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American Teen (Awaiting Repress)Khalid has been surrounded by music his entire life. He grew up in a military family, his mother is a singer with the Army and he was introduced to music at an early age. Khalid spent most of his childhood in Germany before moving to Watertown, NY for High School. The summer going into his senior year of High School, Khalid's family was ordered to relocate to El Paso, TX. By 18-years-old, Khalid, who is classically vocal trained, had drawn on his experiences with moving often and the unique experience of growing up having lived in two continents and parlayed them into the creation of his viral smash, "Location" which helped him to land a major label deal with Right Hand Music Group/RCA Records. Khalid released "Location" before his high school graduation and it garnered over 1.52 million plays in less than two months, along with critical praise from music tastemakers such as Pigeons & Planes, Earmilk, and more.LP 1
1. American Teen
2. Young Dumb & Broke
4. Another Sad Love Song
8. Let's Go
2. Cold Blooded
5. Keep Me
6. Shot Down
7. Angels$19.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Not Another Teen Movie SoundtrackNot Another Teen Movie is a 2001 American parody teen comedy film directed by Joel Gallen and written by Mike Bender, Adam Jay Epstein, Andrew Jacobson, Phil Beauman, and Buddy Johnson. The film features an ensemble cast including Chyler Leigh, Chris Evans, Jaime Pressly, Eric Christian Olsen, Eric Jungmann, Mia Kirshner, Deon Richmond, Cody McMains, Sam Huntington, Samm Levine, Cerina Vincent, Ron Lester, Randy Quaid, Lacey Chabert, and Riley Smith.
Brookvale Records presents Not Another Teen Movie's soundtrack on vinyl for the first time! Featuring music from Marilyn Manson, The Smashing Pumpkins, System of a Down, Muse, and many more.1. Marilyn Manson - Tainted Love
2. The Smashing Pumpkins - Never Let Me Down Again
3. Orgy - Blue Monday
4. System of a Down - The Metro
5. Scott Weiland - But Not Tonight
6. Saliva - Message of Love
7. Stabbing Westward - Bizarre Love Triangle
8. Goldfinger - 99 Red Balloons
9. Mest - I Melt With You
10. Good Charlotte - If You Leave
11. Muse - Please, Please, Please, Let Me Get What I Want
12. Phantom Planet - Somebody's Baby$26.99Vinyl LP - Sealed Buy Now
ADAD-EPI-0710xFrom First To Last
Dear Diary, My Teen Angst Has A Body CountFirst Time On Vinyl
Dear Diary, My Teen Angst Has a Body Count is the debut studio album by American post-hardcore band From First to Last. It was originally released on June 29, 2004, through Epitaph Records. The title was taken from a monolog in the film Heathers, in which Winona Ryder's character is writing in her diary. Production was handled by Lee Dyess and the band themselves. The album was remastered by Beau Burchell from Saosin, however, it is not indicated on the personnel, possibly due to a contemporary feud between the band. The album also is notable for being one of the earliest projects featuring singer and multi-instrumentalist Sonny Moore (who has since launched a successful solo career as an electronic music producer and performer, under the stage name Skrillex).1. Soliloquy
2. The One Armed Box Cutter vs The Flying Guillotine
3. Note To Self
4. I Liked You Better Before You Were Naked On the Internet
5. Featuring Some of Your Favorite Words
7. Secrets Don't Make Friends
8. Populace In Two
9. Kiss Me, I'm Contagious
11. Ride The Wings Of Pestilence
12. (untitled hidden track)$19.99Vinyl LP - Sealed Buy Now
Weird Science SoundtrackWeird Science is a 1985 American teen comic science fiction film written and directed by John Hughes. The
soundtrack is packed with new wave and post-punk gems from artists like Killing Joke and OMD, providing the film with a bit of bite. The film's theme song, Weird Science, was performed by Oingo Boingo and written by the band's frontman Danny Elfman.1. Weird Science - Oingo Boingo
2. Turn It On - Kim Wilde
3. Deep In the Jungle - Wall of Voodoo
4. Tubular Bells - Mike Oldfield
5. Tesla Girls - Orchestral Manoevres in the Dark
6. Private Joy - Cheyne
7. Wanted Man - Ratt
8. Don't Worry Baby - Los Lobos
9. Forever - Taxxi
10. Method to My Madness - The Lords of the New Church
11. Eighties - Killing Joke
12. Why Don't Pretty Girls Look At Me - Wild Men of Wonga
13. Nervous and Shakey - The Del Fuegos
14. The Circle - Max Carl
15. Tenderness - General Public
16. Do Not Disturb (Knock Knock - The Broken Homes
17. Oh, Pretty Woman - Van Halen$19.99Vinyl LP - Sealed Buy Now
Barefoot AdventureOne of the most stubborn myths of revisionist musical history is this: the early '60s were the Dark Ages of American pop, a sad and embarrassing era of prefab teen idols and silly dance crazes that was put out of its misery by the British Invasion.
In reality, strange and wonderful things were happening with American music in the months before The Beatles met Ed Sullivan, creative big bangs that continued to evolve for decades to come.
In Detroit, Berry Gordy was defining the Motown Sound, while Stax and James Brown were inventing soul music. At 1650 Broadway, the Aldon table of songwriters was bringing sophistication to teen pop, while The Four Seasons reinvented group harmony. And in California, where Americas youth culture was being born, a trio of songwritersBrian Wilson, Roger Christian and Gary Usherwere drawing up the blueprints for the West Coast sound.
This collection explores Gary Ushers tenure as co-architect of the happiest pop music ever written, a guileless celebration of sun, surf and cars thats become an enduring symbol of the American dream.
Barefoot Adventure does more than simply collect a bunch of songs that sound great on the car radio and mean exactly what they say (take that, psychedelic music!). Its also a remarkable glimpse of the process, of a struggling songwriter angling for a break, sometimes tapdancing in tangents, oblivious to the bullseye he was hitting on the way
to forging an important new sound.
So heres the whole story, 36 terrific tracks, including exclusive Sundazed interviews with Usher himself, with an illuminating essay and track commentary by author and Usher-biographer Stephen McParland. Its musical scholarship thats perfect for parties!
Were not sure if this is history masquerading as fun, or vice-versa, but were definitely sure that its fun. Which, in the end, is all that matters.
1. R.P.M. (The Four Speeds)
2. My Little Surfin' Woodie (The Sunsets)*
3. Barefoot Adventure (The Four Speeds)*
4. Four On the Floor (The Four Speeds)
5. Cheater Slicks (The Four Speeds)
6. C.C. Cinder (The Sunsets)
7. The Chug-A-Lug (The Sunsets)
8. Gary Usher Interview Part 1*
9. My Little Beach Bunny (The Sunsets)
1. Playmate of the Year (The Sunsets)
2. Lonely Surfer Boy (The Sunsets)
3. Soul Stompin'*
4. Nifty '50*
5. Power Shift
6. Mag Wheels
7. Gary Usher Iinterview Part 2*
8. My Sting Ray (The Four Speeds)
9. 426 Super Stock (The Competitors)
1. Wax, Board, and Woodie*
2. Draggin' Deuce*
3. '54 Corvette*
4. My Little Surfin' Woodie (The Sunsets)
5. Gary Usher Interview Part 3*
7. Barefoot Adventure (The Four Speeds)
8. Cactus Juice*
9. Coney Island Wild Child*
1. Sugar & Spice*
3. Milky Way
5. Gary Usher interview Part 4*
6. You Made A Believer Out Of Me
(with The Honeys)*
7. Waiting For The Day (with The Honeys)*
8. Tied Down*
9. Harder & Harder*
* previously unissued$36.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Hold That Tiger!Import
Introduced into the music business by Frankie Avalon at a time when record producers were looking to the South Philadelphia neighborhoods in search of teenage talents with good looks, Fabian Forte mainly began singing as a way to support his family, due to his father's illness. Backed by songwriters Doc Pomus and Mort Shuman, Fabian had soon released a series of hit singles on Chancellor Records, while his debut album Hold That Tiger! climbed to #5 on the US charts. Although never the greatest of singers (he would find greater success as an actor), during the late 50's Fabian was projected as something of a teen idol, helped by a string of hits and numerous appearances on American television.1. Tiger Rag
2. Hold Me (In Your Arms)
3. Ooh, What You Do!
4. I Don't Know Why
5. Please Don't Stop
7. Gonna Get You
8. Love Me Love My Tiger
9. Don't You Think It's Time?
10. Just One More Time
11. Cuddle Up A Little Closer
12. Steady Date
13. Turn Me Loose$27.99Vinyl LP - Sealed Buy Now
Comin' Home Baby!Import
Mel TormÉ, nicknamed The Velvet Fog, was an American musician best known as a singer of jazz standards. He was also a jazz composer and arranger, drummer, an actor in radio, film, and television, and the author of five books. He composed the music for The Christmas Song (Chestnuts Roasting on an Open Fire) and co-wrote the lyrics with Bob Wells.
TormÉ made his movie debut in Frank Sinatra's first film, the musical Higher And Higher. His appearance in the 1947 film musical Good News made him a teen idol.
Paced by his only hit of the rock era, Comin' Home Baby! is a real crossover record balancing a few groovy dance numbers (like the title track) with early-60s cool jazz versions of the standards Walkin', Moanin', and On Green Dolphin Street.1. Comin' Home Baby
2. Dat Dere
3. The Lady's In Love With You
5. Puttin' On The Ritz
8. Sing You Sinners
9. Whisper Not
10. On Green Dolphin Street
11. Sidney's Soliloqui
12. Right Now$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Why Pick On MeThe Standells' key albums for the Tower label (Dirty Water, Why Pick On Me, and Try It) perfectly bottled a rebellious wave of sound sweeping across Mid-1960's teen clubs, radio playlists and record racks. Starting with the genre-defining, proto-punk smash "Dirty Water", through a series of equally memorable underdog anthems ("Sometimes Good Guys Don't Wear White," "Why Pick on Me") and obscenities (the banned "Try It"), the Standells left an indelible mark on their era. Those three Tower albums are a veritable feast of three chord, fuzz-drenched, Vox Organ-driven "squares"-repellant.
For their second Tower album, Why Pick On Me, the Standells received a significant sonic boost with the move to American Recording Company. Legendary engineer Richie Podolor cut the best sounding records of the era; from the Standells, Chocolate Watchband, and Electric Prunes to Steppenwolf and Three Dog Night. The drum tracks on this album are simply not to be believed, the bass drum sound possibly registering on the Richter scale. Here the Standells build on their strengths with tough originals from producer Ed Cobb, equally-hard driving outside material ("Black Hearted Woman," "Mainline"), and notably, the emergence of Larry Tamblyn as a songwriter (his "Mr. Nobody" arguably the album's highlight).1. Why Pick On Me
2. Paint It Black
3. Mi Hai Fatto Innamorare
4. I Hate To Leave You
5. Black Hearted Woman
6. Sometimes Good Guys Don't Wear White
7. The Boy Who Is Lost
8. The Girl And The Moon
9. Looking At Tomorrow
10. Mr. Nobody
11. My Little Red Book
13. Have You Ever Spent The Night In Jail
14. Don't Say Nothing At All (instrumental)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-RIS-1030xThe Jealous Sound
Kill Them With Kindness
• Produced By Tim O'heir (the All-American Rejects, Hot Rod Circuit, The Starting Line, Say Anything).
• Includes Re-Mastered Version Of Kill Them With Kindness As Well As The Bands Self Titled EP, And 3 Never Before Heard Demos.
• 2xLP Gatefold LP - Vinyl Includes CD
You don't become a legacy band overnight. While tons of bands have overnight major label
success, with corporate radio, MTV, or teen magazine spreads, they don't have careers, and they
fade, almost faster than they arrived. You become a legacy band by innovating, not imitating. You
do it by constantly writing songs and albums that connect with people in a way that they remember and appreciate, in a way that creates a need to see you when you visit their city. You appeal to their heart.
For over 13 years The Jealous Sound have been inspiring fans and bands with their unique blend
of indie and alternative rock. Rise Records is proud to re-release their rst full length Kill Them
With Kindness on vinyl. The 2 LP set will not just include a re-mastered version of Kill Them
With Kindness but also a re-mastered version of the band's self-titled ep, as well as 3
re-mastered, unheard demos.
If you're a fan of The Jealous Sound, or truly memorable, heartfelt music, then this is a must have
for your record collection!LP 1
1. Hope For Us
3. Anxious Arms
4. The Fold Out
5. The Gift Horse
6. Does That Make Sense
7. Guard It Closely
8. For Once In Your Life
9. Abandon! Abandon!
1. Recovery Room
2. Above The Waves
3. What's Wrong Is Everywhere
5. Bitter Strings
6. Quiet Life
7. Anxious Arms (EP Version)
8. Troublesome (demo)
9. For Once In Your Life (demo)
10. Abandon! Abandon! (demo)$19.99Vinyl LP + CD - 2 LPs Sealed Buy Now
M!ssundaztoodM!ssundaztood is the second studio album by American singer and songwriter Pink. The album was originally released worldwide in November 2001 to global commercial and critical success, critics welcoming the more mature pop sound Pink presented on the record, after a dance-pop/teen pop debut.1. M!ssundaztood
2. Don't Let Me Get Me
3. Just Like a Pill
4. Get the Party Started
5. Respect - P!nk feat. Scratch
6. 18 Wheeler
7. Family Portrait
8. Misery - P!nk with Steven Tyler
9. Dear Diary
11. Lonely Girl - P!nk feat. Linda Perry
13. Gone to California
14. My Vietnam$24.99Vinyl LP - 2 LPs Sealed Buy Now
REDI-SUN-5817xThe Pleasure Seekers
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
Warfaring Strangers - Darkscorch CanticlesWith Warfaring Strangers: Darkscorch Canticles, the impacts of Led Zeppelin and Black Sabbath on US shores and heartlands is revealed as a bludgeoning previously undescribed. In this collection, medieval Bonham thunk and febrile Iommi guitar leads crowd out the bluesy Americana that foregrounded those bands, replacing hippie pastoralism with mythology, armored conflict, sorcery, and doom. From legions of occult-obsessive 1970s bonehead teens, we summoned a horde of 16 bands, cloaked in eons of tortured obscurity, whose sole release amounts to a blistering chapter ripped free of rock's lumbering mythos.
This music hails from an occluded realm, somewhere just beyond the pot-addled minds of its creators. Lyrically, the Darkscorch Canticles trifle with themes most grave: crippling fear, pagan hostility, paranoia, power addiction-even necromancy. Satan's name is openly invoked, alongside Sauron's. These worried, warlike Canticles occupy a miniscule niche in the American underground of self-released rock, but their appeal is more broad today than in any previous era.1. Air - Twelve O'Clock Satanial
2. Wrath - Warlord
3. Stonehenge - King of the Golden Hall
4. Triton Warrior - Sealed in a Grave
5. Junction - Sorcerer
6. Stone Axe - Slave of Fear
7. Wizard - Seance
8. Stoned Mace - Tasmania
9. Arrogance - Black Death
10. Sonaura - Song of Sauron
11. Dark Star - Spectre
12. Inside - Wizzard King
13. Space Rock - Dark Days
14. Medusa - Black Wizard
15. Gorgon Medusa - Sweet Child
16. Hellstorm - Cry For The Newborn$33.99Vinyl LP - 2 LPs Sealed Buy Now
180-Gram Audiophile Vinyl
First Pressing Of 1,500 Numbered Copies On Transparent Green Vinyl, Black Vinyl Thereafter
Founding Member Of Alice In Chains
Band Includes Drummer Mike Bordin (Faith No More) And Bassist Robert Trujillo (Metallica, Suicidal Tendencies, Ozzy Osbourne)
Including Anger Rising And Angel Eyes
First Time On Vinyl
Jerry Cantrell is an American musician who is best known as the lead guitarist, co-lead vocalist and main songwriter for the rock band Alice in Chains. He also has a solo career and released the albums Boggy Depot in 1998 and Degradation Trip in 2002.
Cantrell noted in an interview that he was raised on country music as a youth and that he admires the emotion conveyed in the genre. However, hard rock music caught his interest predominantly, and he bought his first guitar in his mid-teens. It would not be until the age of 17 that he began seriously playing the instrument. Cantrell would later cite guitarists such as Ace Frehley, Tony Iommi, Angus Young, Jimmy Page, and Eddie Van Halen as major influences. Cantrell's career outside Alice in Chains has not only consisted of two solo albums, but also many appearances with other musicians and on film soundtracks.
Degradation Trip is the second and to date, final solo album by Jerry Cantrell, originally released in 2002. On the album, Cantrell enlisted drummer Mike Bordin (Faith No More) and bassist Robert Trujillo (Suicidal Tendencies, Ozzy Osbourne). The album was dedicated to Alice in Chains lead singer Layne Staley, who died two months before the album's release. Degradation Trip featured two singles and was well received by critics, faring better than Cantrell's solo debut and bearing strong resemblance to his work in Alice in Chains.
A hallmark of Cantrell's style, many unorthodox rhythms and time signatures are exhibited throughout the album as well as heavy use of wah-wah guitar effect and choir-like vocal harmonies.
The album's grungy heaviness is balanced, however, by moody acoustic ballads such as the somber Angel Eyes. Serene, tangy guitar riffs featured in the likes of Gone elude more to Cantrell's Southern roots.LP 1
1. Psychotic Break
2. Bargain Basement Howard Hughes
3. Anger Rising
4. Angel Eyes
6. Mother's Spinning In Her Grave (Glass Dick Jones)
1. Give It A Name
3. She Was My Girl
4. Chemical Tribe
6. Locked On
7. Gone$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ReworksWith its distinctive renditions of songs by DJ Shadow, My Bloody
Valentine, Fleet Foxes, and more, Walt Wagner's Reworks shows how
three Seattle institutions - Wagner, the city's renowned Canlis
restaurant, and Sub Pop Records - have evolved over the years. When
veteran pianist Wagner first landed at Canlis in 1996, he started out
performing a set heavy on the Great American Songbook and the
occasional pop tune. As young staff members recommended new
artists and songs, Wagner's repertoire grew deeper and more varied -
especially after the next generation of the Canlis family took over in
2003. Yet whether the source material was Pink Floyd, Prince,
Metallica, or the Weeknd, the challenge remained the same: "To distill
the vibe on a record, the very essence of a song, into solo piano
One fateful night a couple years ago, a crew from Sub Pop were dining
at the restaurant when they recognized melodies by Adele and Daft
Punk wafting through the restaurant and decided to investigate. Canlis
co-owner Mark Canlis offered the Sub Pop crew a full tour, and when
he pulled out a vintage copy of the '60s LP Live At Canlis, an idea was
born. With Wagner preparing to retire, the time was ripe for a recording
that captured his inimitable gifts in their natural surroundings.
In preparation for the big night, Wagner sat down with the Sub Pop
team for more ideas. "I wanted them to feed me tunes that they loved
and could imagine hearing me play." Sub Pop alumni Fleet Foxes and
Band of Horses were already staples of Wagner's sets, but what magic
could he work with DJ Shadow, Phoenix, or My Bloody Valentine? He
had three months to find out.
The album's opening selection, "Building Steam with a Grain of Salt,"
provides a glimpse into Wagner's modus operandi. "The first time I
listened to it, I said 'well what can I do with that?'" He recalls. "But
the more I listened, the more I noticed these signature moments in the
song, and through messing around with those and improvisation, I
ended up with my version."
Recorded before a packed house on October 9, 2016, Reworks is more
than just a souvenir of a very special evening; it captures decades of
musicianship that forged Wagner's distinctive style. He studied
classical piano throughout his youth, yet kept his playing secret until
he'd reached his teens, when he began playing in rock bands.
While learning to improvise and play more rhythmically made him a hit
with his peers, his classical instruction made his band the Exotics
especially popular with local bookers. "We were one of the only bands
that could read music, so we accompanied different stars of the time:
Dick and Dee Dee, Johnny Crawford, all these '50s and early '60s
artists that came to town." The Exotics even cut a single, a Wagner
original entitled "Oasis," that made it to #3 on local radio station KJR
in the summer of 1961.
In the years that followed, Wagner played at downtown Seattle
watering holes and eateries and refined his jazz chops. Two decades at
Canlis taught him to interact with listeners in a whole new way. And
now, flush with excitement over Reworks, Wagner may not stay retired
for long.1. Building Steam With a Grain of Salt (DJ Shadow)
2. I Only Said (My Bloody Valentine)
3. Desiree (The Left Banke)
4. Mykonos (Fleet Foxes)
5. 1901 (Phoenix)
6. Bondye (Goat)
7. No One's Gonna Love You (Band of Horses)
8. Purple Rain (Prince)
9. The Funeral (Band of Horses)
10. Ever Fallen In Love (Buzzcocks)$17.99Vinyl LP - Sealed Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now