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All Is Lost'
All Is Lost OSTAll Is Lost Original Motion Picture Soundtrack features ten original, compelling, poignant compositions and one new song written, composed and produced by Edward Sharpe and the Magnetic Zeros' Alexander Ebert. This new body of work is the first solo work since Ebert released his heralded solo album Alexander in March 2011 which sold over 37,000 albums and 66,000 downloads.1. Excelsior
2. All Is Lost
3. Virginia's Dream
4. The Infinite Bleed
5. The Invisible Man
6. Pulse of the Weight
7. Dance of the Lilies
8. The Instincts of Boredom
9. Somewhere in the Midnight of Summer
10. Excelsior and the All Day Man
11. Amen$21.99Vinyl LP - Sealed Buy Now
I Have Lost All Desire For Feeling
Features A B-Side Etching Of Their Signature Triangular Logo
Includes A 32 Page Photo Booklet
"Punk rock revelations like Perfect Pussy don't come along often enough. They've got it all:
great riot-feminist name, excellently miserable hometown (Syracuse, New York), ragingly
chaotic live shows and a noise-assault donnybrook of a debut EP that's right up there with
Yeezus among 2013's freshest headaches." - Rolling Stone
"This band is going to be part of your life for the foreseeable future." - Pitchfork
Just over a year after playing their first show as a band, Perfect Pussy have
quickly made a name for themselves as one of the most intense bands in the
indie rock and hardcore punk communities, both live and on record. Their fast
rise to success all stemmed from this 4 track demo EP, originally released as
a cassette only. Simply title tracks such as "I" and "IV" garnered praise from
everyone to Rolling Stone and Pitchfork, to NPR and the New York Times,
landing the on countless year end lists.
Since the release of this 4 song wonder the band have toured the US
countless times over, done a full tour of Europe and played festivals such as
Pitchfork, Pitchfork Paris and Iceland airwaves. Their full length LP 'Say Yes to
Love' received Pitchfork's Best New Music and is looking to join 'I Have Lost
All Desire For Feeling' as a year end chart topper.
To celebrate a banner year for Perfect Pussy, Captured Tracks are pleased
to make "I Have Lost All Desire For Feeling" widely available and for the first
time on vinyl. The 12" LP features music on the A-side and an etching
of their signature triangular logo on the B-side. Along with the LP comes a
32 page photo booklet documenting the band's year on the road.1. I
4. IV$20.99Vinyl LP - Sealed Buy Now
Lost ThemesJohn Carpenter has been responsible for much of the horror genre's most striking soundtrack work in the fifteen movies he's both directed and scored. The themes can instantly flood his fans' musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. The all-new music on Lost Themes asks Carpenter's acolytes to visualize their own nightmares.
"Lost Themes was all about having fun," Carpenter says. "It can be both great and bad to score over images, which is what I'm used to. Here there were no pressures. No actors asking me what they're supposed to do. No crew waiting. No cutting room to go to. No release pending. It's just fun. And I couldn't have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (davies, who wrote the songs for I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn't dealing with just analogue anymore. It's a brand new world. And there was nothing in any of our heads when we started other than to make it moody."
As is Carpenter's style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter's past works, as well as ancestors like Mike Oldfield's Tubular Bells and Goblin's Suspiria.
"They're little moments of score from movies made in our imaginations," Carpenter says. "Now I hope it inspires people to create films that could be scored with this music."1. Vortex
9. Night$21.99Vinyl LP - Sealed Buy Now
Lost TimeIt's been 12 years since the initial release of what would be the very last album by the late Minneapolis based
Aptly titled, Lost Time, this last epic perfectly defines and captures how great this band was and how
truly ahead of their time its members were. Not only that but for its city, a city fueled on such great
music, both 12 Rods and this record have gone down as one of Minneapolis' finest.
When musicians that I know gather, sit and talk about the greats, Ryan Olcott always comes up. It's
very hard to try and calculate how deep Olcott's genius goes, when at the time, it felt as if the music
12 Rods was making was in fact from the future. There is the 'Pop' music that is defined by paid-toplay
radio, and the corporate avenues of selling music as a product instead of a
natural commodity. But then there is the 'Pop' music that seems handed down, majestically, true,
whole and unifying. There's little music and even fewer complete albums that live up to such 'Pop'
majesty. Lost Time is one.
At the time of its release, 12 Rods was in its final form, which included Ryan Olcott and his brilliant
brother/engineer/producer Ev Olcott, sought after bassist Bill Shaw, and one of the best living
drummers in the world today, Dave King. Lost Time was 12 Rods fifth studio album but their first
after being dropped from the deathly heights of mainstream music's claws.
The band was signed by V2 records in the late '90s and were poised to be the next big 'Rock'
band. And so when you think back to 2002, the year Lost Time was released, or even two years prior
when 12 Rods released its fourth studio album, the Todd Rungren-produced, V2-
botched Separation Anxieties, you must consider the landscape of 'Rock' music. Like, the popular
bands that were on MTV. Lit was one of those hugely popular rock bands that wrote catchy
songs about putting hearts in zip-lock bags and had a logo identical to Miller Lite with just the e
taken off. Though, regardless of aesthetic choices, this goes to show the disparity between what 12
Rods actually was and what the industry wanted them to be. It's not that they openly defied their
calling. No, it's just that the music was simply too advanced to be contained in the industries 'Rock
'n Roll' zip-lock.
Lost Time is one of my most listened to albums of all time. It's one of the only records I know of that
is so full of hooks, yet never feels recycled or fake; it's just so fucking enjoyable from stem to
stern. And now with its first ever vinyl pressing, I hope that this album can be as much a companion
to you as it has for me. Solo listen, party listen, how can it be both? It just is.
With this reissue, it means that Lost Time won't be lost at all - that great things always make their way
through, even if it takes a decade.
- Justin Vernon1. Universal Time
2. Fake Magic 8-Ball
3. Twenty Four Hours Ago
4. One Thing Does Not Belong
5. Boy In The Woods
6. Summertime Vertigo
7. Accidents Waiting To Happen
8. Terrible Hands
9. The Time Is Right (To Be Wrong)
11. Telephone Holiday$17.99Vinyl LP - Sealed Buy Now
Lost In AlphavilleLost In Alphaville is the long awaited and highly anticipated follow-up to The Rentals' landmark albums Return of the Rentals and
Seven More Minutes.
When listening to Lost In Alphaville for the first time, one can't
help but be stoked by the perfect amalgamation of the sonic
components: the dense wall of Slegr's punishing guitars, the
primal smack of Carney's drums, Sharp's driving, distorted
bass and thick buzz of saturated Moog synthesizers -- all
tempered by Laessig's and Wolfe's beautifully lush voices and
Chipman's elegant string arrangements serving as an extremely
rich foundation for the layers and layers of Sharp's detached,
voyeuristically breathy vocals.
Sharp created a wall of sound so dense and powerful with
arrangements that several songs on the album exceed 200
individually recorded tracks. During this process of arranging,
Sharp would slip into what he described as "euphoric, psychedelic
daydreams." Sharp says, "If you can't whip yourself up into a state
of full-blown rapture while you're creating, I don't really see the
point of making music."
Lost In Alphaville is a true sonic achievement, The Rentals' best
album by a mile, a blissfully righteous storm of broken-up guitars,
buzz-saw synthesizers, brutally, barbaric rhythms which crumble
and crackle against a wash of strings, male and female voices-all
blending into 10 perfectly formed pop songs. Not only have The
Rentals completely surpassed their first two albums, but Sharp
just might be putting forward the best work of his entire career.1. It's Time To Come Home
2. Traces Of Our Tears
4. 1000 Seasons
6. Irrational Things
7. Thought Of Sound
8. Song Of Remembering
9. Seven Years
10. The Future$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lost On YouMUSIC DOESN'T HAVE TO BE COMPLICATED.
At the end of the day, it's all about being honest,
taking no B.S., and getting right back up after every
fall. New York-born singer, songwriter, and all-around
rock rebel LP puts it even more succinctly, "I
go Johnny Cash on that shit and just get through it."
As her six-year romantic relationship failed and she
split from her label, LP put her head down and wrote
what would become 2017's album Lost On You.
Its lead single "Lost On You" amassed over 191
million YouTube views as well as 44 million Spotify
streams and went triple-platinum in Italy, platinum
in France, Poland, and Germany, and gold in
Switzerland. Meanwhile, the title track, "Muddy
Waters," soundtracked the Season 4 climax of
NETFLIX's Orange Is The New Black.
LP reunited with the team behind the lead-up EP Death
Valley-producer POWERS' Mike Del Rio [Christina
Aguilera, X Ambassadors] and writer Nate Campany
[Tove Lo, Carly Rae Jepsen, Martin Garrix].
"It's a weird thing," she says. "I feel more
confident than ever before. I don't have to police
myself anymore. For this record, I decided to
unapologetically tress on, keep going, and run
with my emotion."1. Muddy Waters
2. No Witness
3. Lost On You
4. When We're High
6. Up Against Me
8. Other People
11. Death Valley
12. You Want It All
13. Long Way To Go To Die$24.99Vinyl LP - 2 LPs Sealed Buy Now
Lost Highway SoundtrackImport
2000 Individually Numbered Copies On Blinding Blue Vinyl, Black Vinyl Thereafter
180 Gram Audiophile Vinyl
Gatefold Sleeve / Insert
PVC Protective Sleeve
Featuring "I'm Deranged" By David Bowie, "The Perfect Drug" By Nine Inch Nails
Lost Highway is the 1997 French-American neo-noir-horror mystery film written and directed by David Lynch. It stars Bill Pullman as a man convicted of murdering his wife (Patricia Arquette), after which he inexplicably morphs into a young mechanic and begins a new life.
The film's score was composed by Angelo Badalamenti, with additional music by Barry Adamson, however Trent Reznor from Nine Inch Nails was responsible for assembling the soundtrack. David Bowie's "I'm Deranged", Rammstein's "Heirate Mich", Lou Reed's "This Magic Moment", Marilyn Manson's "Apple Of Sodom" plus more tracks from Trent Reznor, The Smashing Pumpkins all appear on the double album to accompany the Angelo Badalamenti and Barry Adamson theme music.
Lost Highway premiered in 1997 in the United States on a limited theatrical release and has developed a cult following. Director David Lynch received three Academy Awards nominations, a Golden Lion award from the Venice Film Festival for lifetime achievements as well as a Palme d'Or at the Cannes Film Festival for Wild At Heart in 1990.LP 1
1. David Bowie - I'm Deranged (Edit)
2. Trent Reznor - Videodrones; Questions
3. Nine Inch Nails - The Perfect Drug
4. Angelo Badalamenti- Red Bats With Teeth
5. Angelo Badalamenti - Haunting & Heartbreaking
6 The Smashing Pumpkins - Eye
7. Angelo Badalamenti - Dub Driving
8. Barry Adamson - Mr. Eddy's Theme 1
9. Lou Reed - This Magic Moment
10. Barry Adamson - Mr. Eddy's Theme 2
11. Angelo Badalamenti - Fred & Renee Make Love
12. Marilyn Manson - Apple of Sodom
1. Antonio Carlos Jobim - Insensatez
2. Barry Adamson - Something Wicked This Way Comes (Edit)
3. Marilyn Manson - I Put A Spell On You
4. Angelo Badalamenti - Fats Revisited
5. Angelo Badalamenti - Fred's World
6. Rammstein - Rammstein (Edit)
7. Barry Adamson - Hollywood Sunset
8. Rammstein - Heirate Mich(Edit)
9. Angelo Badalamenti - Police
10. Trent Reznor - Driver Down
11. David Bowie - I'm Deranged (Reprise)$45.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-SEC-1019xThe War On Drugs
Lost In The DreamLost In The Dream is the third album by Philadelphia band The War on Drugs,but in many ways,it feels
like the first. Around the release of the 2011 breakthrough Slave Ambient,Adam Granduciel spent the
bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late night television slots. As these dozen songs shifted and grew beyond what they'd been in the studio, The War on Drugs became a bona fide rock 'n'roll band.
That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff
Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played
and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist
in the world), who had played a bit on The War on Drugs' 2008 debut Wagonwheel Blues, and pianist
Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight
months bouncing between a half-dozen different studios that stretched from the mountains of North
Carolina to the boroughs of New York City. Only then did Granduciel-the proudly self-professed
gearhead, and unrepentant perfectionist-add and subtract, invite guests and retrofit pieces. He
sculpted these songs into a musical rescue mission, through and then beyond personal despair and
anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination.
"I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the
band cares about it so much,"he says."That is the crux of it-growing up,dealing with life,having close
friends, helping each other get by. That is what the record's all about.
As such, these tunes reveal a careful and thrilling reinvention of the sound that's become The War on
Drugs' trademark. The signature meld of long tones and scatter shot layers still stands, with phantom
drum machines and organ lines dotting the musical middle distance all across Lost In The Dream.Note
the way the keys whisper against the guitar's growl as the tempestuous"An Ocean in Between the Waves"
approaches pentecostal heat. Hear how,when a sharp and hard riff cuts into the inescapable chorus of
"Red Eyes," synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there's a
new found directness to these tunes, too. Granduciel's voice steps out from behind its typical web of
effects-louder now, with more experiences to share and more steel from having survived them. He
sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of
that idea. With its crisp, unencumbered delivery, "Eyes to the Wind" becomes the album's centerpiece
and the group's new anthem.This is Granduciel's to-date triumph and the exact moment where Lost In
The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips
loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling
Thunder lift of "Eyes to the Wind," Granduciel finds new contentment and direction. Anguish
sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.1. Under The Pressure
2. Red Eyes
4. An Ocean In Between The Waves
6. Eyes To The Wind
7. The Haunting Idle
9. Lost In The Dream
10. In Reverse$21.99Vinyl LP - 2 LPs Sealed Buy Now
Lost On The RiverThe New Basement Tapes, an album project from Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops) Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and producer T Bone Burnett, recorded in Capitol Studios to create music for two-dozen recently discovered lyrics written by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes.
The album will be released this year by Electromagnetic Recordings/Harvest Records (Capitol Music Group), and will be accompanied by a Showtime documentary titled, Lost Songs: The Basement Tapes Continued, directed by Sam Jones (the Wilco documentary, I Am Trying To Break Your Heart). The film will present an exclusive and intimate look at the making of Lost On The River: The New Basement Tapes set against the important and historical cultural backdrop of Bob Dylan's original Basement Tapes.
Bob Dylan's original Basement Tapes - recorded by Dylan in 1967 with musicians who would later achieve their own fame as The Band - have fascinated and enticed successive generations of musicians, fans and cultural critics for nearly five decades. This collective recorded more than a hundred songs in
the basement of a small house in upstate New York that summer and fall, including dozens of newly-written Bob Dylan future classics such as, "I Shall Be Released," "The Mighty Quinn," "This Wheel's On Fire," "You Ain't Going Nowhere" and "Tears Of Rage."
Lost On The River: The New Basement Tapes celebrates the discovery of new Bob Dylan lyrics from that noted 1967 period and marks a unique creative opportunity for Burnett, Costello, Giddens, Goldsmith, James and Mumford, who are bringing them to life nearly 50 years later. For Burnett, whom Dylan
has entrusted with this endeavor, it was imperative to provide an environment in which these artists could thrive. "Great music is best created when a community of artists gets together for the common good. There is a deep well of generosity and support in the room at all times, and that reflects the tremendous generosity shown by Bob in sharing these lyrics with us."1. Down On The Bottom
2. Married To My Hack
3. Kansas Cit
4. Spanish Mary
5. Liberty Street
6. Nothing To It
7. When I Get My Hands On You
8. Duncan and Jimmy
9. Lost On The River
10. Florida Key
11. Hidee Hidee Ho
13. Card Shark
14. Six Months In Kansas City (Liberty Street)
15. Lost On The River$29.99Vinyl LP - 2 LPs Sealed Buy Now
The Lost TapesThe discovery of WITCHFYNDE's Lost Tapes illuminates a fascinating missing link in the history of British heavy metal. In the lull between the Purple/Zeppelin/Sabbath revolution and the angry charge of punk rock and NWOBHM, in the East Midlands county town of Derby, four lads came together to create a tentatively progressive and intriguing new sound, and get heads banging in boozers all over the Peak District. Recording a 40-minute demo of original material in 1975, WITCHFYNDE were the unwitting spearhead of the movement that was still a long way off being dubbed the New Wave Of British Heavy Metal, and from the plaintive, spacey opening of Grimoire, this earliest of artefacts is rather more nuanced and versatile than the hallowed acronym NWOBHM traditionally suggests.
Even though they raised many tavern roofs in the mid-late 70s, this isn't your standard thick-eared pub metal. On this recording you can hear these young musicians enjoying playing their first songs together, sharing varied influences and building mystical atmospheres out of extended jams with quirky interplay and a relaxed delivery. Behind the odd forgivable bum note, missed beat or overstretched solo you sense the exploratory zeal of four music-obsessed friends casting their net wide: from the sprightly power-pop groove of Madam Noname to the creepy proto-doom of Halfway, with Pastiche somehow English gothic country rock and Slow Down having the feel of an epic melancholy folk ballad.
WITCHFYNDE released four albums from 1980-84, but split up due to line-up and label instability. Reactivated for the millennium, they continue to record and gig sporadically. Andro formed ZXY in 2010, and has announced that he'll be back on the road in 2014 on the Andro Coulton Gives 'Em Hell: Witchfynde Revisited 1975-1980 And Beyond! Tour.LP 1
2. Madam Noname'
5. Slow Down
1. Valkyrian Ride
2. Tetelestai$50.99Vinyl LP - 2 LPs Sealed Buy Now
All Ears, All Eyes, All The Time
180 Gram, Coke-Bottle Colored Vinyl
First Time On Vinyl, Limited To 500
Stones, Hendrix, and Tom Petty to legendary indie-rockers like Weezer, the Pixies, Dinosaur Jr.. Pavement, Superchunk, and Spoon to even left-of-center rap acts like A Tribe Called Quest, it's a record that ventures far beyond the clich'd constraints of the emo pigeonhole in which Piebald are so often mistakenly placed (note the jaunty piano romp Part Of Your Body Is Made Out Of Rock, the dream-rock sea-shanty All Senses Lost, or the twee, Shins-like powerpop of Giving Cup). Says Travis of Piebald's all-encompassing musical styles, We don't really feel we're an emo band; we're really more just like hippies that use distortion! Most of the time we're put in a category with emo bands, but we don't really hear the real connection. So we don't like that we're called that ' but then again, we don't really like that any band is called that.
Although All Ears was produced by Paul Q. Kolderie (Cave-In, Dinosaur Jr., fireHOSE, Hole, Pixies, Radiohead), Piebald were admittedly still worried about whether they could top their previous landmark effort, We Are The Only Friends We Have. You always want to like your new record more and feel that it's better than your last one, otherwise you wouldn't want to put it out, says Travis. But Paul was really excited about the new songs, and all the people at the studio were excited, and it felt like we were on the right track, even though we didn't know for sure. And in the end, I think we at least did comparably musically. You still get what you need from a Piebald record. It's different, but you still get sufficiently rocked.1. The Benefits Of Ice Cream
2. Present Tense
3. Human Taste Test
4. The Jealous Guy Blues
5. All Senses Interlude
6. Haven't Tried It
7. Giving Cup
8. Par Of Your Body Is Made Out Of Rock
9. The Song That Launched A Thousand Ships
10. Put Your Slippers On Instead
11. Get Old Or Die Young
12. New Boston Interlude
13. All Senses Lost
14. The Six Eighter
15. All Sense Is Lost Postitude$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lost Recordings And Beat Rarities7 Vinyl Box Set w/ 20 Lost Tracks & Hard-To-Find Gems!
This highly resonant set acts as a guidebook to many of the missing links behind the one British beat group who, more than any other, stayed neck-and-neck with the Beatles throughout the 60s. In terms of quality single releases with irresistible chart appeal (15 Top Ten 45s in the U.K.) and pure musical evolution, there is no doubt the Hollies breathed the same rarefied air as the Fab Four.
The Hollies Lost Recordings and Beat Rarities collects 20 long-buried tracks and hard-to-find gems, ranging from rare U.S. and British singles to EP rarities and unissued songs, all perfectly ripe for release as an original Hollies 45, whether that happened or not. Follow the group from their first single (released in May of 1963), the savage Aint That Just Like Me b/w Hey Whats Wrong With Me, through their discotheque dance floor raves: Come On Back, What Kind of Love and She Said Yeah. Swoon to their swingin ballad Yes I Will, groove with their jazzy Honey and Wine and float to outer space with All The World is Love. Discover an impossible-to-find, spy-style double-sider the Hollies did for a 1967 Italian movie, and groove to unreleased tracks cut while on tour in New York City in 1965, then marvel at an extremely scarce cover of the Beatles If I Needed Someone, tracked at Abbey Road, revered recording home to both groups.
Sundazed has collected a pirates ransom of tracks here, nearly all unavailable on any original English or American Hollies album. Delivered now via the supremely cool format of 45RPM vinyl, each single is loaded with guaranteed disk jockey dance-floor magic that only further cements the Hollies reputation as the coolest Manchester band, ever!Single 1
1. (Ain't That) Just Like Me
2. Hey What's Wrong With Me
1. Whole World Over
2. Now's the Time
1. What Kind of Love
2. When I'm Not There
1. Come on Back
2. She Said Yeah
2. Yes I Will
1. Honey and Wine
2. Bring Back Your Love to Me
1. She Gives Me Everything I Want
2. I Can't Get Nowhere With You
1. If I Needed Someone
2. I've Got a Way of My Own
1. You in My Arms
2. All the World Is Love
1. Kill Me Quick
2. We're Alive$49.997 Vinyl LP - 10 LPs Sealed Buy Now
White Lightning: Lost Cadence SessionsSurf, Cycles and Super Guitar Crunch! The kids of 1958 loved 'em, and their first single for Cadence Records shot up the charts like a label owner's dream. This is the fantastic and fiery album that was supposed to have been released as a follow-up to one of the all-time great instrumental classics, the ultra-menacing "Rumble." But faster than you can say "Drag Race," everyone-Cadence label-owner Archie Bleyer included-was talking about this new threat to the morals of American youth. That's why Link and his boys were off the imprint, and this album of prime distorto-guitar-crunch cool remained unreleased for nearly 50 years. Well here it is, and it's every bit as dirty and dangerous as you would expect!1. White Lightning
3. Drag Race
4. Pancho Villa
5. Walking with Link
7. Dance Contest
8. Missing Link
9. Heartbreak Hotel
11. Rebel Rouser
13. The Freeze
14. School Girl$24.99Vinyl LP - Sealed Buy Now
Kickin' Child: The Lost Album 1965The lost 1965 Columbia album arrives- 52 years later! Here it is on vinyl with all of Dion's blueswailin', folk-blazin', rock n' stormin' monsters, track after track after track. Cut in '65 with producer Tom Wilson on all but three tracks, this album was slated, then shelved, for reasons that come to light in Scott Kempner's illuminating liners. Whoever's got the crown, label it DIMUCCI and express it to Dion, with love. Absolutely ESSENTIAL.1. Kickin' Child
3. My Love
4. I Can't Help Wonder Where I'm Bound
5. Wake Up Baby
6. Time In My Heart For You
7. Tomorrow Won't Bring the Rain
8. Baby, I'm in the Mood For You
9. Two Ton Feather
10. Knowing I Won't Go Back There
12. All I Want To Do Is Live My Life
13. You Move Me Babe
14. It's All Over Now Baby Blue
15. So Much Younger$28.99Vinyl LP - Sealed Buy Now
Black Elvis / Lost In SpaceImport
Kool Keith is an American rapper from The Bronx known for his surreal, abstract and often profane or incomprehensible lyrics. Kool Keith has recorded prolifically both as a solo artist and in group collaborations. After being part of the legendary hip hop formation Ultramagnetic MC's he debuted in 1996 as a profound solo artist. He is generally considered to be one of hip-hop's most eccentric and unusual personalities.
By the big audience Kool Keith is mostly known as the voice of the number Smack My Bitch Up by the Prodigy, a fragment used without his consent.
Black Elvis/Lost in Space is the fourth studio album by mc Kool Keith, but recorded under the alias of Black Elvis. This is the first album performed under this alias.
Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space. This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live.LP 1
2. Lost In Space
3. Rockets On The Battlefield
4. Livin' Astro
5. Supergalatic Lover
6. Master Of The Game
7. I'm Seein' Robots
1. Intro 2
2. Black Elvis
3. Maxi Curls
4. Keith Turbo
5. Fine Girls
6. The Girls Don't Like The Job
8. All The Time
9. I Don't Play$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
In Search Of The Lost Chord
The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!
Celebrate 4 Decades Of Their Legendary Psychedelic Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!
Mastered Impeccably By Joe Reagoso From The Original Deram Records Tapes
In Search of the Lost Chord was another huge platinum plus smash for The Moody Blues and a stellar continuance
of their progressive rock sound for the fans of this legendary English quintet. Featuring the original award winning lineup of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/flutes), Ray Pinder
(lead vocals/keyboards) and Graeme Edge (drums/vocals), In Search of the Lost Chord is undoubtedly one of their biggest
selling albums and also one of the finest offerings in their huge catalog.
Buoyed by the success of the hit single Ride My See-Saw, their definitive follow up to Days of Future Passed, In Search of the Lost Chord was filled with more hypnotic rockers like the powerful Ray Thomas classic Legend of a Mind, John Lodge's masterpiece House of Four Doors, plus the legendary Justin Hayward's prog-rock
champion Voices in the Sky.
The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
the acid rock sounds of The Best Way to Travel and the album's stellar closer Om, as well as the ever talented Graeme
Edge's distinctive drum work throughout the LP and his lyrical prowess with the album's well known classics The Word
The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, In Search of the
Lost Chord became the album of choice for radio programmers in 1968. All in all, a hypnotic and spirited set from this
very important and much loved classic rock band.
This amazing album has been out of print on vinyl for many years, that is until now
Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
with their masterpiece In Search of the Lost Chord. Mastered impeccably from the original Deram Records tapes by Joe
Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.
For this special limited edition, we have also included the original full color album cover in gatefold style for the first
time since it was released in 1968, complete with the great music you will always remember from this historic classic.
In Search of the Lost Chord from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from your friends at Friday Music We're All Looking For Someone1. Departure
2. Ride My See-Saw
3. Dr. Livingstone, I Presume
4. House of Four Doors
5. Legend of a Mind
6. House of Four Doors (Part 2)
7. Voices in the Sky
8. The Best Way to Travel
9. Visions of Paradise
10. The Actor
11. The Word
12. Om$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
We're All Gonna DieDawes' highly anticipated new album We're All Gonna Die will be released via the band's own HUB Records.
Of the album, Taylor Goldsmith (guitar, vocals) explains, "Pretty much every song on this record explores a difficult situation and tries to find a way to find the good in it, or at least remind yourself that it's not always that big of a deal. After all, as scary as it is, we are all gonna die."
The album was produced by Grammy nominated producer Blake Mills (Alabama Shakes) and includes backing vocals from Brittany Howard of Alabama Shakes, Jim James of My Morning Jacket, Holly Laessig and Jess Wolfe of Lucius, Mandy Moore and Will Oldham.
Dawes has toured extensively playing headline shows worldwide and major festival appearances including Bonnaroo, Austin City Limits, Lollapalooza and Newport Folk Festival. Recently, they have toured with My Morning Jacket, Bob Dylan, Mumford and Sons, Conor Oberst, and Jackson Browne.
In the fall of 2014, Goldsmith contributed to Lost On The River: The New Basement Tapes, an album project which found collaborators Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and producer T Bone Burnett writing and creating music for a treasure trove of recently discovered lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes.
Fellow collaborator Jim James proclaims about We're All Gonna Die, "The record sounds so fresh-yet fills me with a strange nostalgia for things that haven't happened yet...I hear it at the beach and blasting out of car windows on future summer nights...easily having become a natural part of people's lives."1. One Of Us
2. We're All Gonna Die
3. Roll With The Punches
4. Picture Of A Man
5. Less Than Five Miles Away
6. Roll Tide
7. When The Tequila Runs Out
8. For No Good Reason
10. As If By Design$18.99Vinyl LP - Sealed Buy Now
Supreme Rarities: Motown Lost & Found (1960-1969) (Box Set)4x 180-Gram Box Set
Includes 45 Unreleased-On-Vinyl Tracks
All Sleeves Are Stoughton Tip-On With Amazing Full Color Restored Photos And Notes
As the hometown girls who conquered the world, Diana Ross and the Supremes are inarguably the most successful, highest selling girl group of all time. From their inauspicious start as the long-forgotten Primettes, to their ascension past the moniker of ''no-hit Supremes'' through the ranks of Motown's rank-and-file to globe-trotting superstars, this group is as pure and quintessential Detroit Motor City as you can get.
Originally released on 2xCD in in 2008, the Supremes ''Supreme Rarities'' from the Motown Lost & Found Series collects from the depths of the label archives to showcase the rarities, the outtakes and the incomparable live recordings from this inimitable group of Rock and Roll Hall of Fame inductees. Listen to the story unfold from the innocent teenaged doo-wop of ''You Can Depend On Me'' from 1960 all the way through the slick, socially-conscious refinement of ''I'm Livin' in Shame'' from 1969. Aside a handful of forgotten vinyl releases decades ago, the majority of this material has not been released on vinyl. Until now.
Third Man, in a unique partnership with Universal Music, has taken this double-CD and turned it into a glorious 4xLP collection housed in an impeccably-designed slipcase, all watercolor pastel vibrant photos highlight how absolutely impeccable this group is.
Of particular interest is that ''Supreme Rarities'' are the first Motown records EVER pressed in the city of Detroit. Diana Ross attended high school at Cass Tech, a mere mile away from Third Man Pressing where these this title was lovingly pressed, which is also just a mile away from the Brewster-Douglass Housing Projects where Ross and fellow Supremes Mary Wilson and Florence Ballard all grew up.
The 48 tracks included here include the earliest Primettes tracks, invigorating covers of The Rolling Stones ''Satisfaction'' and the Beatles ''I Saw Her Standing There'', along with renditions of hits for OTHER Motown artists like ''Mickey's Monkey'' and ''Uptight (Everything's Alright)'' in addition to alternate vocal takes of stone cold certified smashes like ''You Can't Hurry Love'' and ''Someday We'll Be Together.'' And if you want the hits medley, ''Come See About Me'', ''Baby Love'' and ''Stop! In the Name of Love'' will wonderfully whet your appetite.
180-gram vinyl. All sleeves are Stoughton tip-on with amazing full color restored photos and notes.
This title is not eligible for discount.LP1
1. You Can Depend On Me
2. Tears Of Sorrow (Motown Version)
3. Because I Love Him
4. Hey Baby (Version 1)
5. Too Hot (Version 4)
6. You're Gonna Come To Me (Version 1)
7. You're Gonna Come To Me (Version 2)
8. It Makes No Difference Now (Alternate Version)
9. Come On Boy (Alternate Version)
10. Just Call Me (Stereo Mix)
11. I Saw Him Standing There
12. Not Fade Away
13. Ooowee Baby (Alternate Mix)
1. It's All Your Fault (Version 1)
2. Hits Medley: Come See About Me / Baby Love / Stop! In The Name Of Love
3. Cupid (Alternate Extended Mix)
4. Take Me Where You Go (Version 3)
5. Back In My Arms Again (Alternate Vocal)
6. You Can't Hurry Love (Alternate Vocal)
7. Mickey's Monkey
8. Uptight (Everything's Alright) (Alternate Vocal)
9. It's Not Unusual
10. (I Can't Get No) Satisfaction
11. Come And Get These Memories (Alternate Mix)
12. I Can't Help Myself (Sugar Pie, Honey Bunch) (Alternate Mix)
13. Let The Music Play (Alternate Vocal)
1. Don't Let True Love Die (Extended Version)
2. What A Friend We Have In Jesus
3. Every Time I Feel The Spirit
4. Believe In Me
5. The Beginning Of The End Of Love (Stereo Mix)
6. People (Unedited Version)
7. Over The Rainbow
8. Wish I Knew
9. I Can't Give Back The Love I Feel For You
10. I'll Set You Free (Alternate Vocal)
11. Ain't No Sun Since You've Been Gone
12. In The Evening Of Our Love
1. Love Child (Alternate Vocal)
2. Those Precious Memories
3. I'm Livin' In Shame (Version 1)
4. MacArthur Park
5. You're Gonna Hear From Me
6. Canadian Sunset
7. Autumn Leaves
8. The Look Of Love
9. Someday We'll Be Together (Alternate Vocal)
10. Bonus: Scott Regan Radio Promos$59.99180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
Exclusively for My Friends - The Lost Tapes (Speakers Corner)
Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS - the label with whom Oscar Petersen himself claimed to have made his best recordings - to search their archives for lost tapes from Peterson's heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped "exclusively for my friends" in the private studio in Villingen in 1965-1968.
The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa - as is borne out by the fact that Peterson's usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.
And now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!
- Oscar Peterson (piano)
- Ray Brown, Sam Jones (bass)
- Ed Thigpen, Bobby Durham (drums)
Recording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer's private studio's in Villingen/ Germany by H.-G. Brunner-Schwer
Production: H.-G. Brunner-Schwer
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Gravy Waltz
2. Three O'Clock in the Morning
3. Squeaky's Blues
5. I Will Wait for You
6. Let's Fall in Love
7. Put on a Happy Face
8. Stella by Starlight
9. Moanin' 10. Never Say Yes
11. It's Impossible
12. My Romance$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-TEA-3910xThe Felice Brothers
Yonder Is The ClockThe Felice Brothers (Simone, Ian, and James) and their long time friends and band mates Greg Farley and Christmas Clapton, come to us from the Catskill Mountains, where a homegrown sound has been working its way through the bloodlines for generations. Titled with a phrase drawn from the pages of Mark Twain, Yonder Is The Clock is a nod to all of the American ghosts that lend their narrative and characters to the Felice BrothersÆ forthcoming release. Their studio was built from the remains of an abandoned chicken coop and it was there over the summer and fall of 2008 that they wrote and recorded this new collection of songs. Yonder Is The Clock is teaming with tales of love, death, betrayal, baseball, train stations, phantoms, pandemics, jail cells, rolling rivers and frozen winter nights. This is music that hasnÆt lost sight of the history of the land from which it came, and that quality alone makes The Felice Brothers the next great American band.1. The Big Surprise
2. Penn Station
3. Buried In Ice
4. Chicken Wire
5. Ambulance Man
6. Sailor Song
7. Katie Dear
8. Run Chicken Run
9. All When We Were Young
10. Boy from Lawrence County
11. Memphis Flu
13. Rise and Shine$21.99Vinyl LP - 2 LPs Sealed Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
Tomorrow Is My TurnRhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.
Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."
For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."
"I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown's renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens' Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.
Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."1. Last Kind Words
2. Don't Let It Trouble Your Mind
4. She's Got You
5. Up Above My Head
6. Tomorrow is My Turn
7. Black Is the Color
8. Round About the Mountain
9. Shake Sugaree
10. O Love Is Teasin'
11. Angel City$22.99Vinyl + CD - Sealed Buy Now
All Alone In An Empty HouseOn All Alone In An Empty House, Lost In The Trees merges dramatic symphonic elements with the soaring melodies of American folk and modern pop, creating a sound that is simultaneously intimate and sonically ambitious. Working with North Carolina producer Scott Solter (The Mountain Goats, Superchunk, Spoon, St. Vincent), Ari Picker and company have created a maverick collection of beautiful soul baring music.1. All Alone in an Empty House
2. Walk Around the Lake
3. Mvt. 1 Sketch
4. Song for the Painter
6. Love on My Side
7. Wooden Walls of this Forest Church
8. A Room Where Your Paintings Hang
9. We Burn the Leaves
10. Mvt. 2 Sketch
11. For Leah and Chloe$19.99Vinyl LP - Sealed Buy Now
ADAD-AST-9614xDots Will Echo
Drunk Is The New Sober/Stupid Is The New DumbDrunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"
"I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.
Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.
"A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"
In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.
The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.
Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."
At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.
Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.
Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."1. Untitled
2. I Like It
3. Untitled II
4. I'm a Monkey
6. Be a Friend
7. Whatcha Tryin to Do
8. Rocket Girls
10. Run Away Anna
11. History's Grave
12. Sweet Sweet Sanity
14. Who Left You Here
15. The Future
16. Untitled III
17. Peace in Your Life
18. Our Little Part of the World
19. Untitled IV
20. Gates of Eden
21. Visions of Light
22. Seven Deadly Sins
23. So Deep the Night$24.99Vinyl LP - 2 LPs Sealed Buy Now