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  • Avatar Soundtrack Avatar Soundtrack Quick View

    $39.99
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    Avatar Soundtrack

    Import

    First Pressing Of 5,000 Limited Numbered Copies On Blue Colored Vinyl, Black Vinyl Thereafter


    Pressed On 180-Gram Audiophile Vinyl


    PVC Protective Sleeve


    Housed In A Gatefold Sleeve


    Includes 6-Page Insert


    Music Composed By James Horner (Titanic, Braveheart, The Magnificent Seven)


    First Time On Vinyl


    For Avatar, James Cameron (Titanic, Aliens, The Terminator)hired long-time collaborator, James Horner, to provide the musical character for his sci-fi fantasy film.


    The music had to match the images with its own power to transport us to a world of powerful emotions. It had to reach deep into your hearts, to allow us not only to see but to feel. The music is our key to the emotional understanding of this film.


    James Horner knew when he took on the scoring of Avatar that it would be the challenge of a lifetime. The music is classic in its orchestral power but also connects us to the soul of the Na'vi through the use of indigenous rhythms and vocals.


    During the theatrical run, the film broke several box office records and became the highest-grossing film of all time, surpassing Titanic (also directed by James Cameron), which had held those records for twelve years. Avatar was nominated for nine Academy Awards, including Best Picture and Best Director, and won three, for Best Art Direction, Best Cinematography, and Best Visual Effects.


    This 2xLP album is packed in a gatefold sleeve with a 6-page insert and the first 5,000 copies are individually numbered and pressed on limited blue colored vinyl.


    At The Movies is very proud to present this epic soundtrack on vinyl for the first time.

    LP 1
    1. You Don't Dream In Cryo. ...
    2. Jake Enters His Avatar World

    3. Pure Spirits Of The Forest
    4. The Bioluminescence Of The Night
    5. Becoming One Of The People Becoming One With Neytiri
    6. Climbing Up Iknimaya - The Path To Heaven
    7. Jake's First Flight


    LP 2
    1. Scorched Earth
    2. Quaritch
    3. The Destruction Of Hometree
    4. Shutting Down Grace's Lab
    5. Gathering All The Na'vi Clans For Battle
    6. War
    7. I See You (Theme From Avatar)

    James Horner
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Titanic Soundtrack (20th Anniversary) Titanic Soundtrack (20th Anniversary) Quick View

    $39.99
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    Titanic Soundtrack (20th Anniversary)

    Import


    20th Anniversary - Limited to 2500


    180 Gram Transparent Vinyl


    Gatefold Sleeve With Metallic Embossing


    Includes Poster, 8-Page Booklet & A Print/Replica Of Historical Newspaper Front-Page


    Features The Academy Award Winning Song My Heart Will Go On By Celine Dion


    Titanic is a 1997 American epic romance-disaster film directed, written, co-produced, and co-edited by James Cameron. The movie stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its ill-fated maiden voyage.


    Upon its release on December 19, 1997, Titanic achieved critical and commercial success. Nominated for fourteen Academy Awards, it tied with All About Eve (1950) for the most Oscar nominations. It won eleven, including the awards for Best Picture and Best Director, tying Ben Hur (1959) for the most Oscars won by a single film.


    Titanic: Music from the Motion Picture was composed, orchestrated and conducted by James Horner (Avatar, The Amazing Spider-Man, Southpaw, The Magnificent Seven). CÉline Dion, who was no stranger to movie songs in the 90s, sang My Heart Will Go On, the film's signature song written by James Horner and Will Jennings. The song became a worldwide smash hit, going to the top of the music charts around the world.


    This special 20th anniversary edition of Titanic is pressed on transparent vinyl and strictly limited to 2,500 individually numbered copies worldwide.

    LP 1
    1. Never An Absolution
    2. Distant Memories
    3. Southampton
    4. Rose
    5. Leaving Port
    6. "Take Her To Sea, Mr. Murdoch"
    7. "Hard To Starboard"
    8. Unable To Stay, Unwilling To Leave
    9. The Sinking


    LP 2
    1. Death Of Titanic
    2. A Promise Kept
    3. A Life So Changed

    4. An Ocean Of Memories
    5. My Heart Will Go On (Love Theme From Titanic) - Performed By CÉline Dion
    6. Hymn To The Sea

    James Horner
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ride The Void Ride The Void Quick View

    $19.99
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    Ride The Void

    Southern California traditional metallers Holy Grail present their sophomore album, Ride The Void. The follow-up to 2010's Crisis In Utopia, Ride The Void was recorded with producer Matt Hyde (Slayer, Hatebreed, Children Of Bodom) throughout the year, working around national tours with Dragonforce and Valient Thorr. The cover artwork was created by famous American digital matte artist Dylan Cole, who is well-known for his work on movies like The Lord Of The Rings, Avatar and Daredevil.
    1. Archeus
    2. Bestia Triumphans
    3. Dark Passenger
    4. Bleeding Stone
    5. Ride The Void
    6. Too Decayed To Wait
    7. Crosswinds
    8. Take It To The Grave
    9. Sleep Of Virtue
    10. Silence The Scream
    11. The Great Artifice
    12. Wake Me When It's Over
    13. Rains Of Sorrow
    Holy Grail
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Super Critical Super Critical Quick View

    $16.99
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    Super Critical

    The Ting Tings are back with their third studio album, Super Critical. The Ivor Novello award winning duo unleashed their latest single Wrong Club earlier this Summer, a club banger inspired by funk disco which sets the tone for the rest of the record. The album was recorded in Ibiza and co-produced by Andy Taylor of Duran Duran, and mixed in New York at the legendary Avatar Studios straight onto analog tapes. Super Critical captures The Ting Tings at their best, back with their fully fledged creative licence.
    1. Super Critical
    2. Daughter
    3. Do It Again
    4. Wrong Club
    5. Wabi Sabi
    6. Only Love
    7. Communication
    8. Green Poison
    9. Failure
    The Ting Tings
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Amazing Spider-Man Soundtrack The Amazing Spider-Man Soundtrack Quick View

    $27.99
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    The Amazing Spider-Man Soundtrack

    One of the big names in modern film music, James Horner, wrote the score having more than 100 to his credit. He is best know as the composer of the orchestral film soundtrack, Titanic, in 1997. He is the winner of two Academy Awards and two Golden Globes (in both cases Best Original Score for Titanic and Best Original Song for My Heart Will Go On in the same film), and gained eight further Academy Award nominations. His best-known work includes the soundtracks of such classics as Aliens (1986), Braveheart (1995), A Beautiful Mind (2001) and Avatar (2009). Horner's music underlines both the exciting action of the film and its personal, touching, romantic moments. Seeking a composer who could express both grandeur and intimacy, movie director Marc Webb felt that Horner was a genius at exactly that. I wanted to create a score that felt massive and huge but also intimate and small. (Webb).
    1. Main Title - Young Peter
    2. Becoming Spider-Man
    3. Playing Basketball
    4. Hunting for Information
    5. The Briefcase
    6. The Spider Room - Rumble in the Subway
    7. Secrets
    8. The Equation
    9. The Ganali Device
    10. Ben's Death
    11. Metamorphosis
    12. Rooftop Kiss
    13. The Bridge
    14. Peter's Suspicions
    15. Making a Silk Trap
    16. Lizard at School!
    17. Saving New York
    18. Oscorp Tower
    19. I can't see you anymore
    20. Promises - Spider-Man End Titles
    James Horner
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Continuum (Bonus Track) Continuum (Bonus Track) Quick View

    $39.99
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    Continuum (Bonus Track)

    Import


    'Continuum' is the 3RD studio album by John Mayer, released September 9, 2006 on Columbia Records. Recording sessions for the album took place during November 2005 to September 2006 at The Village Recorder in Los Angeles, California, Avatar Studios and Right Track/Sound on Sound in New York City, and Royal Studios in Memphis, Tennessee. Production was handled primarily by Mayer and Steve Jordan.
    This album marked a change in Mayer's musical style and incorporated musical elements of blues and soul more heavily than in his previous work with pop-rock.


    The album debuted at number 2 on the U.S. Billboard 200 chart. It also reached the top-ten in several other countries and sold over 3 million copies worldwide.


    The album contains the worldwide hits 'Waiting On The World To Change' and 'Gravity'. On this 180 grams vinyl release we presents the album with a bonustrack ´Say´, which is now available on vinyl for the first time!


    Sit back and enjoy the soothing sounds of guitar-hero/prettyboy Mayer!


    Pressed on 180 grams audiophile vinyl

    Gloss laminate sleeve

    LP1 Side A


    1 Waiting On The World To Change
    2 I Don't Trust Myself (With Loving You)
    3 Belief


    LP1 Side B


    1 Gravity
    2 The Heart Of Life
    3 Vultures


    LP2 Side A


    1 Stop This Train
    2 Slow Dancing In A Burning Room
    3 Bold As Love


    LP2 Side B


    1 Dreaming With A Broken Heart
    2 In Repair
    3 I'm Gonna Find Another You
    4 Say (Bonustrack)

    John Mayer
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Come Around Sundown Come Around Sundown Quick View

    $29.99
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    Come Around Sundown

    Follow-Up to 6x Platinum Only By the Night Full of Band's Trademark Rock, Energy, and Hooks



    Kings of Leon Continue as One of the Most Creative Bands of 21st Century on Huge-Sounding LP



    The breakout arena-rock band of 2009 is back--and in a big way. Recorded in New York at Avatar Studios and produced once again by Angelo Petraglia and Jacquire King, Come Around Sundown is Kings of Leon's highly anticipated fifth full-length.



    A pivotal and dynamic record, Come Around Sundown is the follow-up to the hugely successful Only By The Night, which sold over six million copies worldwide and garnered four Grammy Awards. Itâs yet another bold and expansive statement by the Nashville, Tennessee based quartet who, in the last two years, have become one of the biggest bands in the world. Not to mention one of the most creatively restless. As proven throughout their storied career, Kings of Leon love to work.



    Whether writing, recording or touring, the band is constantly in motion. The band finished touring in support of Only By The Night at the end of October of 2009, and were already back in the studio recording Come Around Sundown in February of 2010. The results are amazing.



    Get ready to rock!

    1. The End
    2. Radioactive
    3. Pyro
    4. Mary
    5. The Face
    6. The Immortals
    7. Back Down South
    8. Beach Side
    9. No Money
    10. Pony Up
    11. Birthday
    12. Mi Amigo
    13. Pickup Truck
    Kings Of Leon
    $29.99
    Vinyl LP - Sealed Buy Now
  • Glow Glow Quick View

    $19.99
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    Glow

    I've been inspired for this record from a very young age, said Eldredge. I dreamt of the day I could record all these classic songs that I've loved since I was a little kid. I recorded those classics in New York City and tried to give a tip of the hat to the ones that came before me - Bing Crosby, Frank Sinatra, Dean Martin, Ray Charles - by adding that swing and that soul to the best of my ability. When it came to actually recording, I wanted to live in the experience. We hung Christmas lights in the studio in the middle of May and had musicians from the best bands in the world all in the same room - from horns to strings. Everyone was so inspired to make this classic record. I think it really shows in the songs and I can't wait for people to hear that magic we found.


    The album was recorded at the legendary Avatar Studios in New York which has hosted many iconic artists including Bob Dylan, Tony Bennett, Bruce Springsteen, John Lennon, Billy Joel, Iggy Pop, Madonna and David Bowie. Produced by Rob Mounsey (Elton John, James Taylor, Idina Menzel, Michael BublÉ) and Jay Newland (Etta James, Paul Simon, Stevie Wonder, Eric Clapton), it will feature many of your favorite Christmas standards, plus an original titled Glow.

    1. Let It Snow! Let It Snow! Let It Snow!
    2. Baby, It's Cold Outside (feat. Meghan Trainor)
    3. I'll Be Home For Christmas
    4. The Christmas Song
    5. Glow
    6. White Christmas
    7. Winter Wonderland
    8. Have Yourself A Merry Little Christmas
    9. Silent Night
    10. It's Beginning To Look A Lot Like Christmas
    11. The First Noel
    12. O Holy Night
    Brett Eldredge
    $19.99
    Vinyl LP - Sealed Buy Now
  • Imaginary Cities Imaginary Cities Quick View

    $25.99
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    Imaginary Cities


    Chris Potter: tenor and soprano saxophones, bass clarinet

    Adam Rogers: guitars

    Craig Taborn: piano

    Steve Nelson: vibraphone, marimba

    Fima Ephron: bass guitar

    Scott Colley: double bass

    Nate Smith: drums

    Mark Feldman: violin

    Joyce Hammann: violin

    Lois Martin: viola

    Dave Eggar: cello


    Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.

    1. Lament
    2. Imaginary Cities (Pt. 1, Compassion)
    3. Imaginary Cities (Pt. 2, Dualities)
    4. Imaginary Cities (Pt. 3, (Disintegration)
    5. Imaginary Cities (Pt. 4, Rebuilding)
    6. Firefly
    7. Shadow Self
    8. Sky
    Chris Potter, Underground Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lennon (Box Set) Lennon (Box Set) Quick View

    $199.99
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    Lennon (Box Set)


    180 Gram Vinyl Box Set


    Remastered From Original Analogue Masters


    With Faithfully Replicated Original Album Art


    John Lennon's eight solo studio albums, remastered from their original analogue masters, have been newly cut to vinyl from 96k digital files for Lennon, a new 9LP boxed collection on heavyweight, 180-gram vinyl with faithfully replicated original album art. Released by Capitol, the collection's albums are all out-of-print worldwide on vinyl, with the exception of previous LP remasters of Imagine and Rock 'n' Roll which are in print in the United States. Lennon is the first complete collection of John Lennon's solo studio albums to be released on vinyl.


    The albums were remastered from John Lennon's original mixes in 2010 by Yoko Ono and a team of engineers led by Allan Rouse at Abbey Road Studios in London and by George Marino at Avatar Studios in New York. The new vinyl masters were cut by Sean Magee at Abbey Road Studios and the LPs have been manufactured for the world by Optimal Media in Germany.


    Each of the Lennon collection's LPs is an authentic reproduction of its U.K. original, in its sound and visual presentation. In keeping with the original album artwork, Imagine contains reproductions of its two postcards, poster and inner bag, Some Time In New York City includes reproductions of its original postcard and inner sleeve, Walls and Bridges includes its sleeve with two fold-over flaps, an eight-page booklet and inner sleeve, and Mind Games, Double Fantasy and Milk and Honey also include reproductions of their original inner sleeves.


    John Lennon is one of the world's most celebrated songwriters and performers of all time. Lennon has been posthumously honored with a Lifetime Achievement GRAMMY® Award and two special BRIT Awards for Outstanding Contribution to Music, and he has been inducted into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2008, Rolling Stone ranked him in the Top 5 of the magazine's 100 Greatest Singers Of All Time list.

    John Lennon/Plastic Ono Band (1970)
    1. Mother
    2. Hold On
    3. I Found Out
    4. Working Class Hero
    5. Isolation
    6. Remember
    7. Love
    8. Well Well Well
    9. Look At Me
    10. God
    11. My Mummy's Dead


    Imagine (1971)
    1. Imagine
    2. Crippled Inside
    3. Jealous Guy
    4. It's So Hard
    5. I Don't Wanna Be A Soldier Mama I Don't Wanna Die
    6. Gimme Some Truth
    7. Oh My Love
    8. How Do You Sleep?
    9. How?
    10. Oh Yoko!


    Some Time In New York City (2 LP) (1972)
    1. Woman Is the Nigger of the World
    2. Sisters, O Sisters
    3. Attica State
    4. Born In a Prison
    5. New York City
    6. Sunday Bloody Sunday
    7. The Luck Of the Irish
    8. John Sinclair
    9. Angela
    10. We're All Water
    11. Cold Turkey (live)
    12. Don't Worry Kyoko (live)
    13. Well (Baby Please Don't Go) (live)
    14. Jamrag (live)
    15. Scumbag (live)
    16. Au (live)


    Mind Games (1973)
    1. Mind Games
    2. Tight A$
    3. Aisumasen (I'm Sorry)
    4. One Day (At a Time)
    5. Bring On the Lucie (Freda Peeple)
    6. Nutopian International Anthem
    7. Intuition
    8. Out The Blue
    9. Only People
    10. I Know (I Know)
    11. You Are Here
    12. Meat City


    Walls and Bridges (1974)
    1. Going Down On Love
    2. Whatever Gets You Thru The Night
    3. Old Dirt Road
    4. What You Got
    5. Bless You
    6. Scared
    7. #9 Dream
    8. Surprise Surprise (Sweet Bird of Paradox)
    9. Steel and Glass
    10. Beef Jerky
    11. Nobody Loves You (When You're Down and Out)
    12. Ya Ya


    Rock 'n' Roll (1975)
    1. Be-Bop-A-Lula
    2. Stand By Me
    3. Medley: Rip It Up/Ready Teddy
    4. You Cant Catch Me
    5. Ain't That A Shame
    6. Do You Want To Dance
    7. Sweet Little Sixteen
    8. Slippin' And Slidin'
    9. Peggy Sue
    10. Medley: Bring It On Home To Me/Send Me Some Lovin'
    11. Bony Moronie
    12. Ya Ya
    13. Just Because


    Double Fantasy (1980)
    1. (Just Like) Starting Over
    2. Kiss Kiss Kiss
    3. Cleanup Time
    4. Give Me Something
    5. I'm Losing You
    6. I'm Moving On
    7. Beautiful Boy (Darling Boy)
    8. Watching the Wheels
    9. Yes I'm Your Angel
    10. Woman
    11. Beautiful Boys
    12. Dear Yoko
    13. Every Man Has A Woman Who Loves Him
    14. Hard Times Are Over


    Milk and Honey (1984)
    1. I'm Stepping Out
    2. Sleepless Night
    3. I Don't Wanna Face It
    4. Don't Be Scared
    5. Nobody Told Me
    6. O'Sanity
    7. Borrowed Time
    8. Your Hands
    9. (Forgive Me) My Little Flower Princess
    10. Let Me Count The Ways
    11. Grow Old With Me
    12. You're The One

    John Lennon
    $199.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 9 LPs Sealed Buy Now
  • The Bright Mississippi The Bright Mississippi Quick View

    $29.99
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    The Bright Mississippi

    Through his work as producer, composer, arranger and consummate session man, New Orleans native Allen Toussaint has truly earned living-legend status. He has collaborated on landmark recordings for such artists as Ernie K. Doe, Lee Dorsey, Dr. John, the Meters, the Pointer Sisters and Labelle and released acclaimed albums of his own. The 70 year-old pianist, already a Rock and Roll Hall of Fame Inductee, was the recipient, on the recent Grammy Awards telecast, of the Recording Academy's prestigious Trustee Award, honoring a lifetime in the studio, both behind the scenes and in front of the mic.


    On The Bright Mississippi, his Nonesuch debut, Toussaint continues to break new ground with his first jazz-oriented set, displaying the same effortless swing and relaxed charm he brought to his classic rock and roll sides. He salutes Big Easy stars of a previous generation, the jazz greats who, in the early 20th century, built the genre from the ground up and turned the ears of the world to New Orleans. Backed by an all-star combo that sounds like a group of old friends, Toussaint reinterprets classic jazz and blues tunes popularized or written by such New Orleans greats as Louis Armstrong, Sidney Bechet, Jelly Roll Morton and Joe King Oliver, as well as pieces composed by fellow travelers Django Reinhardt, Duke Ellington and Thelonious Monk. He accedes the producers chair to trusted friend Joe Henry, who sat behind the board for Toussaint's contributions to Our New Orleans, Nonesuch Records best-selling 2005 benefit release aiding hurricane victims on the Gulf Coast. Henry also produced The River In Reverse, Toussaint's 2006 post-Katrina collaboration with Elvis Costello.


    Henry assembled a decidedly non-traditional band of backing players for The Bright Mississippi, assuring a fresh take on such venerable tunes as West End Blues, St. James Infirmary, and Dear Old Southland. Joining Toussaint for four days of sessions at Manhattans Avatar Studio were guitarist Marc Ribot (Costello, Tom Waits), bassist David Piltch (k.d. lang), clarinetist Don Byron, trumpeter Nicholas Payton and drummer Jay Bellerose (Robert Plant /Alison Krauss, Sam Phillips). Nonesuch label-mates Brad Mehldau (piano) and Joshua Redman (saxophone) stopped by for one tune each.It was wonderful, says Toussaint of these convivial sessions.


    Everything is live, of course. This isn't the kind of assembly line music where somebody put the wheels on here and somebody put the top on there. Everything got done at the same time, so everybody fed on each other, their personality and tonality.

    LP 1
    1. Egyptian Fantasy
    2. A Dear Old Southland
    3. St. James Infirmary
    4. Singin the Blues
    5. Winin Boy Blues
    6. West End Blues


    LP 2
    1. Blue Drag
    2. Just a Closer Walk with Thee
    3. Bright Mississippi
    4. Day Dream
    5. Long, Long Journey
    6. Solitude

    Allen Toussaint
    $29.99
    140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • African Piano African Piano Quick View

    $25.99
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    African Piano

    South African pianist-composer Abdullah Ibrahim, still performing at the time of this 1969 live album under the pseudonym Dollar Brand, unleashed a mastery so enticing on African Piano, it's a wonder that any of the folks at the club where it was recorded had the resolve to treat it as background to their dining. By the same token, reinforcement of that fact by constant ambient noises renders Ibrahim's performance all the more sacred by contrast.


    Amid a sea of chatter, cleared throats, and sudden intakes of breath, he breaks the surf with the gentle yet hip ostinato of "Bra Joe From Kilimanjaro," working meditative tendrils into the bar light. Over this his right hand brings about an explosive sort of thinking that spins webs in a flash and connects them to larger others. With clarion fortitude, he drops bluesy accents along the way: a trail of crumbs leading to "Selby That The Eternal Spirit Is The Only Reality." Ironically (or not), this is the most solemn blip on the album's radar and blends into the ivory tickling of "The Moon." Here Ibrahim's heartfelt, dedicatory spirit comes to the fore, proving that, while technically proficient, he possesses a descriptive virtuosity that indeed evokes a pockmarked surface lit in various phases, harnessing sunlight as if it were skin in dense, vibrating harvest. The kinesis of this tune is diffused in the tailwind of "Xaba," which then flows into "Sunset In Blue," in which Ibrahim's ancestral awareness is clearest. The level of respect evoked here for both the dead and the living lends a ritualistic quality by virtue of its tight structuring, which despite hooks at the margins flies freely in its magic circle. "Kippy" is a smoother reverie with flickers of flame. A beautiful amalgam of measures and means, it slips an opiate of reflection into its own drink. After this, the intense two minutes of gospel and downward spirals that is "Jabulani-Easter Joy" takes us into "Tintinyana," thereby crystallizing the album's flowing energies. Tracks bleed into one another: they runneth from the same cup, their spiritual resonance deep and true.


    African Piano is a gorgeous, thickly settled album, but one that is always transparent when it comes to origins. Such is the tenderness of Ibrahim's craft, which speaks with a respect that transcends the sinews, muscles, and eardrums required to bring it to life. It finds joy in history, connecting to it like an Avatar's tail to steed.

    1. Bra Joe From Kilimanjaro
    2. Selby That The Eternal Spirit Is The Only Reality
    3. The Moon
    4. Xaba
    5. Sunset In Blue
    6. Kippy
    7. Jabulani Easter Joy
    8. Tintiyana
    Abdullah Ibrahim
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Potions (From The 50's) Potions (From The 50's) Quick View

    $49.99
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    Potions (From The 50's)

    180 Gram 45rpm Double Vinyl


    Mixed by Al Schmitt and Mastered by Bernie Grundman


    Pressed at RTI


    Gatefold Jacket


    All songs chosen for Lyn Stanley's album Potions were composed in the 1950s. This is a tribute to the composers of the '50s. All arrangements are jazz in orientation, and were arranged by Steve Rawlins, Lyn Stanley, Mike Lang, Bill Cunliffe, and Tamir Hendelman.


    Produced by Kenny Werner and recorded by Al Schmitt at Capitol Recording Studios in Hollywood and Avatar Studios in NYC, the album offers some of the finest jazz musicians on both East and West coasts supporting Lyn Stanley's captivating voice that is unique, haunting and mesmerizing.


    All tracks for this double LP 45rpm album were mixed and mastered in analog tape. Two of the 15 tracks are original ProTools recordings, one tracks is an analog/ProTools hybrid, and the other 12 tracks are pure analog tape. The musicians are stellar and the music is jazz reinvented in some Pop tunes of the '50s along with wonderful arrangements of jazz standard composed in the same decade - including Cry Me A River.


    Lyn Stanley, a unique sultry jazz vocalist from the Los Angeles area, became an international success with her debut standards album, Lost In Romance, released August 27, 2013. The album received several accolades in the hi-fi world of audiophiles including Album of Choice, Best of 2013 Albums, #6/100 Top Vinyl Albums the highest rated Chinese reviewer, Jack Lui in his 2014 book, All About Vinyl and awarded Top Rated Album by AnalogPlanet.com a must have album for any audiophile collector by renown international critic, Michael Fremer, who calls Lyn the Chanteuse Extraordinaire.


    A former USA amateur ballroom dance Pro/Am champion, Lyn Stanley's unique voice has been described as beautiful, Rich in low tones, with phrasing and storytelling that makes her music very personal. Her dancing background adds a feel few artists can deliver. LA Jazz radio personality, Bubba Jackson, describes her as the real deal - she has brought the songstress back to jazz! She was discovered by world-class jazz legend, pianist Paul Smith best known as Ella Fitzgerald's accompanist/conductor.


    Known for her lush low notes, beautiful intonation, rich interpretations and phrasing, Lyn has been described by Scott Yanow as a "superior singer " and Don Heckman stated she "..is a potentially significant new [jazz] talent. "


    This title is not eligible for discount.

    1. Lullaby of Birdland
    2. Cry Me A River
    3. Fly Me To the Moon
    4. Hey There
    5. I'm Walkin'
    6. You Don't Know Me
    7. In the Still of the Night
    8. The Thrill Is Gone
    9. A Summer Place
    10. Love Potion #9
    11. Teach Me Tonight
    12. After the Lights Go Down Low
    13. Misty
    14. The Party's Over
    15. The Man I Love (bonus track)
    Lyn Stanley
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Remain In Light (Awaiting Repress) Remain In Light (Awaiting Repress) Quick View

    $24.99
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    Remain In Light (Awaiting Repress)

    Ranked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!


    Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.


    From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."


    Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!


    "On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling Stone


    The Great Curve
    Crosseyed and Painless
    Born Under Punches (The Heat Goes On)
    Houses In Motion
    Once In A Lifetime
    Listening Wind
    Seen and Not Seen
    The Overload
    Talking Heads
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Lover, Beloved: Songs From An Evening With Carson McCullers Lover, Beloved: Songs From An Evening With Carson McCullers Quick View

    $18.99
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    Lover, Beloved: Songs From An Evening With Carson McCullers

    When Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.


    "I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."


    The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.


    But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.


    Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.


    In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."


    Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."


    "12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.


    With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis

    1. Carson's Blues
    2. New York Is My Destination
    3. Instant of the Hour After
    4. We of Me
    5. Annemarie
    6. 12 Mortal Men
    7. Harper Lee
    8. Lover, Beloved
    9. The Ballad of Miss Amelia
    10. Carson's Last Supper
    Suzanne Vega
    $18.99
    Vinyl LP - Sealed Buy Now
  • Music For Dogs Music For Dogs Quick View

    $18.99
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    Music For Dogs

    There's a quote tucked into the recent documentary film about the iconic design duo Charles and Ray Eames, commenting on the symbiotic nature of Charles and Ray's marriage, their work life in Venice Beach, their home life not too far away, and their creative life: Work is art is life is work is art... It's a concept so simple a small child could dream it, yet it's one we tend to lose in the strange, abstract grind of modern life and modern ambition. For Gardens & Villa songwriters Chris Lynch and Adam Rasmussen, a return to this very harmonious relationship of art/work/life and a rediscovery of the DIY ethos that once defined the pair's formative creative years mark the defining thread of their head-turning new album, Music For Dogs. The revelation that we hear play out so inspiringly across Music For Dogs is one that came at a make-or-break moment for the band last year. Pushed to fall in line as an indie-pop act while their artistic interests lie as much in the avant-garde. Pushed deeper into debt just to keep their band alive. Pushed from within to leave the comfort zone of their longtime home base in Santa Barbara and set up a new HQ in Los Angeles. Lynch and Rasmussen responded by bucking the idea of art as a career and making art their very way of life. With a top-to-bottom renovation of a warehouse space in LA's Frogtown neighborhood lovingly dubbed The Space Program and shared with visual artists, designers, and creatives, the pair began to live and write music on their own terms, just as they'd done before their music was placed on the marketplace. Music For Dogs is a deeply personal album that pokes, prods, and even strangely celebrates the zeitgeist of music commerce, pleasure culture, technological advances and the new home they've found in Los Angeles. The New Age and Eastern Religion sentiments that rippled across their first two albums (2011's Gardens & Villa and 2014's Dunes) have been swapped out with a new sort of zen pop-Nihilsm. What's Nihilism anyway but Buddhism with a fuck-it attitude? They've found a way to live on the firing line, a way to actually harvest creative energy from our sad Internet tendencies, the uncertain future. My whole life fixation/See if we can make it underneath the radar, goes Lynch and Rasmussen's respective call-and-response on Fixations, a song about the beauty in bottoming out and then finding the false bottom. Lynch could mean living as a creative in the underground or living outside peripheral view of the NSA. Under the stewardship of visionary producer Jacob Portrait and with irreplaceable rhythm section Dusty Ineman (drums) and Shane McKillop (bass), Fixations - and a great deal of Music For Dogs - is really just Gardens & Villa doing what it has always done best. G&V creates Byzantine melodies and richly interwoven arrangements for synths, guitars and vocals that work incredibly well on a cerebral level, but wouldn't upset a 3 a.m. pool party either. The jaunty, jarring piano and bass that begin Everybody perfectly frame the song's anxiety-riddled themes of 21st Century voyeurism, surveillance and the turnstile of avatars intended to represent our true selves. Everybody wants the new you/No one cares who you are, Lynch sings in a repeating chorus before the band collapses into a lovely out of time mall piano breakdown, which itself drops effortlessly back into the jaunty verse section. And the speedball ripper Maximize Results that begins the record is perhaps G&V's most ecstatic, vulnerable moment laid to record to date. It alone is worth the price of admission.
    1. Intro
    2. Maximize Results
    3. Fixations
    4. Everybody
    5. Paradise
    6. Alone in the City
    7. General Research
    8. Express
    9. Happy Times
    10. Jubilee
    11. I Already Do
    Gardens & Villa
    $18.99
    Vinyl LP - Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
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    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
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    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Library Catalog Music Series Volume 8: Music For Dreaming And Playing Library Catalog Music Series Volume 8: Music For Dreaming And Playing Quick View

    $14.99
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    Library Catalog Music Series Volume 8: Music For Dreaming And Playing

    Kristin Miltner is a composer, video and installation artist and sound designer from Oakland, CA. She performs with custom software, designed to scan sound files and live input, allowing her to instantly restructure and sequence these sounds. Imagine a giant octopus in an infinitely long hallway with windows on each side. It runs up and down, opening and closing windows to let in a bit of water here and there, never stopping. There is a rhythm. The ocean is the sound source, the hallway and octopus are scanners, the windows are the input device, and the octopus's rhythm is the sequencer


    Kristin Miltner, composer, programmer, musician, and videographer -- and one half of the duo Miba -- is responsible for Music for Dreaming and Playing, the eighth volume in Asthmatic Kitty's Library Catalog Music Series. Miltner's brand of electronic music, while gentle, usually quiet, and inviting, is performed via a software system of her own design that scans sound files and live input, thus allowing her to instantly restructure sounds into sequenced units of varying lengths and musical groupings. This is done while creating a rhythmic component comprising a seemingly endless series of sonic textures, spaces, and ambiences. She also often employs her singing voice, broken into single syllables and nonsensical utterances (as on the opener Melody from Dream) to deepen the proceedings. These pieces are easy to listen to because of the considerable restraint that goes into their presentation. Miltner's soundworlds are ambitious; they change quickly but seamlessly, moving from idea to idea with alacrity and an expert sense of control. The remarkable thing is that it's all live, on-the-spot recording. Clocking it at just under 40 minutes, Music for Dreaming and Playing comes across as a series of electronic songs, more than it does soundscapes. Their rhythmic components aside, there are melodies at work inside these (mostly) brief pieces -- check Altamont Pass, Space Shooter: Boy Avatar, Space Shooter: Girl Avatar, and the closer, Firefly's Flight Game Music. The element of surprise inherent in each track still leaves something lyrically retentive in the listener's ear. Music for Dreaming and Playing is one of the most successful volumes the Library Catalog Sound Series thus far. ~ Thom Jurek

    1.Melody From Dream
    2.Altamont Pass
    3.Woke Up At 4am Electrified, Bright Moon Out the Window
    4.Dreaming Longing
    5.Inchworm In Bitcrunch Garden
    6.Adventure Platformer
    7.Aquarium
    8.Dirty Aquarium
    9.Space Shooter: Boy Avatar
    10.Space Shooter: Girl Avatar
    11.Main Menu Music
    12.Space Dream Main Menu Music
    13.Firefly's Flight Game Music
    Kristin Miltner
    $14.99
    Vinyl LP - Sealed Buy Now
  • Spleen & Ideal (Discontinued) Spleen & Ideal (Discontinued) Quick View

    $24.99
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    Spleen & Ideal (Discontinued)

    SPLEEN AND IDEAL is a profoundly different sounding record than its self-titled predecessor. It seems to have been recorded in a completely different time, perhaps by the 14th century ancestors of Brendan Perry and Lisa Gerrard, if they had access to electric guitars and synthesizers. The tracks are all stately, muted affairs that actually managed to evoke the images that their titles suggest--the best example of this is the brittle, gorgeous "Circumradiant Dawn," which sounds like a hymn written to accompany Earth's very first sunrise. Among the standouts here are "De Profundis (Out of the Depths of Sorrow)," where Lisa Gerrard's voice soars above the haunting, sustained chords of the music; "Ascension," with its moody trombones and a cavernous echo so deep you can feel the space around you expanding and contracting; and "Avatar," which makes traditional rock & roll instrumentation sound astonishingly alien. SPLEEN AND IDEAL really hits its peak, however, with "Enigma of the Absolute." Brendan Perry's soft, deep voice resonates around each syllable, accompanied by sawed violins, a muted bass drum thumping in the background, and an exceptionally bright-sounding hurdy-gurdy. If you buy only one Dead Can Dance record, it ought to be this one.

    1.De Profundis (Out of the Depths of Sorrow)

    2.Ascension

    3.Circumradiant Dawn

    4.Cardinal Sin, The

    5.Mesmerism

    6.Enigma of the Absolute

    7.Avatar

    8.Indoctrination (A Design For Living)

    Dead Can Dance
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Separate Oceans Separate Oceans Quick View

    $31.99
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    Separate Oceans

    With no less than a mansion, a state beach, and a three-mile
    stretch of road bearing his fabled family's name, Ned Doheny
    easy-glided into the 1970s on a crest of wealth and privilege.
    Signposting Ned's sojourn through the LA recording industry
    were Jackson Browne, Glenn Frey, Don Henley, Chaka Khan,
    Graham Nash, "Mama" Cass Elliot, Bonnie Raitt, and David
    Geffen-each a household name both inside and far from
    southern California. And while no bust of Ned Doheny
    appears alongside those of his Laurel Canyon brethren in the
    pantheon of classic rock, it's not for lack of songwriting abilities
    or recording chops.

    Over the last three decades, Doheny's albums have slid in and
    out of print on LP and CD, budget jobs without any involvement
    from the self-described "avatar for casual vulgarity." Separate
    Oceans examines Ned Doheny's first ten years adrift in song,
    pulling together choice album cuts and 11 previously unissued
    demos. An 8000 word essay is illustrated by images from the
    archives of noted rock photographers Henry Diltz, Moshe
    Brahka, Clive Arrowsmith, and Gary Heery, creating the first
    ever overview of this unheralded marina rocker.

    1. Get It Up For Love
    2. Each Time You Pray
    3. Whatcha Gonna Do For Me
    4. To Prove My Love (Vocal version)
    5. Labor Of Love
    6. A Love Of Your Own
    7. I've Got Your Number (Demo)
    8. If You Should Fall (Demo)
    9. When Love Hangs In The Balance
    10. Fineline (Demo)
    11. On And On (Demo)
    12. I Can Dream (Demo)
    13. I Know Sorrow
    14. Standfast
    15. A Love Of Your Own (Demo)
    16. Swingshift (Demo)
    17. The Devil In You
    18. Love's A Heartache
    19. Get It Up For Love (Demo)
    Ned Doheny
    $31.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Commando (Original Motion Picture Soundtrack) Commando (Original Motion Picture Soundtrack) Quick View

    $44.99
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    Commando (Original Motion Picture Soundtrack)


    Limited Edition Of 1500


    Bone With Black Face Paint Splatter Colored Vinyl


    First-Ever Release On Vinyl


    2-LP Set Inside A Gatefold Jacket Festooned With Production Stills


    Includes Three Tracks That Did Not Appear In The Movie


    Having released the Predator
    soundtrack to great acclaim, we at
    Real Gone Music now turn to another
    key film in the career of Arnold
    Schwarzenegger, Mark Lester's 1985
    film Commando.


    Coming on the
    heels of the enormously successful
    first Terminator film, Commando
    showed that Schwarzenegger
    wasn't just a (excuse the pun)
    robotic ex-bodybuilder on screen
    but a real actor capable of
    playing a multifaceted character,
    with a real gift for comedy.


    Commando also heralded Schwarzenegger's arrival as the
    biggest action star in Hollywood, a mantle he would cement two
    years later with Predator. But the two films had more in common
    than just their leading man. They both benefited from innovative,
    propulsive soundtracks courtesy of, for Predator, Alan Silvestri, and,
    for Commando, the great James Horner, composer of scores for
    Avatar, Titanic, Braveheart, and too many blockbusters to name. For
    Commando, Horner brilliantly used the South American setting of the
    film as a jumping-off point, incorporating pan flute and, especially,
    steel drums into pulsating, suspenseful motifs.


    For the first-ever
    release of the Commando score on vinyl, we have taken the tracks
    that appeared on the extended CD version-complete with three bonus cuts
    of music that did not appear in the movie and The Power Station's "Someday, Somehow, Someone's Gotta Pay"-to create a double LP
    set housed inside a gatefold jacket featuring production stills. Limited edition of 1500 in bone with black face paint splatter vinyl!

    LP 1
    1. The Trashmen/ The Agency
    2. Main Title
    3. The Helicopter Arrives
    4. Run to the Shed and Chase
    5. Matrix Captured/Jenny Tied Up
    6. Into the Plane
    7. Matrix Hits the Swamp
    8. Matrix Walks in the Terminal
    9. Matrix on the Move
    10. Don't Move
    11. Sully Starts to Run


    LP 2
    1. Drive Away from the Pier
    2. Matrix Breaks Lock
    3. Matrix Jumps to the Floor
    4. Cut to Val Verde
    5. Matrix Climbs Up Bank
    6. Soldier Gets Pitchfork/Matrix Runs Up Steps
    7. Arius Crashes Through the Window
    8. Matrix Approaches General
    9. Someday, Somehow, Someone's Gotta Pay
    10. Soldier Gets Pitchfork (Alternate)
    11. Don't Disturb My Friend (Alternate)
    12. Don't Disturb My Friend (Alternate Mix)

    James Horner
    $44.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Rope Commercial Vol.1 Rope Commercial Vol.1 Quick View

    $16.99
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    Rope Commercial Vol.1

    The scope of Robert Beatty's hydra-headed art practice has grown into an extreme articulation
    of unconned creativity across multiple disciplines. A founding member of 2000's noise outt
    Hair Police, as well as visionary illustrator and album-art designer for many of this era's most
    celebrated underground artists, Robert Beatty records his solo work under the name Three
    Legged Race. Come May 27, 2014, Three Legged Race will release the rst volume of Rope
    Commercial, a planned series of EPs premiering through the label Underwater Peoples.


    Rope Commercial Vol. 1 will be the rst Three Legged Race record since 2012's
    acclaimed Persuasive Barrier (Spectrum Spools / Editions Mego) and Beatty's follow up to last
    year's video score collection, Soundtracks for Takeshi Murata (Glistening Examples, 2013).


    Beatty's recent celebrated performances as Three Legged Race abandoned prior
    synthesizer-dependent set-ups in favor of an intentionally dematerialized approach, employing just a sequencer program in an iPhone, and a lone tape machine. Conceptually, Beatty is
    detantly shrugging o the fetishized hardware-oriented model so rampant in current
    electronic music discourse. Beatty steps further in this recording, having added acoustic
    instruments (dulcimer and piano) and thoroughly processing sampled elements to warp the
    whole into un-recognizable dimensions.


    Outtted as a picture-disc, Beatty's design features a creamy, neon-green urban
    landscape; the face of a humanoid gure is merged with a screen of a smartphone, its
    consciousness fused to the glass. Dangling from the phone is one leg outtted in a woman's
    heel, presumably its sole means of transport. These kind of pathetic cyborg gures in states of
    physical ux frequently appear in Beatty's art. They function neatly as windows into Beatty's
    music as well, with its electronically marred voices and barren sonic spaces. These gures are
    Beatty's torpid avatars, in both his music and art, their humanism is strained by a confounding
    digital synergy.


    The picture-disc is an apt setting for Beatty's airbrush work, his favored rendering
    tool, and the general modus operandi of Beatty's electronic music as Three Legged Race. In all,
    Beatty renews obsolete materials discarded from a voracious commercial culture, and employs
    them in strangely poignant contexts. In Rope Commercial Vol. 1, such found samples are diced
    and strewn into uneasy chapters. There is the dizzying, terse All Ajax Dial, the interplanetary
    gale of Aside From Each Other and Together Overnight, the faintly whirring New Government, the white noise of The Humidity Mascot and perhaps Beatty's motif-to-be Rope
    Commercial. In this title track alone, something of the whole EP is condensed: intentionally
    un-heroic melodies plod out over a darkly redundant groove and voices are haltered in the
    instance of utterance. Its electronic music most overtly, but defrocked of its sheen, with any
    conceivable hallmark of commercialism littered on the gravel.

    1. All Ajax Dial
    2. Aside From Each Other and Together Overnight
    3. New Government
    4. The Humidty Mascot
    5. Rope Commercial
    Three Legged Race
    $16.99
    12 Picture Disc Vinyl EP - Sealed Buy Now
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