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August And Everything After'
August And Everything AfterCounting Crows' 1993 debut album released for the first time as an LP in the U.S.!
Double album cut at 45 RPM, plated and pressed by Quality Record Pressings - four sides maximize the recording's dynamic range
Mastered by Ryan Smith at Sterling Sound
Counting Crows put in the gigging hours during the early days of the band, and it paid off. By the time they signed to Geffen in 1993, they had already built up a significant fanbase. Their debut, August and Everything After, produced by T-Bone Burnett, was released later the same year and became an unexpected multi-platinum hit, partly as a result of the successful single Mr. Jones.
Although recorded to audio tape, the album was originally mastered for CD and featured a longer playing time than a standard LP. Thus Analogue Productions has reissued August and Everything After as a double LP set to maximize the dynamic range of this recording. This is the first time that the 'Crows multi-platinum smash has been released in the U.S. as an LP. Mastered by Ryan Smith at Sterling Sound.
This title is not eligible for discount.1. Round Here
3. Mr. Jones
4. Perfect Blue Buildings
5. Anna Begins
6. Time And Time Again
7. Rain King
8. Sullivan Street
9. Ghost Train
10. Raining In Baltimore
11. A Murder Of One$54.99200 Gram Audiophile Virgin Vinyl 45rpm LP - 2 LPs Sealed Buy Now
The Miseducation Of Lauryn HillRanked 312/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
'The Miseducation of Lauryn Hill' is the critically and commercially acclaimed solo album by female Fugee Lauryn Hill. Originally released on August 25th, 1998, it has been widely praised for its seamless fusion of R&B, Hip Hop, Reggae, Gospel, and Neo-Soul. The songs vary in style, but make for a cohesive album. In 1999, the album garnered 10 Grammy nominations at the 41st Grammy Awards. When Hill won 5 Grammies that night, her achievement made her the first female to receive that many in one night. The album includes collaborations with soul singer D'Angelo on Nothing Even Matters; guitarist Carlos Santana on To Zion; singer Mary J. Blige on I Used to Love Him and well as then little-known John Legend playing the piano on Everything is Everything.
Over 10 years after its original release Hill's debut solo album has proven to stand the test of time easily.1. Intro
2. Lost Ones
4. To Zion
5. Doo Wop (That Thing)
7. Final Hour
8. When It Hurts So Bad
9. I Used To Love Him
10. Forgive Them Father
11. Every Ghetto, Every City
12. Nothing Even Matters
13. Everything Is Everything
14. The Miseducation Of Lauryn Hill
15. Can't Take My Eyes Off Of You
16. Tell Him$29.99Vinyl LP - 2 LPs Sealed Buy Now
Somewhere Under WonderlandCounting Crows will release their highly-anticipated seventh studio album titled Somewhere Under Wonderland on Capitol
Records. Somewhere Under Wonderland marks the band's first original material since Saturday Night & Sunday Mornings in 2008.
Known for creating unique and innovative concerts and consistently ranked as one of the top live bands performing today.
Counting Crows - Adam Duritz (vocals), Jim Bogios (drums), David Bryson (guitar), Charlie Gillingham (keyboards), David Immergluck (guitar), Millard
Powers (bass) and Dan Vickrey (guitar) - have sold more than 20 million albums worldwide after exploding onto the music scene with their multiplatinum
breakout album August and Everything After in 1993.1. Palisades Park
2. Earthquake Driver
4. God Of Ocean Tides
6. Elvis Went To Hollywood
7. Cover Up The Sun
8. John Appleseed's Lament
9. Possibility Days$17.99Vinyl LP - Sealed Buy Now
Recovering The SatellitesFor their second album, Recovering the Satellites, Counting Crows crafted a self-consciously challenging response to their unexpected success. Throughout the record, Adam Duritz contemplates his loss of privacy and sudden change of fortunes, among other angst-ridden subjects. In one sense, it's no different from the subjects that dominated August and Everything After, yet his outlook is lacking the muted joy that made Mr. Jones into a hit. Similarly, the music is slightly more somber, yet the approach is harder and more direct, which gives even the ballads a more affecting, visceral feel.
- Stephen Thomas Erlewine (All Music Guide)1. Catapult
2. Angels Of The Silences
3. Daylight Fading
4. I'm Not Sleeping
5. Goodnight Elisabeth
6. Children In Bloom
7. Have You Seen Me Lately?
8. Miller's Angels
9. Another Horsedreamer's Blues
10. Recovering The Satellites
13. A Long December
14. Walkaways$34.99Vinyl LP - 2 LPs Sealed Buy Now
Dope MachinesEvery so often, one song can change everything. For The Airborne Toxic Event, that particular number happened to be an A Capella version of Queen and David Bowie's classic duet "Under Pressure".
"Somebody played it for me, and it blew my mind," declares vocalist and guitarist Mikel Jollett. "I made a decision to change my whole approach to music. I just wanted to be joyful about it. I wasn't going to worry anymore. For the first three records, I thought mostly like writer. My mindset changed. It was about inventing a musical logic that was unabashedly catchy and rhythmic, but way weirder than anything we've done in the past."
That "logic" came to life while Mikel composed "Hell and Back" for the Dallas Buyers Club soundtrack in August 2013. Under a tight deadline, he had no choice but to produce the track himself-a first for the Los Angeles outfit. However, he didn't stop there.
The frontman would go on to personally produce The Airborne Toxic Event's fourth full-length album and first for Epic Records Dope Machines with the blessing and support of Steven Chen [guitar, keyboards], Anna Bulbrook [violin, keyboard, backing vocals], Daren Taylor [drums], and Adrian Rodríguez [bass].
"Producing was massively challenging and super fun," admits Mikel. "When we finished the last record, our producer Jacquire King said to me, 'I think you're ready to produce an album now.' I felt like we had reached the apotheosis of being a proper rock band. This was the exact opposite. It was me alone in a room for 12 hours a day working harder than I'd ever worked."
Early in the process, Mikel tapped into a boundless aesthetic, embracing electronic elements as well as pop structures and unbridled rock 'n' roll bombast. At the same time, it defied categorization at every turn. "That's one of the hallmarks of the record," he affirms. "It doesn't sound like anything else."
The first single "Wrong" merges striking synths and an electronic swing with an evocative refrain punctuated by a robust groove. It's borderline danceable, but always chant-able.
"It's just about a guy feeling insecure," explains Mikel. "I wrote it at a time of massive upheaval in my life. We all have that moment. You look over everything and think, 'I am an idiot!' It's not every day, but you wish you could start over. That's the idea."
"California" turns a spotlight on a different side of the Golden State from the perspective of a true native. All the while, it still boasts an unshakable refrain and intricate instrumentation.
"I grew up in California," he goes on. "My parents were hippies, and I was born in the back of a VW bus on the beach. I was around everybody from Beatniks to gang members to kids who just emigrated from Guatemala or Ethiopia. None of this had anything to do with the popular image of what California is-that idea of palm trees and movie stars. As soon as you've got an idea of utopia, it begs a dystopia. It's an idea of apocalypse right around the corner in a place that's considered ideal."
Simultaneously, the title track tempers a distinct guitar bounce with entrancing harmonies, making for a provocative and potent dichotomy.
"You can interact with all of these dope hand devices, but they make you sort of dopey an hour later," he sighs. "You make music with them. They can save you from a heart attack. They're little extensions of the things that make us fundamentally human, which is the desire to interact with one another. The machines are all of these things at the same time."
In the middle of 2014 after moving on from Island Records, Epic Records C.E.O. L.A. Reid reached out and signed them-for the second time.
"L.A. signed us way-back-when at Island," recalls Mikel. "He literally saw us at Bowery Ballroom in New York, came backstage, and offered us a record deal. The moment we were free, he sent us a deal memo. It's a pleasure to be working with him again. He's a big believer, and he brings a lot of energy to this."
They've carried a similar energy through three full-length albums: The Airborne Toxic Event , which spawned the gold-selling single "Sometime Around Midnight", All At Once , and Such Hot Blood . In addition to reaching gold status, iTunes named "Sometime Around Midnight" the "#1 Alternative Song of the Year", and it spent a staggering eight weeks at #1 on Billboard's Heatseakers Chart. HBO utilized it on their high-profile Network Season Promo. The group has appeared on The Late Show with David Letterman four times, The Tonight Show with Jay Leno four times, and on Jimmy Kimmel Live! three times. Moreover, they've taken the stage at festivals including Coachella and Lollapalooza and sold over 50,000 tickets in 2013 alone.
In many ways though, Dope Machines signals something of a rebirth.
"It's like debuting a new phase," concludes Mikel. "It was a new approach. We've got a new label. We threw out everything we were tired of and moved on to a brand new palette. That was the goal. This isn't what The Airborne Toxic Event is supposed to be. This is who we are.1. Wrong
2. One Time Thing
3. Dope Machines
5. Time To Be A Man
6. Hell And Back
7. My Childish Bride
8. The Thing About Dreams
9. Something You Lost
10. Chains$20.99Vinyl LP - Sealed Buy Now
August And Everything After (Out Of Stock)When the prevailing guitar jingle of Mr. Jones cascaded over radio in the early '90s, it was a sure sign that the Counting Crows were a musical force to be reckoned with. Their debut album, August and Everything After, burst at the seams with both dominant pop harmonies and rich, hearty ballads, all thanks to lead singer Adam Duritz. The lone guitar work of Mr. Jones coupled with the sweet, in-front pull of Duritz's voice kicked off the album in full force. The starkly beautiful and lonely sounding Round Here captured the band's honest yet subtle talent for singing ballads, while Omaha is lyrically reminiscent of a Springsteen tune.
The fusion of hauntingly smooth vocals with such instruments as the Hammond B-3 organ and the accordion pumped new life into the music scene, and their brisk sound catapulted them into stardom. On Rain King, the piano takes over as its aloof flair dances behind Duritz with elegant crispness. The slower-paced Raining in Baltimore paints a perfectly gray picture and illustrates the band's ease at conveying mood by eliminating the tempo. Most of the songs here engage in overly contagious hooks that won't go away, making for a solid bunch of tunes. Containing the perfect portions of instrumental and vocal conglomeration, the Counting Crows showed off their appealing sound to its full extent with their very first album.
- Mike DeGagne (All Music Guide)1. Round Here
3. Mr. Jones
4. Perfect Blue Buildings
5. Anna Begins
6. Time And Time Again
7. Rain King
8. Sullivan Street
9. Ghost Train
10. Raining In Baltimore
11. A Murder Of One$34.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
The Satanist (Out Of Stock)
Exclusive Bonus Track
Double Gatefold Jacket
24-Page LP Sized Book
"The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."
It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."
Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."
Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."
The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."
Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."1. Blow Your Trumpets Gabriel
2. Furor Divinus
3. Messe Noire
4. Ora Pro Nobis Lucifer
6. The Satanist
7. Ben Sahar
8. In the Absence ov Light
9. O Father O Satan O Sun!$44.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
Echoes Of The Outlaw Roadshow (Out Of Stock)Following their electrifying national summer tour, Counting Crows have announced the release of Echoes of the Outlaw Roadshow, the band's newest collection of live songs. This collection of audio footage was recorded on several dates of their 2012 North American tour.
Echoes will compliment other official live recordings the band has released. The album was recorded and mixed by Shawn Dealey, who worked on Counting Crows' 2012 studio release Underwater Sunshine (Or What We Did On Our Summer Vacation). It is a deluxe package and will include 13 postcards of posters from their 2012 and 2013 tour dates. A digital version of the album was included as a larger promotional package during the band's summer tour, but this release marks the first official nationwide availability of the record. The band is currently in the studio working on new material. Counting Crows - Adam Duritz (vocals), Jim Bogios (drums), David Bryson (guitar), Charlie Gillingham (keyboards), David Immergluck (guitar), Millard Powers (bass) and Dan Vickrey (guitar) - have sold more than 20 million albums worldwide after exploding onto the music scene with their multi-platinum breakout album August and Everything After in 1993. Their most recent album, Underwater Sunshine (Or What We Did On Our Summer Vacation), features a collection of 15 gorgeously rendered songs in which the modern rock mainstays honor global icons, indie-pop heroes, compelling up-and-comers and even their own seminal pre-Crows projects.1. Girl From the North Country
2. Round Here
3. Untitled (Love Song)
4. Four Days
7. Start Again
8. I Wish I Was A Girl
11. Friend of the Devil
12. Rain King
13. Le Ballet d'Or
14. Up All Night (Frankie Miller Goes To Hollywood)
15. You Ain't Goin Nowhere$18.99Vinyl LP - Sealed Temporarily out of stock