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  • Another Green World Another Green World Quick View

    $18.99
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    Another Green World

    From November 1975, 'Another Green World' represents the bridge between Brian's ground-breaking pop career and his early experiments with ambient music. This time around he was ably assisted in the studio by Robert Fripp from King Crimson, Phil Collins and Percy Jones from Brand X and, on viola, The Velvet Underground's John Cale. The album features 5 vocal and 9 instrumental songs including the title track which will be known to many as the theme to the BBC arts programme, 'Arena'.
    1. Sky Saw
    2. Over Fire Island
    3. St. Elmo's Fire
    4. In Dark Trees
    5. The Big Ship
    6. I'll Come Running (To Tie Your Shoes)
    7. Another Green World
    8. Sombre Reptiles
    9. Little Fishes
    10. Golden Hours
    11. Becalmed
    12. Zawinul / Lava
    13. Everything Merges With The Night
    14. Spirits Drifting
    Brian Eno
    $18.99
    Vinyl LP - Sealed Buy Now
  • Reference Series RS2e Headphones Reference Series RS2e Headphones Quick View

    $495.00
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    Reference Series RS2e Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The End Of Teenage Disillusionment


    Leave your candy-colored cans in the toy chest and try a pair of proper headphones. Grado RS2e are hand-crafted from select Mahogany tone-woods, like a fine musical instrument. Our exclusive Series E curing process enhances the natural properties of the wood to produce rich, full-bodied vocals in a light-weight form factor. Put on Brian Eno's 'Another Green World', close you eyes and dream as if you'll live forever.


    The RS2e is the little brother of the RS1e but is just as aesthetically pleasing, now utilizing our proprietary curing process that gives a new, lighter look. The RS2e has a 44mm driver and uses The e Series 8 conductor cable design. The hand-crafted mahogany utilizes new advanced damping treatments that help control and dissipate resonances.The RS2e still maintains an overall sound that is pure Grado, with warm harmonic colors, rich full bodied vocals, excellent dynamics, and an ultra-smooth top end. These truly are an audiophiles dream.


    ... We not only felt every tremor and shudder of the gigantic plane, we heard even the most subtle details, such as the ice cubes rattling the passengers' plastic beverage cups. The combination of an engrossing film and an impressive set of headphones made it feel as though the RS-2s disappeared and the sound seemed to be coming from far outside the actual confines of the headphones.

    - CNET, Steve Guttenburg


    This product is not eligible for discount.


    Grado Headphones
    $495.00
    Headphones Buy Now
  • Feel Infinite Feel Infinite Quick View

    $27.99
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    Feel Infinite

    LuckyMe proudly present the debut album from Jacques Greene - "Feel Infinite". At its heart, 'Feel Infinite' is a world of music connected to the utopian idea of club culture - music about the club, rather than specifically club music in and of itself. Written over the course of two years, this debut album is the purest, most personal expression of the Jacques Greene sound and emotion created by the born and raised Montreal artist, renowned for collaborating and remixing Tinashe, Radiohead, Sampha and Shlohmo.


    Jacques Greene is the enigmatic, young artist who broke out of a generation of independent electronic labels Uno, 3024, Night Slugs and LuckyMe as a genre-defining producer and DJ (via 2011's 'Another Girl' - one of Pitchfork's Songs of the Decade, 2013's underground favorite 'On Your Side' ft. How To Dress Well and 2016's undeniable summer anthem 'You Can't Deny'). Jacques Greene crafted a musical blueprint that inspired a generation who were raised on, and looked to bring together the intersection of contemporary music growing up in the 90s: hip hop, RnB, house and techno.


    "The essence of the record is to draw emotions and moments that above all, feel human within the context of dance music," says Jacques Greene of his highly anticipated debut album, 'Feel Infinite'. "I want it to be celebratory of all that we feel and do and experience - the beautiful, the good, and the bad."


    In 2016, Jacques Greene released the surprise single 'You Can't Deny' to acclaim and adulation, a beautifully undeniable, soulful techno record, followed up with 'Afterglow', a euphoric club record - both of which are included on the album alongside a further nine stunning tracks.


    Includes a fold out poster with new & exclusive artwork by Hassan Rahim

    1. Fall
    2. Feel Infinite
    3. To Say
    4. True ft. How To Dress Well
    5. I Won't Judge
    6. Dundas Collapse
    Jacques Greene
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Escape from L.A.- Music from the Motion Picture Score Escape from L.A.- Music from the Motion Picture Score Quick View

    $41.99
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    Escape from L.A.- Music from the Motion Picture Score

    Limited To 1500


    Clear With Green Splatter Colored Vinyl


    John Carpenter wasn't just a sci-fi and horror master, one of the best and most innovative directors of his generation-he was also a highly accomplished soundtrack composer whose pioneering use of synthesizers to create suspense and dread in his film scores influenced musicians both within the film world and without. And the score he composed-along with Shirley Walker-for his 1996 dystopic sequel Escape from L.A. offered the creeping, atmospheric tension that Carpenter fans crave; although, as this film was set in L.A. and featured plenty of dark humor, Carpenter and Walker threw in a bit of rock 'n' roll as well.


    The original soundtrack release included a mere 16 tracks and came out on CD exclusively; now, Real Gone Music not only has added another 16 tracks to the release, but is also bringing it to vinyl for the very first time! And not just any vinyl; do you remember how in the film Snake Plisskin is infected with the plutoxin virus that will prove fatal within ten hours unless he retrieves the "Sword of Damocles" super weapon and receives the antidote? Well, our limited edition (of 1500) double-LP is being pressed on test tube clear with plutoxin virus green splatter vinyl just make sure you don't let the vinyl scratch your skin! Brand new gatefold artwork featuring stills from the film production completes the package.

    LP 1
    1. Escape from New York
    2. History of Los Angeles
    3. Fire Base Seven
    4. Snake Arrives/Deportees
    5. Snake Gets Scratched
    6. Defense Lab
    7. Snake's Flashback
    8. Weapons/Snake's Uniform
    9. Snake's Escort
    10. Submarine Launch
    11. Sub Sinks
    12. Mulholland Drive-By
    13. Acid Rain/Tour Guide Sting/Snake Gets Directions
    14. Sunset Boulevard Bazaar
    15. Motorcycle Chase
    16. Showdown
    17. Push On Through/Snake Takes a Breather
    18. Beverly Hills Surgeon
    19. I Think We're Lost/Taslima


    LP 2
    1. The Future Is Right Now/Fun Gun
    2. The Black Box/Target L.A.
    3. The Broadcast/The Coliseum
    4. Decapitation/Game Time/The Game
    5. Escape from Coliseum
    6. Queen Mary/Hang Glider Attack
    7. Helicopter Arrival
    8. Texas Switch/Fire Fight
    9. Escape from Happy Kingdom
    10. Crash Landing
    11. Out of Time
    12. Presidential Decree
    13. J.C.'s Blues

    Shirley Walker & John Carpenter
    $41.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • The Warrior's Code The Warrior's Code Quick View

    $19.99
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    The Warrior's Code

    The Warrior's Code is the fifth studio album of the Dropkick Murphys. Released in June 2005, it is also their bestselling. It features a dedication to Lowell's own "Irish" Micky Ward.


    "Your Spirit's Alive" was written for the band's dear friend Greg "Chickenman" Riley, who died in a motorcycle accident in 2004. "The Warrior's Code" is about boxing legend Micky Ward, who hails from Lowell, Massachusetts. "Captain Kelly's Kitchen" is another of the band's traditional arrangements. "Sunshine Highway" was the first single from this album and has surfaced in many places including Royal Caribbean's Sports' Deck. "The Green Fields of France" is a cover of a song originally performed by Eric Bogle. The lyrics to "I'm Shipping Up to Boston" come from unpublished Woody Guthrie lyrics, consisting of a short rant by a sailor looking for a wooden leg in Boston. It is similar to "There's Gonna Be a Blackout" from their previous album, Blackout. "Wicked Sensitive Crew" is a spit at the band's critics who claim that they glorify violence and come across as 'tough guys'. "Last Letter Home" was correspondence between American Sgt. Andrew Farrar and his family before his death in the current Iraq War. "Tessie" is a reworking of a Boston Red Sox rally song. On this release, it is called a bonus track because it was already released on the Tessie EP in 2004 during the Red Sox season where they ended up winning the World Series for the first time in 86 years.

    1. Your Spirit's Alive

    2. The Warrior's Code

    3. Captain Kelly's Kitchen

    4. The Walking Dead

    5. Sunshine Highway

    6. Wicked Sensitive Crew

    7. The Burden

    8. Citizen C.I.A.

    9 .The Green Fields Of France

    10. Take It And Run

    11. I'm Shipping Up To Boston

    12. The Auld Triangle

    13. Last Letter Home

    14. Tessie

    15. Hatebomb

    Dropkick Murphys
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Warrior's Code (Colored) The Warrior's Code (Colored) Quick View

    $19.99
    Buy Now
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    The Warrior's Code (Colored)

    Pressed On Transparent Brown Vinyl


    The Warrior's Code is the fifth studio album of the Dropkick Murphys. Released in June 2005, it is also their bestselling. It features a dedication to Lowell's own "Irish" Micky Ward.


    "Your Spirit's Alive" was written for the band's dear friend Greg "Chickenman" Riley, who died in a motorcycle accident in 2004. "The Warrior's Code" is about boxing legend Micky Ward, who hails from Lowell, Massachusetts. "Captain Kelly's Kitchen" is another of the band's traditional arrangements. "Sunshine Highway" was the first single from this album and has surfaced in many places including Royal Caribbean's Sports' Deck. "The Green Fields of France" is a cover of a song originally performed by Eric Bogle. The lyrics to "I'm Shipping Up to Boston" come from unpublished Woody Guthrie lyrics, consisting of a short rant by a sailor looking for a wooden leg in Boston. It is similar to "There's Gonna Be a Blackout" from their previous album, Blackout. "Wicked Sensitive Crew" is a spit at the band's critics who claim that they glorify violence and come across as 'tough guys'. "Last Letter Home" was correspondence between American Sgt. Andrew Farrar and his family before his death in the current Iraq War. "Tessie" is a reworking of a Boston Red Sox rally song. On this release, it is called a bonus track because it was already released on the Tessie EP in 2004 during the Red Sox season where they ended up winning the World Series for the first time in 86 years.

    1. Your Spirit's Alive

    2. The Warrior's Code

    3. Captain Kelly's Kitchen

    4. The Walking Dead

    5. Sunshine Highway

    6. Wicked Sensitive Crew

    7. The Burden

    8. Citizen C.I.A.

    9 The Green Fields Of France

    10. Take It And Run

    11. I'm Shipping Up To Boston

    12. The Auld Triangle

    13. Last Letter Home

    14. Tessie

    15. Hatebomb

    Dropkick Murphys
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Charlie Watts Meets The Danish Radio Big Band Charlie Watts Meets The Danish Radio Big Band Quick View

    $25.99
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    Charlie Watts Meets The Danish Radio Big Band

    Before Charlie Watts became the best-known drummer on the planet with The Greatest rock 'n' Roll Band in the World he lived for a few months in Denmark. According to English trumpeter and flugelhorn player, Gerard Presencer, who is also a member of the Danish Radio Big Band, it was something he only found out about by chance when he and Charlie talked on the telephone in 2009


    "I landed a job with Danish Radio Big Band in 2009. A week or two after arriving in Copenhagen I got a call from Charlie. Later the idea dawned upon me for a return to his Jazz days over here after nearly 50 years. I spoke with my boss at the Danish Radio Big Band and went about putting this live project together. We agreed upon a week in Copenhagen in October 2010."


    They rehearsed for 4 days, then played a concert on the fifth day at the newly opened Danish Radio Concert Hall in Copenhagen. This concert was recorded for broadcast by Danish National Radio. Charlie and his long-time bassist Dave Green went to record shops and strolled around the city, with no need for security guards. Charlie made it clear that he did not want to be placed on a big riser above the band, as he found that this did not help the musicians to bond.


    In choosing the material, it was important to focus on the groove. According to Prescencer, "Having Dave Green on bass as special guest was an essential ingredient, as these two boyhood friends (next door neighbours growing up in Wembley, North London) have unspoken psychic connections that bassists and drummers, so there are times on this recording where their abundant empathy makes the rest of the band comfortable enough to really play out and take chances."


    The album includes seven tracks, including two Mick and Keith compositions, 'Paint it Black' and 'You Can't Always Get What You Want', both arranged by Prescencer and another one, 'Faction' that is based on another Stones' classic. There are also two by Charlie himself, both written with fellow drummer Jim Keltner.


    A day or two after the broadcast Prescencer began to think that the concert was so good it deserved to be heard more widely. "The Danish Radio needed very little convincing to hand over the recordings to me to work on, as well as Søren Frost our regular drummer and rhythm section consultant from the big band and the brilliant recording engineer, Lars C. Bruun. So, after several years work on this, we have produced this collection of music from our gig."


    Charlie Watts meets the Danish Radio Big Band is the kind of album that many jazz fans had probably given up hope of hearing. In the glory days of big band jazz and arrangers like Oliver Nelson coming up with brilliant music, albums like this were, if not commonplace, at least more readily available. The truth is there is nothing commonplace about this album, it is a sheer delight.


    Anyone who knows Charlie, knows how much he loves jazz. A few years ago when he and I were looking at a photo of the Stones playing in the 1960s he pointed at a particular cymbal and said, "I've still got that cymbal, but I don't use it on Stones' gigs, it's too good for them. I just use it on my jazz gigs." There's no doubt, that's the cymbal you hear on the first part of the 'Elvin Suite'.


    Charlie Watts is one of the great ambassadors for jazz and every jazz lover will relish this record, and the fact that Charlie is involved may bring jazz to the attention of some that are not sure if they like jazz. Listen to this and you know you do.

    1. Elvin Suite - Part 1
    2. Elvin Suite - Part 2
    3. Faction (AKA Satisfaction)
    4. I Should Care
    5. You Can't Always Get What You Want
    6. Paint It Black
    7. Molasses
    Charlie Watts & The Danish Radio Big Band
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Binary Binary Quick View

    $24.99
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    Binary

    "My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."

    With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.

    She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)

    "When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"

    "When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"

    On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.

    "I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"

    She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."

    Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.

    "Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."

    The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."

    Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."

    For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.

    Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.

    "While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."

    "I'm trying to figure it out daily," says Ani DiFranco. "Just like always."

    1. Binary
    2. Pacifist's Lament
    3. Zizzing
    4. Play God
    5. Alrighty
    6. Telepathic
    7. Even More
    8. Spider
    9. Sasquatch
    10. Terrifying Sight
    11. Deferred Gratification
    Ani DiFranco
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Headquarters Stack-O-Tracks Headquarters Stack-O-Tracks Quick View

    $33.99
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    Headquarters Stack-O-Tracks

    First Time 180 Gram Audiophile Clear Vinyl Release

    Mastered Impeccably By Monkees Fan & Friend Joe Reagoso At Friday Music Studios & Capitol Mastering, Hollywood, CA From The Colgems Record Tapes

    The Summer Of Love's First Album .... Re-Visited.... Re-Imagined...

    The Monkees Headquarters/ Stack-O-Tracks

    The Original Instrumental Backing Tracks To Their Most Celebrated Album

    First Time Authorized Alternate Artwork

    Yes... The Monkees Could Play Guitars, Bass, Drums, Piano, Steel Guitar, Organ, Banjo, Tambourine, Percussion..... and Play Them Well!!!

    In 1967 after two number one albums, a plethora of hit singles and a smash television show, The Monkees were on top and knew they each had true musical talents not championed by their label executives. Michael Nesmith spearheaded a change in direction before sessions began on their legendary Headquarters album. This action resulted in the much-covered dissolution with music mogul Don Kirshner, as Chip Douglas (The Turtles) was now recruited by Nesmith to work with the band.

    In rapid succession, things began to fall into place in February 1967. With initial tracks like country rocker Sunny Girlfriend, the band set the stage for what would become one of the most loved works in their catalog and one of the finest rock albums of a generation. A definite album opener, You Told Me begins Headquarters. The track features a brilliant 12 string guitar of Nesmith, as Tork's incredible banjo fills the track alongside Dolenz's driving drum work. With Jones' percussion, it became the very first song that many of us remember as we opened up our new copies back in the summer of '67. Not straying too far from previous success, the band scored a few more of Boyce and Hart compositions like Micky Dolenz's folk rock ballad I'll Spend My Life With You. The solid steel guitar work of Mike Nesmith became somewhat of a precursor to his groundbreaking Nashville sessions in the late sixties. Davy Jones has several watershed moments here with both Forget That Girl and Early Morning Blues and Greens Forget That Girl employs a unique English northern soul vibe, while the latter shares a wonderful rhythm presentation making it one of the more psychedelic infused and standout tracks on the LP. Michael Nesmith's handiwork is radiant on the entire album. You May Just Be The One rocks the album into full gear and makes it one of his and the bands' definitive landmark tracks. Headquarters also brought rightful acclaim to Peter Tork, as his first recorded Monkees' song For Pete's Sake soon became a prolific standard. The song transcended with the times and became one of the more insightful tunes from the quartet. It also replaced the familiar Monkees Theme at the end of season two, giving the song more TV exposure over the years. And as always, you can count on Micky Dolenz to deliver - whether it's his hard rock driving drum work on rockers like Randy Scouse Git & No Time, or his prog-rock feel on Mr. Webster, the album was definitely a great showcase for the artist.

    The Monkees' Headquarters was one of 4 albums of The Monkees that topped the charts in 1967. This fact alone is enough to warrant the importance of this album in musical history. But there are other amazing feats that Headquarters managed to deliver to millions of fans on its eventful release back in May of 1967. The album hit the stores before Sgt. Pepper's Lonely Hearts Club Band by The Beatles. Friendly rivals as they were, Headquarters rose to number one and also opened the door to The Summer of Love. It remained in the upper rung of the retail charts until their fourth platter Pisces, Aquarius, Capricorn & Jones Ltd. became a number one album to close out the year. Wow! Most notably, Headquarters showed the real world the transition of four talented guys on a hit TV show evolving into a self-produced, self-reliant, and one of the most loved bands in musical history, and yes, they could actually play their instruments .and they did it well!

    As another installment in our extensive Monkees catalog, Friday Music is pleased to announce a unique revisit to their third masterwork as we've now gone back to the original backing tracks and have assembled a fun and exciting instrumental Lp with The Monkees Headquarters Stack-O-Tracks. For this limited edition Friday Music release, we are pleased to offer for the first time on vinyl, the rare backing instrumental backing tracks, newly and impeccably mastered by Joe Reagoso (The Monkees/Brian Wilson) from the original Colgems Records masterwork.

    Joe Reagoso notes You've never heard 'Shades Of Gray' until you hear the strings up front like you will on this new vinyl release. Michael Nesmith's work on 'You May Just Be The One' is beyond thrilling, you feel like you are in the studio with the band as they knock out this and other Monkees classics. From beginning to end, song after song, we always knew how special Headquarter was, and now this further showcases the artistry and musical acumen each man brought to the sessions. Truly a crowning achievement. To further enhance your Monkees listening enjoyment, we are also pressing the limited edition album on clear 180 Gram audiophile vinyl, as well as including a revisit to the original album cover artwork, now with the rare Monkees beard photo not issued on vinyl in many years, and first time authorized colorization effects to the original artwork to celebrate fifty years of this classic rock album for the fans. 1967 ..The Summer Of Love A very hip time in our American culture you can now relive with these newly impeccably mastered recordings from the much-loved band that broke a lot of ground in a very short time and made the world a much better place for it The Monkees Headquarters Stack-O- Tracks Only From Your Friends At Friday Music!

    1. You Told Me (Instrumental Backing Track)
    2. I'll Spend My Life With You (Instrumental Backing Track)
    3. Forget That Girl (Instrumental Backing Track)
    4. Band 6
    5. You Just May Be The One (Instrumental Backing Track)
    6. Shades Of Gray (Instrumental Backing Track)
    7. I Can't Get Her Off My Mind (Instrumental Backing Track)
    8. For Pete's Sake (Instrumental Backing Track)
    9. Mr. Webster (Instrumental Backing Track)
    10. Sunny Girlfriend (Instrumental Backing Track)
    11. Zilch- Peter
    12. Zilch -Davy
    13. Zilch- Micky
    14. Zilch- Michael
    15. No Time (Instrumental Backing Track)
    16. Early Morning Blues And Green (Instrumental Backing Track)
    17. Randy Scouse Git (Instrumental Backing Track)
    The Monkees
    $33.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Santana's Greatest Hits (Awaiting Repress) Santana's Greatest Hits (Awaiting Repress) Quick View

    $31.99
    Buy Now
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    Santana's Greatest Hits (Awaiting Repress)


    First Time Platinum Plus Release On Vinyl In The Us In Over 3 Decades


    Limited Edition First Time Audiophile 180 Gram Vinyl With Gatefold Cover Presentation


    Mastered Impeccably By Joe Reagoso At Friday Music Studios And Pressed At R.T.I.


    The legendary Santana set the music world on fire back
    in the late sixties out of San Francisco with their hypnotic blend
    of latin-fused rock, jazz, and soul, augmented with brilliant and
    skillful musicianship of their leader and guitarist Carlos Santana.
    Bursting on the scene initially with the worldwide smash hit single
    Evil Ways, this first offering would prove to become the huge
    catalyst for things to come.


    For their first three smash albums, Carlos Santana
    would take the band to the top of all the popular music charts
    as these sessions would yield a plethora of hit singles. Their
    performances were of legendary proportion, culminating with a
    1969 Woodstock performance which made them one of the most
    successful live acts of the classic rock era.


    Smash pop/rock singles and hit albums, Columbia
    Records honored the hugely popular band with their first best
    of album simply titled Santana's Greatest Hits. Filled with a
    treasure trove of chart topping singles and hit album tracks
    from their smash albums, this incredible LP awarded these rock
    legends with another platinum plus effort.


    No stone is left unturned, as this 10 track masterpiece
    is loaded with hit after hit with smash singles like Evil Ways,
    Jingo, Oye Como Va,Everybody's Everything, and of course their
    much celebrated interpretation of Peter Green's/Fleetwood Mac
    classic Black Magic Woman.


    As one of the most enduring albums in their massive
    career catalog, Santana's Greatest Hits included some significant
    album tracks too like the beautiful masterpiece Samba Pa Ti and
    the hard rocker Hope Your Feeling Better, which features the
    powerful Gregg Rollie (Journey) on lead vocals and keys and
    the stunning lead guitar work of Carlos Santana and Neal Schon
    (Journey). All in all, this is a collection of songs which took the
    fans by storm, forever associating the title superstars to the
    Santana franchise.


    Friday Music is pleased to announce for the very first
    time on audiophile vinyl Santana's Greatest Hits. Mastered
    impeccably by Joe Reagoso at Friday Music Studios, this amazing
    classic truly shines in the audiophile vinyl domain. Pressed at
    R.T.I., long-time unearthed vinyl mixes of their classic hit singles
    and solid album tracks like Everything's Coming Our Way and Se
    A Cabo truly resonate as you remember them from years ago.


    To enhance your limited edition album experience,
    this first time audiophile vinyl release is also for a very short
    time being offered in a first time gatefold cover presentation,
    featuring the original album cover design, plus the inner sleeve
    artwork now displayed beautifully inside the gatefold cover.


    Welcome back the amazing Santana's Greatest Hits...
    an audiophile first time vinyl release, only from your friends at
    Friday Music.


    Everything's Coming Our Way!

    1. Evil Ways
    2. Jingo
    3. Hope You're Feeling Better
    4. Samba Pa Ti
    5. Persuasion
    6. Black Magic Woman
    7. Oye Como Va (ASCAP)
    8. Everything's Coming Our Way
    9. Se A Cabo
    10. Everybody's Everything
    Santana
    $31.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • FREEMAN FREEMAN Quick View

    $16.99
    Buy Now
    x

    FREEMAN

    Listening to Marvelous Clouds, Aaron Freeman's 2012 debut under his own name, fans might have felt that he was ignoring an elephant in his room-a drug-and-alcohol-related onstage flame-out that made viral headlines the year before. But Clouds, a deceptively chill Rod McKuen covers record, was just a warm-up for the artist once known as Gene Ween. In the opening minutes of FREEMAN, the self-titled debut from his new band, Freeman addresses addiction and its aftermath with the combination of merciless self-inventory and artful songcraft that earned Ween one of the most devoted fan bases in contemporary pop. This song, the unmistakably autobiographical Covert Discretion, is a quiet shocker. Save your judgments for someone else, Freeman sings. Be grateful I saved me from myself.


    As bitter as it sounds, the track clears the air. FREEMAN represents a new beginning- Aaron Freeman's first album of original material since disbanding Ween and getting sober-but it isn't a record mired in its maker's private struggles. It's simply a collection of gorgeous, subtly offbeat songs-in other words, a continuation of the thread that runs through the entire Ween catalog. The lush psychedelic pop of The English and Western Stallion; the melancholy plea of More Than the World; the unflappable, Plastic Ono Band-esque blues-rock of Gimmie One More-these are songs that bear the unmistakable Aaron Freeman stamp.


    And to hear Freeman tell it, they wouldn't have been possible if he'd stayed in his old band. There was so much of 'Aaron had to break up Ween because of addiction' and 'Aaron broke up Ween in order to pursue his solo work,' he says. But I broke up Ween because we were at a creative dead end way before our last record, La Cucaracha. Basically we were going through the motions, becoming a showcase band.


    Freeman stresses that FREEMAN is more about renewal than turning his back on the past. I want this record to pay homage to Ween, he says. These are the same songs I would've written in Ween-except without [ex-bandmate] Mickey. Several tracks hark back to the role-playing that was a hallmark of Freeman's back-catalog: (For a While) I Couldn't Play My Guitar Like a Man, a badass blues-rock meditation on lost mojo; or Black Bush, a trippy, heavily stylized ode to the natural beauty of Freeman's recently adopted hometown of Woodstock.


    But there's also a fresh perspective here, the sound of a shadow lifting. Delicate Green, which savors life's everyday blessings, is one of the sweetest, most sincere songs Freeman has written. And All the Way to China and El Shaddai reference Jewish texts-Kabbalah readings and James A. Michener's The Source, respectively-that guided him through his darkest times. There's a lot of spiritual stuff on here because that really helped me, Freeman says. I listened to a lot of reggae-'Jah gonna help me through Babylon,' you know? I listened to a lot of Paul McCartney too, and I thought, if he can do this, break up the fucking Beatles, I can certainly break up Ween and be okay.


    Aaron Freeman has also turned his back on substance abuse, a fact that might concern fans who mistake intoxication for inspiration. I wrote the songs I wrote in Ween despite all the drugs and alcohol I was doing, not because, Freeman says. Most people don't get sobriety at all. They assume you're this better-than-thou monk sitting on a mountain, judging everybody. It's not that way: You have to let everybody do their thing, and you get weirder. A song like FREEMAN's Golden Monkey, which rivals Ween's underrated Quebec for sheer mind-warping brilliance, proves Freeman's point.


    In order to get to FREEMAN, Aaron Freeman had to make a clean break. If I hadn't left my partnership, there wouldn't be anything, he explains. I'd probably be dead too. I know that at the end of the day, this is the best thing I could've done for me and for every Ween fan. FREEMAN, an album that distills the Aaron Freeman aesthetic-built on equal parts wonder and malaise, frankness and mysticism, defiance and vulnerability-to its headiest essence, proves his point. This man, known for so long by another name, is finally free.

    1. Covert Discretion
    2. The English And Western Stallion
    3. (For A While) I Couldn't Play My Guitar Like a Man
    4. El Shaddai
    5. Black Bush
    6. Gimme One More
    7. More Than the World
    8. All The Way To China
    9. Golden Monkey
    10. Delicate Green
    11. There Is A Form
    12. I Know A Girl
    FREEMAN
    $16.99
    Vinyl LP - Sealed Buy Now
  • Boston Vol. 2 (Out of Stock) Boston Vol. 2 (Out of Stock) Quick View

    $29.99
    x

    Boston Vol. 2 (Out of Stock)

    Re-Mastered Vintage Live Recordings From The Original Tapes Of Peter Green's Fleetwood Mac


    In 2013 Fleetwood Mac embarked on a massive world tour. The dates so far saw the band
    playing sold-out shows to huge arena crowds and created another surge of interest in this
    much-loved band.


    June 10th 2014 sees Madfish release Fleetwood Mac's Boston Volume 2 as a gatefold 2LP
    set which collects live recordings from an earlier era of the band's colourful history. The set
    features the classic blues line-up of Mick Fleetwood, Peter Green, Danny Kirwan, John McVie
    and Jeremy Spencer.


    Originally recorded at the Boston Tea Party venue over three nights in February 1970, for a planned release later the same year, these recordings were left in the can, unissued, following leader Peter Green's sudden decision to leave the band a few weeks after the dates. Tracks from the shows were eventually released in various forms in the mid-80s but these releases were blighted by poor sound sources. The discovery of the original 8-track tapes and a number of previously unreleased tracks in the late 90s allowed the material to be re-mixed, re-mastered, and substantially overhauled for release, and Boston Volume 2 follows on from the previous Madfish Records 3 CD set - Boston Volume 1 released in 2013. Introducing Boston Volume 2 is the floating "World in Harmony," the only Peter Green /Danny Kirwin co-written track in the Fleetwood Mac catalogue, and one that, has never appeared on a studio album. The Kirwin/Green interplay throughout the legendary live set is stunning as they push each other past previous limits, driven by the forceful rhythm section of John McVie and Mick Fleetwood.
    This new set brings together all of these remastered recordings as a 2 LP set to present the
    next instalment of these historic shows.

    LP1
    1. World In Harmony
    2. Oh Well
    3. Stranger Blues
    4. Rattlesnake Shake


    LP2
    1. Red Hot Mama
    2. Teenage Darling
    3. Keep A Knocking
    4. Jenny Jenny
    5. Encore Jam

    Fleetwood Mac
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
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