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All Things Must Pass'
All Things Must PassRemastered From The Original Analogue Master Tapes And Cut At Capitol Studios To Ensure Exceptional Audio Quality Throughout
Pressed On 180-Gram Vinyl
All Things Must Pass was released by Apple Records in November 1970. Co-produced by Harrison and Phil Spector, many musicians contributed to the album, including Eric Clapton, Ringo Starr, Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, members of Badfinger, players from Delaney and Bonnie band, and John Barham. The triple-LP topped charts around the world and earned universal acclaim as a rock masterpiece. George became the first Beatle to have a solo number one single in both the UK and America with the album's lead single, 'My Sweet Lord,' which introduced his signature slide guitar playing. George co-wrote the album's opening track, 'I d Have You Anytime' with his friend Bob Dylan, who also wrote another song on the landmark album, 'If Not For You.'LP 1
1. I'd Have You Anytime
2 . My Sweet Lord
4. Isn't It A Pity
5. What Is Life
6. If Not For You
7. Behind That Locked Door
8. Let It Down
9. Run Of The Mill
1. Beware Of Darkness
2. Apple Scruffs
3. Ballad Of Sir Frankie Crisp (Let It Roll)
4. Awaiting On You All
5. All Things Must Pass
6. I Dig Love
7. Art Of Dying
8. Isn't It A Pity
9. Hear Me Lord
10. Out Of The Blue
1. It's Johnny's Birthday
2. Plug Me In
3. I Remember Jeep
4. Thanks For The Pepperoni$69.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Alone Together (Pre-Order)The Dave Mason/Friday Music 180 Gram Audiophile Vinyl Begins
Celebrate His 1970 Debut Masterpiece Revisited For The First Time On Limited Edition 180 Gram Marble Vinyl!
Impeccably Mastered By Joe Reagoso At Friday Music
Featuring Hit Tracks Only You Know And I Know, World In Changes, Shouldn't Have Took More Than You Gave, Look At You, Look At Me
Featuring Dave's Superstar Line Up Of Friends: Leon Russell, Jim Capaldi (Traffic), Bonnie Bramlett, Rita Coolidge, Carl Radle (Derek & The Dominoes), Chris Ethride (Flying Burrito Brothers), Jim Keltner, Larry Knechtel (Bread), John Barbata (CSNY) & Claudia Lennar (Joe Cocker)
Dave Mason's debut smash LP Alone Together will always be revered as one of the finest rock albums ever released in the classic rock era. By 1970, Dave had already racked up a ton of acclaim as co-founder of Traffic with Stevie Winwood, Jim Capaldi and Chris Wood, playing guitar on so many classic albums like Jimi Hendrix's Electric Ladyland and George Harrison's All Things Must Pass, this stellar debut solo release would culminate his musical genius from the sixties into the seventies, delivering one the most loved rock albums of of all time.
Alone Together shows this master musician's skills in the studio, his amazing guitar artistry, stellar vocals and songwriting expertise. Featuring some of his legendary songs like the brilliant opener Only You Know And I Know, his masterworks Shouldn't Have Took More Than You Gave, World In Changes and the prog-rock champion Look At You, Look At Me co-written with Traffic mate Jim Capaldi, Alone Together truly is the gift of music that just keeps on giving!
Over forty years later, this wonderful album continues to resonate with his ever growing fan base as Dave Mason is currently embarking on a very successful 2017 Alone Together Again concert tour, and Friday Music is proud to be a part of the celebration with this 1970 masterpiece.
As a first installment in our exclusive Dave Mason/Friday Music 180 Gram Audiophile Vinyl Series, this first time impeccably mastered audiophile Lp is now being revisited for a limited time on the long out of print 1970 marble vinyl.
For a very limited time, we are also enhancing your listening enjoyment with a first time gatefold cover artwork presentation, which features the elements from the original LP sized cover art not seen in years, making this a keepsake for years to come.
Impeccably mastered by Dave Mason's friend and longtime fan Joe Reagoso at Friday Music Studios, Dave Mason's Alone Together will be one of the most anticipated classic rock releases in the audiophile vinyl domain this year.
Dave Mason .Alone Together .Celebrate over 4 Decades of the voice, the songs, the musicianship and the memories .1st Time Audiophile Marble Vinyl .An exclusive .Only from your friends at Friday Music.1. Only You Know And I Know
2. Can't Stop Worrying, Can't Stop Loving
3. Waitin' On You
4. Shouldn't Have Took More Than You Gave
5. World In Changes
6. Sad And Deep As You
7. Just A Song
8. Look At You Look At Me$32.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Living In The Material WorldRemastered From The Original Analogue Master Tapes And Cut At Capitol Studios To Ensure Exceptional Audio Quality Throughout
Pressed On 180-Gram Vinyl
In May 1973 came the release of George's second studio album of new songs, Living In The Material World. He was joined in the studio by several musician friends who had also played on All Things Must Pass and others like Jim Keltner, with whom he had worked during The Concert for Bangladesh concerts in 1971. The album and its lead single, 'Give Me Love (Give Me Peace On Earth)' both reached number one in America and on charts around the world. The spiritual nature of Living In The Material World, described by Rolling Stone as 'miraculous in its radiance,' is also reflected in the inclusion of an illustration from the Bhagavad-Gita in the artwork.1. Give Me Love (Give Me Peace On Earth)
2. Sue Me, Sue You Blues
3. The Light That Has Lighted The World
4. Don't Let Me Wait Too Long
5. Who Can See It
6. Living In The Material World
7. The Lord Loves The One (That Loves The Lord)
8. Be Here Now
9. Try Some Buy Some
10. The Day The World Gets 'Round
11. That Is All$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Damage And JoyThe Jesus and Mary Chain fronted by the Reid brothers Jim and William, release their long awaited brand new studio album 'Damage and Joy' - their first album since 'Munki', released back in the summer of 1998. Including lead track 'Amputation' and a re-energized new version of 'All Things Must Pass' which previously featured in the TV show 'Heroes'.1. Amputation
2. War On Peace
3. All Things Pass
4. Always Sad
5. Song For A Secret
6. The Two Of Us
7. Los Feliz (Blues And Greens)
8. Mood Rider
9. Presidici (Et Chapaquiditch)
10. Get On Home
11. Facing Up To The Facts
12. Simian Split
13. Black And Blues
14. Can't Stop The Rock$29.99Vinyl LP - Sealed Buy Now
One Kiss Leads To AnotherHackamore Brick's One Kiss Leads to Another
Defines the Term Cult Classic
Championed by Everybody from Ugly Things
First LP Reissue
Remastered from Original Tapes by Vic Anesini
at Battery Studios in NYC
LP Includes the Bonus Single Side Searchin'
Liner Notes by Tony Rettman Include Exclusive
Quotes from Hackamore Brick's Tommy
Package Includes Photos from the Band's
LP Includes Printed Inner Sleeve
What makes a record a true cult classic? First, it
must be released to a modicum of critical acclaim but zero commercial success. Second, in
almost all cases the artists behind the release
have to disappear immediately into obscurity.
And third, over the course of decades, a dedicated core of record collectors, critics and
true believers must spread the word about
the album in question. Well, by those standards, New York band Hackamore Brick's 1970 LP One
Kiss Leads to Another is the cult classic to end all cult classics (the
only recent contenders might be Rodriguez's albums Cold Fact and
Coming from Reality). Released on the bubblegum-centric Kama Sutra
label to positive reactions from critics ranging from Richard Meltzer to
Lenny Kaye, One Kiss sounded very different from anything else on the
label or, for that matter, anything else on the 1970 music scene; often
cited as the first post-Velvet Underground album, it does indeed provoke comparison's to VU's third, self-titled record and Loaded as well
as other descendants like the Modern Lovers and Television. But the
country-ish harmonies of vocalists Tommy Moonlight and Chick Newman lend the record a sound not unlike any number of current alternative "beard rock" bands plying their wares, and the discursive lyrics
recall the Kinks.
In short, One Kiss Leads to Another passes the fourth
and hardest test of cult classic-dom, which is to remain relevant into
the present, even though Moonlight and Newman didn't record another
note together as Hackamore Brick until 2009. Real Gone Music is proud
to present this remarkable record on both vinyl and CD, with a bonus
track, the single side "Searchin'," appearing on both formats. Liner notes by Tony Rettman featuring quotes from Tommy Moonlight and pictures from the Hackamore
Vic Anesini at Battery Studios in NYC-highly anticipated and worth theSide One:
2. Oh! Those Sweet Bananas
3. I Watched You Rhumba
5. Peace Has Come
1. Got a Gal Named Wilma
2. I Won't Be Around
3. And I Wonder
4. Someone You Know
5. Zip Gun Woman$20.99Vinyl LP - Sealed Buy Now
Teacher Don't Teach Me NonsenseTeacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.
Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.
Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.1. Teacher Don't Teach Me Nonsense
2. Look and Laugh
3. Just Like That$19.99Vinyl LP - Sealed Buy Now
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