleased)
2. Rats in the Garbage of the Western World (The Magnetic Fields)
3. I Dont Believe You (The Magnetic Fields)
4. Plant White Roses (Buffalo Rome)
5. Rot in the Sun (The 6ths)
6. The Sun and the Sea and the Sky (previously unreleased)
7. Yet Another Girl (The 6ths)
8. Scream (TillYou Make the Scene) (previously unreleased)
9. The Song from Venus (previously unreleased)
10. Beach-a-Boop-Boop (The Magnetic Fields)
11. When Im Not Looking, Youre Not There (The Magnetic Fields)
12. Take Ecstasy with Me (The Magnetic Fields)
13. When Youre Young and In Love (previously unreleased)
14. You Are Not My Mother and I Want to Go Home (The Gothic Archies)$18.99Vinyl LP - Sealed Buy Now
Crosby Stills and Nash: Demos12-Song Collection of Previously Unreleased Demos from 1968 to 1971 Offers a Behind-The-Scenes Glimpse at the Earliest Days of One of Rocks Most Legendary Partnerships!
After four decades as three together, the creative partnership of David Crosby, Stephen Stills, and Graham Nash is one of the most enduring and influential in contemporary music. This compilation of previously unreleased material takes an unprecedented look at the earliest days of their collaboration with 12 demos from 1968 to 1971 of destined-to-be-classic songs that would later be featured on CSNs studio albums and solo titles. While a number of demos feature members performing solo (and one finds them joined by Neil Young), the set opens with the trio harmonizing on Marrakesh Express, recorded four months before their self-titled debut LP was released in 1969. Other rarities include seminal takes on Almost Cut My Hair, Chicago, Long Time Gone, Love The One Youre With and DÉjà Vu.
The collection, produced by Graham Nash and Joel Bernstein, reaches as far back as 68 with Stills My Love Is A Gentle Thing, and also features his solo classic Love The One Youre With. Highlights include CSN harmonizing on a January 69 take on Marrakesh Express, Crosby and Stills on Long Time Gone, and Crosby and Nash joined by Neil Young on Music Is Love (a song later featured on Crosbys solo debut If I Could Only Remember My Name). Among the other highlights are three songs that would appear on Nashs solo debut, 1971s Songs For Beginners, including Chicago and Sleep Song, and Crosby performing unaccompanied on Almost Cut My Hair and DÉjà Vu.
On some of these songs you really hear us becoming a band, trying out different ideas in our songwriting and singing and harmonies. It really is a time capsule. Graham Nash1. Marrakesh Express Crosby, Stills & Nash
2. Almost Cut My Hair David Crosby
3. You Dont Have To Cry Stephen Stills
4. DÉjà Vu David Crosby
5. Sleep Song Graham Nash
6. My Love Is A Gentle Thing Stephen Stills
7. Be Yourself Graham Nash
8. Music Is Love David Crosby, Neil Young & Graham Nash
9. Singing Call Stephen Stills
10. Long Time Gone David Crosby & Stephen Stills
11. Chicago Graham Nash
12. Love The One Youre With Stephen Stills$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live On Fire (Awaiting Repress)Colored Triple Vinyl Set of This Amazing Live Show!
Despite having planned his career meticulously over the past 25 years or so, even in the camp of German hard rock master Axel Rudi Pell surprises cannot be ruled out: Before playing in front of a sold-out Cologne crowd on the second leg of his wildly successful Circle Of The Oath tour, the opportunity arose for taping the whole show, with cameras being all over. Well, Axel gave it a try. And that was a good move. Ten years after his last live album Knights Live (2002), you can - again - be a witness of a complete concert from the Bochum-based guitar virtuoso and his German-American all-star band. To round out the Axel Rudi Pell live package, the recording of the co-headlining gig at last year's Rock Of Ages festival was added to Live On Fire, the name of his newest live oeuvre.
Obviously, a live album doesn't have the same importance and significance as a new studio output, but it nevertheless is a perfect snapshot in time, because 2012 was the most successful year in Axel Rudi Pell's solo career by far. Circle Of The Oath, album No. 14, was released on March 23 and rode high on the charts all over Europe: in his homeland Germany, the critically acclaimed disc made it up to No. 16 in the first week, Switzerland welcomed good old Axel on No. 30, Austria on No. 55, Norway on No. 69 and in Sweden he went up to No. 51. And last but not least, he received another gold award for selling out three consecutive nights at the famous Zeche venue in his native Bochum. Apart from that, he rocked the summer crowds at the legendary Sweden Rock and Wacken Open Air festivals, as well as the open-air Rock Of Ages in Germany together with his band.
Even though Axel loves the composing part at home and the recording business in the studio, home is where the heart is and that's being on stage. Being musically socialized in the Golden Age of hard rock (the Seventies) he's probably a bigger fan of live albums than he would admit. As they say: applause is the performer's meat and drink. But without sometimes being anarchistic spontaneously and playing with the audience's emotions, without the sweat coming off the ceiling and the priceless energy being trapped in the middle of an adventure that is called live concert, when the lights go down and every amp is on fire - the life of a true rocker would be incomplete. Speaking of which: besides his success, Axel Rudi Pell has always been that down-to-earth guy and mainly the fan he was turned into when he first heard DEEP PURPLE's Fireball back in the day. With Live On Fire, he accomplishes a long-desired wish and gives his fans what they desperately want for quite some time.
No surprise at all that the main focus is set on the newbies: here's the striking chords of fast and furious opener Ghost In The Black, the hard rocking pounding of Before I Die and without a doubt one of Axel's best songs written in a decade: the brilliant Circle Of The Oath, which would make Jimmy Page cry out loud. But there's more to listen to on Live On Fire: the passion for medleys (The Masquerade Ball/Casbah/Dreaming Dead) combined with some all-time classics here and there (ZEPPELIN's Whole Lotta Love or PURPLE's Mistreated).1. The Guillotine Suite (intro)
2. Ghost In The Black
3. Strong As A Rock
4. Before I Die
5. The Masquerade Ball / Casbah / Dreaming Dead / Whole Lotta Love / Dreaming Dead
6. Drum Solo
7. Mystica / Mistreated / Mystica
8. Oceans Of Time
9. Circle Of The Oath
10. Fool Fool
11. Keyboard Solo / Carousel / Jam / Carousel
12. Tear Down The Walls / Nasty Reputation
13. Rock The Nation$25.99Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
Sings For LoversImport
This is the fourth album by the Soul Queen Etta James and this is her tribute to love and lovers.
Here, also on CD for the first time ever, this rare gem of a collection of love songs in the soul style, is one of the best records of entertainment music ever made. You cannot believe it was recorded more than 50 years ago so clear and real is its message.1. Don't Take Your Love From Me
2. How Do You Speak To An Angel
3. Fools Rush In
4. Don't Blame Me
5. Someone To Watch Over Me (Ira & George Gershwin)
7. I Want To Be Loved
8. It Could Happen To You
9. These Foolish Things
10. Prisoner Of Love$32.99Vinyl LP + CD - Sealed Buy Now
Oh! GravityThe highly anticipated sixth album from Switchfoot, contains 12 new tracks written by the band an produced by Tim Palmer (Tin Machine, Pearl Jam, The Cure, Mother Love Bone, U2) & Switchfoot with Grammy winning executive producer Steve Lillywhite. The new album expands Switchfoot's sonic palette while at the same time dealing with social issues on songs like the alt-country blues of 'Dirty Second Hands,' in which Jon Foreman sings of the dehumanization that comes with technology. Other politically motivated tracks include 'Oh! Gravity' the title track's generational appeal for love, peace and understanding, 'American Dram,' with its biting truth, 'Awakening,' about trying to recover the innocence of a child in the midst of an ever harsher reality, the sawing alt-country of 'Head Over Heels,' the exotic instrumentation and Middle Eastern flavor of 'Circles,' the REM-esque pulse of '4:12', the lush Brit-pop melodies of 'Yesterdays,' the Echo and the Bunnymen/Smiths influenced 'Burn Out Bright' and Motown sound of 'Amateur Lovers.'1. Oh! Gravity.
2. American Dream
3. Dirty Second Hands
6. Amateur Lovers
7. Faust, Midas, And Myself
8. Head Over Heels (In This Life)
Burn Out Bright
Let Your Love Be Strong$25.99180 Gram Audiophile Virgin Vinyl LP Buy Now
WARB-ATL-0825xPortugal The Man
WoodstockWell, we're two full months into 2017 and the world continues to burn like an avalanche of flaming biohazard material sliding down a mountain of used needles into a canyon full of rat feces. But hey, it's not all bad: Portugal. The Man has a new album coming out called Woodstock.
PTM's last album came out over three years ago-a long gap for a band who've dropped roughly an album a year since 2006. And in true, prolific band fashion, they've spent almost every minute since 2013 working on an album called Gloomin + Doomin. They created a shit-ton of individual songs, but as a whole, none of them hung together in a way that felt right. Then John Gourley, PTM's lead singer, made a trip home to Wasilla, Alaska, (Home of Portugal. The Man's biggest fan, Sarah Palin) and two things happened that completely changed the album's trajectory.
First, John got some parental tough love from his old man, who called John on the proverbial carpet or dogsled or whatever you put people on when you want to yell at them in Alaska. What's taking so long to finish the album? John's dad said. Isn't that what bands do? Write songs and then put them out? Like fathers and unlicensed therapists tend to do, John's dad cut him deep. The whole thing started John thinking about why the band seemed to be stuck on a musical elliptical machine from hell and, more importantly, about how to get off of it.
Second, fate stuck its wiener in John's ear again when he found his dad's ticket stub from the original 1969 Woodstock music festival. It seems like a small thing, but talking to his dad about Woodstock '69 knocked something loose in John's head. He realized that, in the same tradition of bands from that era, Portugal. The Man needed to speak out about the world crumbling around them. With these two ideas converging, the band made a seemingly bat-shit-crazy decision: they took all of the work they had done for the three years prior and they threw it out.
It wasn't easy and there was the constant threat that the band's record label might have them killed, but the totally insane decision paid off. With new, full-on, musical boners, the band went back to the studio-working with John Hill (In The Mountain In The Cloud), Danger Mouse (Evil Friends), Mike D (Everything Cool), and longtime collaborator Casey Bates (The one consistent producer since the first record). In this new-found creative territory, the album that became Woodstock rolled out naturally from there
Remember that mountain of burning needles we were talking about? Good. Because Woodstock is an album (Including the new single Feel It Still) that-with optimism and heart-points at the giant pile and says, Hey, this pile is fucked up! And if you think that pile is fucked up too, you owe it to yourself-hell, to all of us-to get out there and do something about it.1. Number One
2. Easy Tiger
3. Live In The Moment
4. Feel It Still
5. Rich Friends
6. Keep On
7. So Young (feat. Fat Lip)
8. Mr. Lonely
9. Tidal Wave
10. Noise Pollution (feat. Mary Elizabeth Winstead & Zoe Mannville)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Black Moon SpellKing Tuff's new record is called Black Moon Spell.
It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California,
in the hot winter of 2014.
No one involved was prepared to make a record, but an invisible hand pushed them
to do it. Perhaps it was God or that special someone we all know and love called The
God and The Devil actually have very similar interests. They both love electric guitars
and they both want you to listen to Black Moon Spell and freak the fuck out.
There were many strange occurrences during the recording session- Dracula landlords,
flashes of mysterious light, haunted microphones, songs that mixed themselves,
demonic vortexes swirling in coffee cups, etc.
Under the Black Moon Spell you may experience euphoria, demented visions, wet
dreams, bouts of backwards laughter, and dazed confusion resulting in primordial
Fire played a very important role in the making of this album. King Tuff loves fire.
For some reason, no one can really explain how the Black Moon Spell came to be.
It just appeared one day and demanded heavy rock music and meatball subs.
Backwards messages may be found on this record.
Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered
its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip
shat itself when it heard all these guitar solos.
Can you feel the Black Moon Spell creeping up the back of yr neck yet?
King Tuff would prefer not to tell you the full story of making this record because
its long and crazy and you wouldn't believe him anyway. Also, I am King Tuff.
Magic Jake, who played bass and is beautiful like sunshine, would like to take this
moment to give you a hug and invite you to a tanning party on a beach of your choice.
Old Gary, who plays drums and has the most glorious cackle, would like to take this
moment to crack a cold one with you and invite you to watch the old ballgame with
Old Gary was out watching the old ballgame, so a wild critter named Ty Segall played
drums on the song "Black Moon Spell". Ty enjoys speaking in a goblin voice in his
Night fell on Studio B. A Tarot card leapt from the deck and said, "No human
judgement is of any value here." King Tuff agreed.
Sub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically
a shit hut made of moss, mud, and glimmering stones hidden near the graveyard,
and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats.
Punx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters,
Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies,
Moms, Dads, Truck Drivers, and Witches will all love this record.
Every song on Black Moon Spell was written without giving a shining fuck about
Listen to Black Moon Spell, turn yr volume knob up to 666, put yr lover in a 69,
and let yr inner grinagog rear it's wicked, unwashed, smiling snake head.
Listen to Black Moon Spell and give yr ears what they've been begging for all year;
a heavily weird, heavenly dark, hysterically magical Rock & Roll Sexperience.
ps. the only part of this story that isn't true is the part about the shit hut. I actually
was living at my parents' house when I was discovered. Love, KT1. Black Moon Spell
2. Sick Mind
3. Rainbow's Run
5. Beautiful Thing
6. I Love You Ugly
7. Magic Mirror
9. Demon From Hell
10. Black Holes in Stereo
12. Eyes of the Muse
13. Staircase of Diamonds
14. Eddie's Song$18.99Vinyl LP - Sealed Buy Now
Violence and OrchidsNonesuch Records will release Violence and Orchids, the vinyl edition of Michael Daves's new album, Orchids and Violence. The vinyl edition comprises two versions each of five traditional bluegrass tunes: acoustic takes performed with a band of roots-music innovators-bassist Mike Bub, violinist Brittany Haas, mandolinist Sarah Jarosz, and Punch Brothers banjoist Noam Pikelny-paired with electric rock renditions of the same songs played mostly played by Daves, with his wife Jessi Carter playing bass. It's a roots-music master class, a brilliant example of old modes reinhabited with flair, says the New York Times. To his credit, it can be hard to pick which version of a tune is best. The LP includes a download of the complete Orchids and Violence album.
The straightforward interpretations of the songs were recorded live to tape in a 19th-century church by Daves. The second disc was recorded in Daves's home studio and includes bass, drums, and electric guitar, and takes a raw, experimental rock approach to the same old-time material. The album was mixed by Vance Powell (Jack White, Kings of Leon, Danger Mouse).
One of the things I love about bluegrass music is the tension between innovation and tradition, says Daves of the album. When bluegrass came together, it was a fabrication of a variety of influences in American music yet it quickly became something people assume has been around forever. With this project, I can respect and honor the traditional aspects of that but also reflect on the innovative nature of bluegrass music when it was being created, when it was new.
In the early conceptions of the electric record, I was thinking about it as something of a grunge record, but as it developed it became something pretty different, Daves says. Those sounds that were happening in the early nineties were part of my discovering music, what I was absorbing as I was going out on my own as a guitarist and having my own bands. But when I got into making the record it was much more about the fun of exploring new sounds than reconnecting with some musical past. The album followed a period where I hadn't been playing much electric music, so plugging in felt pretty fresh, like discovering something new.1. June Apple (Bluegrass)
2. June Apple (Electric)
3. Drunken Hiccups (Electric)
4. Drunken Hiccups (Bluegrass)
5. The Dirt That You Throw (Bluegrass)
6. Darling Corey (Electric)
7. Darling Corey (Bluegrass)
8. Elzic's Farewell (Bluegrass)
9. Elzic's Farewell (Electric)
10. The Dirt That You Throw (Electric)$22.99Vinyl LP - Sealed Buy Now
Agnus Dei (Awaiting Repress)There is something about The Secret's sound that seems to entomb the listener in an ominousness that is comparable to the view of a great storm approaching on the horizon. One could say that if 2004's Luce was that approaching storm, and follow-ups Disintoxication and Solve Et Coagula were the storm wreaking havoc, Agnus Dei is the disaster of what is left in the wake. The result of something cataclysmic, with all its destruction, atrocity, and bleakness, is often far worse than the cataclysm itself. This is where the quartet now stands musically.
While past albums have begun with a foreboding track, setting the scene for what's to come, Agnus Dei allows no escape from its wrath from the moment it begins. The album title track presents The Secret's newest offering with such malevolence and decimating brutality that the listener is only left to wonder how much better it could possibly get.
Where Agnus Dei sacrifices melody, it births ingenuity and finesse. The album's overarching balance flows from track to track, and spills some interesting surprises along the way, all while consistently staying true to the intent of the music. Songs like Post Mortem Nihil Est and Love Your Enemy break up the perceived thrashy mold of the album; while the former is ushering in an atypical drum beat for a band of this stature, the latter delivers a fast-paced, guitar-droning intro that is careening towards utter pandemonium. Darkness I Became finishes off its severity with a battering ram of a riff, trudging into Heretic Temple, which could be classified as one of those ambience-builders that are everpresent within The Secret's repertoire. Album-ender Seven Billion Graves grimly points at an obvious picture, painted throughout the album, coming full circle. To put it frankly, there is not one moment of Agnus Dei that feels unwarranted.
-Justin Pelletier1. Agnus Dei
2. May God Damn All of Us
3. Violent Infection
4. Geometric Power
5. Post Mortem Nihil Est
6. Daily Lies
7. Love Your Enemy
8. Vermin of Dust
9. Darkness I Became
10. Heretic Temple
11. The Bottomless Pit
12. Obscure Dogma
13. Seven Billion Graves$13.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Gratitude180 Gram Translucent Blue Colored Vinyl With Gatefold Cover
Mastered Impeccably By Joe Reagoso
Manufactured At R.T.I.
During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.
After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.
Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.
In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.
A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).
Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.
The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.
The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.
During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.
The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.
Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."
The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."
The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.
In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.
In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."
Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."
In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.
Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."LP 1
2. Africano/ Power Medley
3. Yearnin' Learnin'
5. Sun Goddess
7. Sing A Message To You
1. Shining Star
2. New World Symphony
7. Can't Hide Love$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
First And Last And AlwaysNumbered Limited Edition
Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album
Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP
The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the-if not the most-influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.
Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.
Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking Possession, dramatic Some Kind of Stranger, and desperate Marian remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.
It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.
This title is not eligible for discount.1. Black Planet
2. Walk Away
3. No Time to Cry
4. A Rock and a Hard Place
5. Marian (version)
6. First and Last and Always
8. Nine While Nine
9. Amphetamine Logic
10. Some Kind of Stranger$24.99Vinyl LP - Sealed Buy Now
Blood // Sugar // Secs // TrafficHey, what's this? Well that, my friend, is the newest album from The
Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second
full-length LP and their first for Sub Pop. Whoa, whoa, please slow down.
I'm already completely lost. What you just said sounded like a stream of
complete gibberish. Okay, I'll lay it out for you and if you have any
questions could you yell them at me? SOUNDS GOOD. The Gotobeds
formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock
music that is often filed under punk, indie rock, or 99-cent discount bin.
WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if
the knuckle is the part of the human body that contains the brains. Much
like their previous releases on underground stalwart labels like Mind Cure
and 12XU, this new album artfully slips intelligence and experimentation
into a dying art form. It's a harder feat than you'd think.
And sure, their live shows have often been compared to an all night party
where I feared for my life and the lives of everybody in the five block
radius, and their recorded output is akin to the sonic manifestos of four
men deprived of human love and raised on beer and Swell Maps, Mission
of Burma, and old Fall records. But what you get with The Gotobeds,
delivered in spades on this album, is smart, noisy rock with just the right
amount of stupid.
FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts
over several months of 2015 in their friend My War Matt's basement in
Pittsburgh. Unlike previously, the songs were conceived and recorded in
blocks, which resulted in a more experimental feel. But this is no chin
stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO.
WHO DOESN'T? You're in luck, because this album is carpeted with em,
thanks to Eli Kasan and TFP. On a song like 'Bodies,' it sounds as if
you've walked into the biggest Guitar Center, but, you know, not terrible.
Keeping it all locked down is the rhythm section of drummer, Cary Belback
and bassist, Gavin Jensen. They allow the downright prettiness of a song
like Red Alphabet to shine, and the lyrics on the anti-sexism thrash of
Crisis Time to punch through.
THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED
TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm,
Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as
guest vocalists on Rope and Why'd You, respectively. Also, I'd be remiss
to not mention the fact that the band's live show is a testament to the
cathartic nature of speed, skill, repetition, noise, and red stage lights. If
you don't believe me, ask the bands they have played with, like Total
Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than
anyone possibly could and come off better for it...which is saying
I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE
GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now
please stop yelling. -Joe Casey, Protomartyr1. Real Maths/Too Much
3. Brass Not Rash
5. Why'd You
6. Red Alphabet
7. Cold Gold (LA's Alright)
8. Crises Time
10. Glass House
11. Amazing Supermarkets$17.99Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Pure Country Soundtrack25th Anniversary First-Time Vinyl Pressing
Country legend George Strait is releasing the Pure Country soundtrack on vinyl to celebrate the 25th anniversary of the album. This limited-edition pressing is the first time that the soundtrack is being released in the vinyl format.
Pure Country, one of Strait's greatest successes, hit No. 1, eventually selling more than 6 million copies, in part due to its two No. 1 hit singles: "I Cross My Heart" and "Heartland." His song "When Did You Stop Loving Me" also reached No. 6 on charts.
In terms of the film itself, Pure Country opened at No. 6 the week of its release, earning $2,739,680 in its opening week, taking in over $15 million in total. In the film, Strait plays Wyatt "Dusty" Chandler, one of the biggest stars in country music, who becomes disillusioned with his success. Strait's character simply walks away from it all, returning to his hometown to get back in touch with his roots by working at a ranch.
Kelefa Sanneh writes in the New Yorker that Strait "was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. 'Elvis hated making those movies,' he said - but they transformed him from a pop star to an icon.'"
- Courtney Carr (theboot.com)1. Heartland
2. Baby Your Baby
3. I Cross My Heart
4. When Did You Stop Loving Me
5. She Lays It All on the Line
6. Overnight Male
7. Last in Love
8. Thoughts of a Fool
9. The King of Broken Hearts
10. Where the Sidewalk Ends
11. Heartland (Main Title Sequence)$19.99Vinyl LP - Sealed Buy Now
Mama Tried (Out Of Stock)One of Merle Haggard's finest recordings, 1968's Mama Tried is comprised of a number of strong originals and several excellent covers. While Mama Tried, I'll Always Know and You'll Never Love Me Now all happen to be some of Haggard's most solid original offerings, it's his gritty and honest interpretations of songs like Little Ole Wine Drinker Me, In the Good Old Days (When Times Were Bad), Teach Me to Forget, Run 'Em Off and Too Many Bridges to Cross Over that help distinguish Mama Tried as perhaps the most quintessential Bakersfield-Sound album ever recorded.1. Mama Tried
2. Green, Green Grass of Home
3. Little Ole Wine Drinker Me
4. In the Good Olde Days (When Times Were Bad)
5. I Could Have Gone Right
6. I'll Always Know
7. The Sunny Side of My Life
8. Teach Me to Forget
9. Folsom Prison Blues
10. Run 'Em Off
11. You'll Never Love Me Now
12. Too Many Bridges to Cross Over$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock