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Before The Flood'
Before The FloodBefore the Flood on Numbered Limited Edition 180 Gram 2LP from Mobile Fidelity
Live 1974 Set Documents Acclaimed Reunion of Bob Dylan and The Band
Mobile Fidelity's Reissue Gives You a Prime Seat for the Historic Performances
Record Features Solo Dylan, Solo The Band, and Plenty of Collaboration
Dylan's Radical Rearrangements of Classics Give Songs Renewed Meaning and Relevance
The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be at its best, [the] craziest and strongest rock and roll ever recorded, Before the Flood crackles with intensity, relevance, and unhinged performances.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored analog version cracks wide open the ceiling previously obscuring many of the tonal details, revealing microdynamics, and vocal nuances on the recording. Distinguished with an immediately recognizable sound, The Band comes across in three-dimensional form, while Dylan takes center stage, feet from your listening chair. The two artists play like two souls in communion, a facet displayed here courtesy of the increased airiness, enhanced soundstage depth, and lifelike imaging.
There's so much new information here, this already-iconic album only gains in stature. As experienced on Mobile Fidelity, Before the Flood unquestionably takes its place as one of the ten-best concert releases ever made. Notes are rounded, Garth Hudson's organ claims a tube-like glow, Levon Helm's drumming possesses its own space, voices are perceptible all the way down the singers' throats, and Dylan's awe-inspiring phrasing resonates with palpable urgency. Audiophiles and Dylan fans, prepare to be astonished.
Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, surprising and challenging expectations, leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation, his willingness to play fast and loose with the music giving way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.
Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.
Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.
This title is not eligible for discount.1. Most Likely You'll Go Your Way (And I'll Go Mine)
2. Lay Lady Lay
3. Rainy Day Women #12 & #35
4. Knockin' on Heaven's Door
5. It Ain't Me Babe
6. Ballad of a Thin Man
7. Up on Cripple Creek
8. I Shall Be Released
9. Endless Highway
10. The Night They Drove Old Dixie Down
11. Stage Fright
12. Don't Think Twice, It's All Right
13. Just Like a Woman
14. It's Alright, Ma (I'm Only Bleeding)
15. The Shape I'm In
16. When You Awake
17. The Weight
18. All Along the Watchtower
19. Highway 61 Revisited
20. Like a Rolling Stone
21. Blowin' in the Wind$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Before The Flood (Music From The Motion Picture)
Triple Gatefold Designed By John Crawford
Before The Flood was a documentary released in 2016 that was produced by Leonardo DiCaprio, Fisher Stevens and others. It was a 3 year journey where they went to every corner of the globe to document devastating impacts of climate change. They also brought to light the organizations that are out there to combat this problem. The music for the documentary was put together by Trent Reznor, Atticus Ross, Mogwai and Gustavo Santaolalla. The triple LP vinyl will be released via Lakeshore Records.1. Before The Flood (Trent Reznor & Atticus Ross + Gustavo Santaolalla)
2. A Minute to Breathe (Trent Reznor & Atticus Ross)
3. Between Two Poles (Gustavo Santaolalla + Trent Reznor & Atticus Ross)
4. Dust Bowl (Mogwai)
5. Thin Ice (Gustavo Santaolalla)
6. And When the Sky Was Opened (Trent Reznor & Atticus Ross)
7. Ghost Nets (Mogwai)
8. Trembling (Gustavo Santaolalla + Trent Reznor & Atticus Ross)
9. One More Step (Gustavo Santaolalla)
10. Huaynaputina (Mogwai)
11. At Dusk (Trent Reznor & Atticus Ross + Gustavo Santaolalla)
12. Thin Ice Reimagined (Gustavo Santaolalla + Trent Reznor & Atticus Ross)
13. Disappearing Act (Trent Reznor & Atticus Ross)
14. The Melting Pot (Gustavo Santaolalla)
15. 8 Billion (Trent Reznor & Atticus Ross)
16. One Perfect Moment (Trent Reznor & Atticus Ross)
17. A Minute Later (Trent Reznor & Atticus Ross)
18. After The Flood (Mogwai)$44.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
FlagFlag is Classic JT: At-Home Folk Arrangements, Soft-Rock Coziness, Captivating Emotion
Narratives on 1979 Gem Peer into the Heart of Everyman and Everywoman
Mastered from the Original Master Tapes: Sonics As Mellifluous As Taylor's Voice on a Cool Summer Night
JT and Dad Loves His Work Also Available on 180g LP from Mobile Fidelity
James Taylor was an interesting place when he recorded the colossally underrated Flag. Fresh off his double-platinum J.T. (also available from Mobile Fidelity), the artist who defines the singer-songwriter genre had just collaborated with Art Garfunkel and Carly Simon, undertaken a Broadway musical, and become more active in political affairs. All these factors contribute to this 1979 treasure, which finds Taylor plying more of his trademark mellow vibes and insightful, soul-gazing lyrics.
While Flag has been previously remastered for CD, its never been sourced from the original analog master tapes. Mobile Fidelitys brilliant-sounding 180g LP is, and the results are as spectacular as chilling out to Taylors mellifluous voice on a summer night. Flush with exquisite acoustic textures, beautiful tonalities, and studio-perfect dynamics, this audiophile version brings Taylors music to life like never before.
Having landed in the Top Ten and sold more than two million copies, Flag nonetheless remains one of Taylors most under-appreciated efforts. And its not because the content is lacking. The beloved singer enters his hallmark storytelling mode on Sleep Come Free Me and dizzies the senses with the beloved Rainy Day Man. Drawing from his musical Working (based on legendary author Studs Terkels book of the same name), Millworker and Brother Trucker are lessons in character studies, Taylors narratives peering into the heart of blue-collar America and reflecting his knack for the everymanand everywoman.
Similarly, a pair of coversUp on the Roof and Day Trippershow his knack for reverent interpretation as well as originality. Flag reveals why we love JT. The literary descriptiveness, at-home folk arrangements, soft-rock fireplace coziness, captivating emotion, faithful tones, and stellar sense of instrumental placement, be it backing vocals, nuanced percussion, pedal-steel guitar, or subtle horns, the latter courtesy of do-it-all saxophonist David Sanborn. Alas, many of these facets have long gone unnoticed.
Ever since its original release, Flag has been plagued with muddled sound. No longer. Mobile Fidelitys analog reissue unlocks the well-kept sonic secrets and floods the record with the intimacy and impact that have always lurked underneath the surface. Finally, Taylors finite acoustic playing, well-mannered melodies, reflective words, and refined singing are experienced as a whole. The amount of new musical information thats been uncovered will boggle the minds of even the most ardent Taylor fans.
Trust us: Flag is one of Taylors finest works. After three decades, hear it all for yourself. And discover what is certain to become of your new favorite records.
This title is not eligible for discount.1. Company Man
2. Johnnie Comes Back
3. Day Tripper
4. I Will Not Lie for You
5. Brother Trucker
6. Is That the Way You Look?
8. Rainy Day Man
10. Up on the Roof
11. Chanson Française
12. Sleep Come Free Me$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Texas Flood (Pure Pleasure)It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre.
When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, Love Struck Baby and Pride and Joy, then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's Tell Me, before building to the climax of Dirty Pool and I'm Crying. Vaughan caps the entire thing with Lenny, a lyrical, jazzy tribute to his wife.
- Texas Flood - Stevie Ray Vaughan (g, voc)
- Tommy Shannon (b)
- Chris "Whipper" Layton (dr)
Recording: November 1982 at Down Town Studios, Los Angeles, and Riverside Sound, Austin (Texas) by Richard Mullen / September 1983 at The Palace, Hollywood, California
Production: Stevie Ray Vaughan, Richard Mullen & Double Troubledeutsch
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. Im Cryin
11. SRV Speaks
12. Tin Pan Alley (AKA Roughest Place In Town)
13. Testify (live)
14. Mary Had A Little Lamb (live)
15. Wham! (live)$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Dylan's 'Hard Rain' is a live album, captured during the second leg of the Rolling Thunder Revue tour.
It is recorded on 2 dates in May, 1976, during a concert at Hughes Stadium in Fort Collins, Colorado.
It is the follow up of the 1974 live album 'Before The Flood' which is also released by Music on Vinyl.
Oddly enough, the album is named after one of his most famous songs, 'A Hard Rain's A-Gonna Fall' but that song happens to be missing from the album.
The fact that it poured rain for most of the concert may be the reason for the title.1. Maggie's Farm
2. One Too Many Mornings
3. Stuck Inside Of Mobile With The Memphis Blues Again
4. Oh, Sister
5. Lay, Lady, Lay
1. Shelter From The Storm
2. You'Re A Big Girl Now
3. I Threw It All Away
4. Idiot Wind$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ACSO-APO-0613xStevie Ray Vaughan
In The Beginning (200 Gram Vinyl)
Mastered From The Original Tapes By Ryan Smith At Sterling Sound
200-Gram Pressing By Quality Record Pressings
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.
Before the Montreaux Jazz Festival, before Bowie's Let's Dance album, before Texas Flood, before the Grammys, before the cocaine and alcohol abuse, before the redemption of sobriety, before the joyful In Step and Family Style ..... before August 27, 1990..... before the all-star tributes, before The Legendary Stevie Ray Vaughan......
There was an unknown, hardworking 24-year-old gunslinger named Little Stevie Vaughan, learning his craft the hard way in the trenches of the Austin Texas clubs, trying his darndest to get out of the shadow of his famous older brother Jimmie.
It wouldn't be long.
Anyone lucky enough to have been in the audience at this early live show, on April Fools Day in 1980, could have told you that. Young Stevie Vaughan (he had yet to become Stevie Ray) blasted the hometown crowd with a style that was already very well-formed. With Chris Layton on drums and bassist Jackie Newhouse (Tommy Shannon would join up a year later), his basic sound was already in place, albeit still in need of some polishing.
Taken from the surviving two-track master, Vaughan's guitar is raw and in your face every note of the way. His takes on Freddie King's In the Open and the lengthy Tin Pan Alley are the real highlights here.
As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.
There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
This title is not eligible for discount.1. In The Open
2. Slide Thing
3. They Call Me Guitar Hurricane
4. All Your Love (I Miss Loving)
5. Tin Pan Alley (aka Roughest Place in Town)
6. Love Struck Baby
7. Tell Me
8. Shake for Me
9. Live Another Day$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Hard Days NightRanked 388/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Pressed on 180g Vinyl
Cut from the original master tapes at Abbey Road Studios!
And for the first time, the North American LP debut in stereo
A Hard Days Night is the 3rd studio album from The Beatles and was accompanied by a film of the same name. This album really showcases the bands Rock and Roll instrumentation and song structure and also spawned some of their most famous songs, A Hard Days Night, with its pulse pounding and recognizable opening chord, to the previously released "Can't Buy Me Love" .
The album is a landmark for the band seeing as how it is the first Beatles record to feature all original songs, some of which ended up on the movie of the same name. With Lennon handling most of the songwriting doing a total of ten out of the thirteen tracks, this is also one of 3 albums to not feature a Ringo Lead song. The album is also considered as opening up the flood gates for more British rockers like the Rolling Stones and The Kinks to sweep there way to the U.S.
A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.1. A Hard Day's Night
2. I Should Have Known Better
3. If I Fell
4. I'm Happy Just To Dance With You
5. And I Love Her
6. Tell Me Why
7. Can't Buy Me Love
8. Any Time At All
9. I'll Cry Instead
10. Things We Said Today
12. When I Get Home
13. You Can't Do That
14. I'll Be Back$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
IvywildNight Beds, the musical project of 26-year-old Colorado Springs native Winston Yellen, received much acclaim for his 2013 debut album, Country Sleep, scoring plaudits for its tortured take on alt country and Yellen's soaring vocals. But after finishing that album and before Country Sleep was even released, Yellen began experimenting with the kind of melancholic, neon-tinged R&B that makes up the mesmerising Ivywild. The thread that weaves through all of Yellen's music and holds it together is his unmistakable voice - plaintive, yearning, soulful, heartbreaking. Whether it's ascending over the luscious epic-electronics of Tide Teeth or aching alone on Country Sleep's opener Faithful Heights, Yellen's voice has a unique beauty matched by few of his contemporaries. The second Night Beds album draws on Yellen's original love of Bill Evans through to J Dilla and is made up of what Yellen calls sad sex jams and was inspired by a long-term love and a break-up which looms large throughout the albums veiled lyrics. Its genesis can be found in the stoned night in Nashville when Yellen first heard Yeezus. Lying on the floor, Yellen blared the album at top volume. Ivywild is a truly collaborative effort with a makeshift team of 25 musicians, notably Abe, Yellen's younger brother and closest friend - his credit on the album comes above Winston's own, so much value does he place upon the work Abe put in. Additional vocals come from Heather Hibbard, a singer from Maine who features on over half of the 16 track album, and was contacted by the gregarious Yellen through YouTube, after he found a video of her covering one of his songs. She came out to the studio the very next day. Finessing the poignant assortment of songs was a sometimes painful task, but dedicated to the core. I felt at some points we were losing our minds, he says. Initial versions of Me Liquor and God band On High: were 17 and 33 minutes respectively while Finished took four months to record. His editing process though was simple: If it makes you cry, keep it in. Field recordings also flood the record, offering it a deep textural grain. It is a luxury record, but it has a worn shirt feel, explains Yellen. It's lived in. It's like a quilt - but it took forever, cutting up all the vocals and letting it breathe.1. Finished
3. Me Liquor and God
5. Tide Teeth
7. [9_6] slack-jaw
8. Eve A
9. On High:
11. Lay Your Hands
12. All In Good Time (I Get You Wrong Interlude)
13. Moon Sugar
14. Love Streams
15. I Give It
16. Stand On My Throat$20.99Vinyl LP - 2 LPs Sealed Buy Now
Ghost To A Ghost/Gutter Town (Awaiting Repress)With his own new label, Hank3 Records, and the sense that he has thrown off the chains holding him back creatively, Shelton Hank Williams III, aka Hank III, is coming out swinging in 2011 with the release of four records. The unprecedented launch, in a distribution partnership with Megaforce Records (MRI), features a broad range of music that bridges more than one head-thumping genre, a familiar theme that true Hank III fans have embraced for years. Ghost to a Ghost/Gutter Town, a double-album set, is a straight-shooting country collection, flavored with Hank III's trademark hellbilly sound, and heavily weighted with Cajun influence (especially on Gutter Town) and an ambient, lonesome mood, and a few very special guests.
All three projects were recorded at The Haunted Ranch, Hank III's home and studio that lies on the outskirts of Nashville, a fitting place since the town has never really known what to do with this grandson of the American icon. He finally parted ways with Curb Records January 1. I have musical freedom. I'm able to say 'Here's my record' and I don't have to go through a million different channels just to put out a song, he says. It's all me now.
Hank III wrote the lion's share of the songs that appear on Ghost to a Ghost/Gutter Town. The players are Andy Gibson on steel guitar and banjo, who also aided in its recording, David McElfresh on fiddle and mandolin, Zach Shedd on standup bass, Daniel Mason on banjo, super-picker Johnny Hiland on guitar, Billy Contreras on fiddle, and Rory Hoffman on accordian. Guest appearances include the mythical Tom Waits on the haunted Fadin Moon from Gutter Town and on the Ghost to a Ghost title track, Alan King of Hellstomper, Les Claypool of Primus fame, Dave Sherman, Troy Medlin and Hank III's dog Trooper.
Cuts such as Gutter Town, Ridin The Wave and The Devil's Movin In on Ghost to a Ghost and Goin to Gutter Town, The Low Line and I'll Save My Tears on Gutter Town highlight both the excellent musicianship on the records, and Hank III's unmistakable, confident vocals. The release of all three projects represents a new birth for Hank III, and he's happy to have the chance. Megaforce Records has helped me with my vision to do something that never been done before, he says. They're handling my distribution, and I wanted to flood the market and do everything different. I wanted to come out of the gate strong. I'm opening up the mind a little bit and bringing some different styles together.LP1 - Ghost to a Ghost
1. Gutter Town
2. Day By Day
3. Ridin The Wave
4. Don't Ya Wanna
5. Ray Lawrence Jr.
6. The Devils Movin In
7. Time To Die
8. Troopers Hollar
9. Outlaw Convention
10. Cunt of a Bitch
11. Ghost to a Ghost
LP2 - Gutter Town
1. Goin to Gutter Town
2. Gutter Stomp
3. The Dirt Road
5. The Dream of Before
6. Dyin Day
7. I Promised
8. Chord of the Organ
9. Move Them Songs
10. The Low Line
11. Ill Be Gone
12. Troopers Chaos
13. Chaos Queen
15. Fadin Moon
16. The Round
17. Ill Save My Tears
16. Its Goin Down
17. With the Ship$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Telling The TruthOver the course of eight years, The Numero Group has journeyed to scads of tiny island nations in search of rare and previously unknown recordings. This time we kept it a little closer to home, unearthing a soul-folk curiosity on the one-stop light cay of Nantucket. By no means a thriving musical community in the 70s or otherwise, the limerick-inducing isle played home to Greenwich Village folk singer Willie Wright for a few years, producing his second and final album in the process.
Born of Harlem doo-wop roots and refined by Boston's counterculture scene, Wright arrived in Nantucket in 1976 well worn by two decades of street corner and club performing, eager to make the easy money only a private yacht clientele could guarantee. Trapped on the island over winter, a set of original songs poured into his cover-heavy set. Tales of Wright's native roots, straight life, his abandoned four children, and the many women he had known flooded his loose leaf notebook before finally being set to tape in New York the following spring.
Tracked with George Buzzy Bragg and Herry Jensen (of Skull Snaps and Jimmy Castor Bunch fame, respectively) in one day with minimal overdubs, Telling The Truth was, and would remain, Willie Wright's brightest and most inspired moment. Sold from the trunk of a car and from a handful of resort stages, the humble album disappeared into the collections and garages of Nantucket tourists, taking what was left of a near-30-year career along with it.
Available for the first time since 1977, this expanded edition of Telling The Truth gathers Wright's lone 45 and only original composition from his first LP to tell the definitive Willie Wright story. The deluxe LP edition includes a replica 7 of his cover of Curtis Mayfield's Right On For The Darkness with his original Africa on the flip.1. Hello, Music People Of The World
2. Nantucket Island
3. Lady Of The Year
4. I'm So Happy Now
5. In The Beauty Of The Night
6. Love Is Expensive
7. Okay, Once Again
8. Jackie's Song
9. Son, Don't Let Life Pass You By
10. Indian Reservation
11. Dressing For The Occasion
12. It's Only Life, That's All
13. Right On For The Darkness
15. Lack Of Education$23.99Vinyl LP + 7 - Sealed Buy Now
Scream Above The SoundsTwenty years after their debut 'Word Gets Around' and six #1 albums later, Stereophonics are set to release their new album 'Scream Above The Sounds' on Parlophone Records.
Their 10th studio album, 'Scream Above The Sounds' follows 'Keep The Village Alive' which went straight to #1 when it was released in 2015 - their sixth chart-topper after 'Performance and Cocktails' (1999), 'Just Enough Education To Perform' (2001) 'You Gotta Go There To Come Back' (2003), 'Language. Sex. Violence. Other?' (2005) and 'Pull The Pin' (2007).
Stereophonics consists of founding members Kelly Jones (vocals/guitar) and Richard Jones (bass) along with Adam Zindani (guitar) and Jamie Morrison (drums). Long-term keyboardist Tony Kirkham joins the band for live shows.
Kelly said of the songwriting process that he began to write "big, anthemic songs that are rallying against those anxious feelings that have flooded through cities. Every song offers a sense of release," he says. "Even when there's nostalgia, fear or anxiety, they're still all offering hope and room to manoeuvre."
The first single 'All In One Night' represents the band's affection for the melancholy. Set to a consistent mid-paced rhythm which evokes a nocturnal motorway drive, it finds the narrator's life taking a dramatic turn as night brightens to day. Influenced by the Sebastian Schipper film 'Victoria', it's a song that had an unusual genesis - Kelly started it when the band had an unscheduled day's stay in China before he finished it back home in London. Even the atmospheric call of the chorus was fortuitous, being an adaptation of a vocal exercise he was using.
'Scream Above The Sounds' was primarily recorded in the band's HQ in west London with a further session at RAK Studios. Created with the help of regular collaborator Jim Lowe, it's an album in which creative sonic touches add to the band's emphasis on songwriting and melody.1. Caught By The Wind
2. Taking A Tumble
3. What's All The Fuss About?
5. All In One Night
6. Chances Are
7. Before Anyone Knew Our Name
8. Would You Believe?
9. Cryin' In Your Beer
10. Boy On A Bike
11. Elevators$21.99Vinyl LP - Sealed Buy Now
BonesOn The Delta Saints' new album, Bones, their first for Loud & Proud Records, the Nashville-based band have stripped their roots/blues sound down to its essence, having rearranged the elements into something uniquely their own. Steeped in rock 'n' roll's building blocks - country, R&B, soul and gospel - The Delta Saints' second full-length effort explores influences like Jack White, The Black Keys, My Morning Jacket, Band of Horses and Led Zeppelin. Producer/engineer/mixer and Third Man Records alum, Eddie Spear [Jack White, Arctic Monkeys, Neil Young] provided a ghostly, psychedelic atmosphere at Nashville's Sputnik Sound studios, yielding a sound unlike anything they have created before.
"We got to the point where what we were recording and playing had veered from what we were listening to and loving on our turntables, which can lead to discontent," said Louisiana-born singer/lyricist Ben Ringel, who co-founded the band almost eight years ago with fellow Belmont University student, Kansas native bassist David Supica. Soon after, they were joined by Tennessee-bred guitarist Dylan Fitch and later, after a health scare with the band's former harmonica player, enlisted Louisville resident and keyboardist, Nate Kremer, who was added to the lineup only two weeks before a two month long European tour.
Taking a novel approach of writing songs spontaneously in the studio, The Delta Saints were challenged to create in the moment and as a result, Bones is their most adventurous effort yet. The album is a collection of eclectic songs, beginning with The White Stripes-meets-Led Zeppelin fuzz-toned garage-rock blast of "Sometimes I Worry." The spare, spooky strains of "Butte la Rose" tell the band's tale of a Louisiana town purposely flooded and displaced five years ago to save New Orleans. The Grapes of Wrath drama of "Dust," based on Ringel's grandfather, an East Kansas farmer, builds to a primal wail at nature with a stunning coda in which Dylan Fitch's guitar drops out and Kremer's B3 organ provides the climax. The title track, "Bones" features hoodoo organ riffs and African-influenced trance music, which came from listening to the Sahara desert African groove of Niger's Tuareg guitarist Omara "Bombino" Moctar and Mali's Tinariwen. The grindhouse honky-tonk chain gang chants of "Heavy Hammer" celebrates the work ethic in no uncertain terms, a call for unity in the wake of Ringel's frustration about getting stuck in the rat race and feeling trapped by some of life's mundane tasks. "Berlin," the first song they recorded after adding Nate on keys, started out as an instrumental penned in the title city while on tour. It eventually metamorphosed into a country twang intro and a prog-rock jam. Bones is a complete work veering between despair and apocalyptic dread.
"We're trying to push ourselves forward to do something more modern, but at the same time incorporating where we come from," explained Ringel.
"It was incredible to be able to write a song on the spot and immediately hear what it sounded like," added Supica. "It was a great way to capture the magic right when you come up with an idea, preserving that raw element. We were used to playing a song for months on the road before we recorded it. Still, on the flip side, it was absolutely terrifying to sit in the studio watching the clock tick and waiting for a song to come out. That's where (producer) Ed Spear came into play; he was so good at keeping us pointed in the right direction."
"This record was made out of both necessity and desire. We needed to be fulfilled and surprised by music again, and we also needed to fulfill that love of writing and recording again."
The Delta Saints have independently released two EPs (2010's Pray On and A Bird Called Angola), a full-length album (2012's Death Letter Jubilee) and a live disc (2014's Live at Exit/In). They have spent the last eight years touring the US averaging almost 200 shows per year, organically growing their audience, fan by fan, city by city. Major appearances include several festivals including Wakarusa, Summer Camp, Harvest, The Ride, Summerfest and The Simple Man Cruise. A testament to their mixed appeal, they have opened for such diverse acts as Blackberry Smoke, Robert Randolph & The Family Band, Taj Mahal, Dickey Betts and Michael Franti & Spearhead.
The Delta Saints have also have a large international fan base having toured Europe a total of six times, selling out countless venues and playing more than 200 shows in Spain, Sweden, France, Switzerland and Germany, as well as several festivals in Holland (Moulin Blues, Ribs and Blues), Belgium (Gevarenwinkel) and Germany (Grolsch Blues Fest).
With all that they've accomplished as a hard-working group on their own, The Delta Saints have earned their graduation to industry veteran Tom Lipsky's Loud & Proud Records (which has been the home of Rush, Lynyrd Skynyrd, KISS, Robert Plant, Rob Zombie, Lenny Kravitz and The String Cheese Incident, among others).
"Don't look so tired, my dear," sings Ringel in Bones' closing track, "Berlin," echoing the band's progress. "We may be bruised, but the day is almost here."
"It's hard to see progress when you're in the middle of things," said Supica about The Delta Saints' ambitions. "We try to take stock every six months or so and look back from where we've come, from eating at McDonald's and sleeping on people's floors to staying at a Motel 6 and graduating to La Quinta. We mark our success by the hotel chain where we're staying. When we get to Marriott, we know we've made it."
Bones proves The Delta Saints are well on their way to making that reservation.$18.99Vinyl LP - Sealed Buy Now
You Don't Mess Around With Jim (Awaiting Repress)Jim Croce was one of the premier architects of the singer/songwriter movement in the early '70s, and during his much revered musical career, he managed to successfully cultivate his story telling, humor and heartfelt thoughts and heartbreak into some of the most memorable songs and melodies ever recorded in our lifetime. His legendary ABC recordings are the soundtrack to a generation of music enthusiasts that continues to this day and will forever stand the test of time.
Growing up in the Philadelphia suburb of Upper Darby, PA, Jim Croce graduated high school and soon found local success as a folk-singer during his college days. In those earlier years, he met his future wife and musical partner Ingrid Croce, and together they began touring the coffee house circuit throughout the '60s into the early-'70s.
After a few short lived careers in radio advertising, as well as being a truck driver and welder, Jim Croce was determined to score a hit recording career and went out as a solo artist, teaming up with his lead guitarist Maury Muehleisen. Friends Tommy West and Terry Cashman were soon a part of the mix as producers, and the hit records soon followed. His debut ABC Records single and album You Don't Mess Around With Jim were a huge success for this legendary performer.
Known for his uncanny ability to connect with his fans with his simple tales of love, heartbreak and good time feel good songs, this multi-platinum album raced to the top of the charts in no time. Spearheaded by the country rock title track, the album was buoyed with even more success as the brilliant Operator (That's Not The Way It Feels) hit a chord in the hearts of his new legion of fans across the globe.
Whether standout tracks like his classics Photographs And Memories, New York's Not My Home or his masterpiece Time In A Bottle, Croce's You Don't Mess Around With Jim album has surely earned its currency over the years as one of the more important albums of the classic singer/songwriter era. After several more smash hit recordings and a massive worldwide following, Time In A Bottle was featured a year later in the made for television movie She Lives! which added to the further success of his classic You Don't Mess Around With Jim album.
A few weeks later, Croce along with guitarist Muehleisen and several others were tragically killed in a small plane crash on September 20, 1973. The music world was in shock as one of its newest stars, a true original, the great Jim Croce, his life was cut short way before his prime. Radio and retail outlets were flooded with fan support as a race to buy this album, which became a lasting tribute to the artistry and memory of this legendary performer.
Friday Music now ushers in the Jim Croce Friday Music 180 Gram Audiophile Vinyl Series with their first installment of his monumental pop/rock classic You Don't Mess Around With Jim. Mastered impeccably by Joe Reagoso from the original tapes at Friday Music Studios with Kevin Gray, the You Don't Mess Around With Jim album is truly one of the more anticipated audiophile vinyl releases of 2012. Includes the rare gatefold cover with lyrics and photos from the original 1972 release!1. You Don't Mess Around With Jim
2. Tomorrow's Gonna Be A Brighter Day
3. New York's Not My Home
4. Hard Time Losin' Man
5. Photographs And Memories
6. Walkin' Back To Georgia
7. Operator (That's Not The Way It Feels)
8. Time In A Bottle
9. Rapid Roy (The Stock Car Boy)
10. Box #10
11. A Long Time Ago
12. Hey Tomorrow$31.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
Into The WideThe fourth album from San Diego-bred five-piece Delta Spirit, Into the Wide was born in a flood-ruined, cave-like, rat-colonized room in the band's new hometown of Brooklyn. After spending more than a year writing together in the windowless studio they rebuilt after Hurricane Sandy wreaked its havoc, the group resurfaced with a batch of demos and headed to Georgia to team up with Ben Allen (a
producer/engineer known for his work with artists like Animal Collective and Deerhunter). Recorded near an old shipping yard in Atlanta, Into the Wide intimately captures the claustrophobia of Delta Spirit's creative space, turning that tension into a moody meditation on the restlessness of city life, growing older, and longing for escape. With its lyrics largely inspired by the murder ballads of Bob Dylan and Johnny Cash, Into the Wide proves more darkly charged than anything the band's ever offered up before but - thanks to their command of both indelible melody and sprawling, atmospheric arrangements - ultimately emerges as Delta Spirit's most gloriously heavy album so far.1. Push It
2. From Now On
3. Live On
4. Take Shelter
5. Hold My End Up
6. Into the Wide
7. Language of the Dead
8. For My Enemy
11. War Machine
12. The Wreck$23.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Ullages"An Echo & the Bunnymen-inspired delay fest with Robert Smith-style vocals, it speaks for itself."
Whilst Eagulls' debut album was a juggernaut of a record, often moving at breakneck speed and intensity, it was also a deeply melodic one and underneath the heady fuzz and gushing charge of the guitars laid a band with just as many pop leanings as they had punk. It's these moments that have been brought to the surface on the new record: dense, deeply textured explorations that recall the shimmering opulence of the Cocteau Twins and the ominous gloom of The Smiths and Disintegration/Pornography-era The Cure. Recorded during long days and nights in a converted Leeds Catholic church with returning producer Matt Peel before the album was sent to London to be mixed by Craig Silvey (Portishead, Nine Inch Nails, Depeche Mode, R.E.M), it's as refreshing as it is exhilarating to hear Eagulls' Ullages as they continue to forge a fierce and prominent British voice in the world of music.
This record is every bit as dazzling as it's predecessor but it comes along with that most rare and treasured quality of being so in a way that feels new, whilst simultaneously remaining in the existing character and tone of the band. Never has the term 'sophomore slump' been kicked so mercilessly to death as by Eagulls on this album.1. Heads or Tails
3. My Life In Rewind
11. White Lie Lullabies$18.99Vinyl LP - Sealed Buy Now
ViolatorIn a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder's ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was Personal Jesus, at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan's echoed, snaky vocals. Then Enjoy the Silence, a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single Policy of Truth did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of Sweetest Perfection (well sung by Gore) and the ethereal Waiting for the Night to the guilt-ridden-and-loving-it Halo building into a string-swept pounder. Clean wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a rock band, Depeche here reach astounding heights indeed.
- Ned Raggett (All Music Guide)1. World In My Eyes
2. Sweetest Perfection
3. Personal Jesus
5. Waiting For The Night
6. Enjoy The Silence
7. Policy Of Truth
8. Blue Dress
9. Clean (Album Version)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
OfferingsIf a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon's new release. The 14-track record Offeringsis a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.
The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band's fourth studio album, centers on a fictional man who is losing his memory, and in turn, his sense of self. "I've always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don't know where they came from? What is the essential quality of the person if you strip away all memory?" explains singer/songwriter Kyle Morton.
Motivated in part by his own preoccupation with "losing it," Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. "I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini's 8 ½.And there were a lot of books on my nightstand that played into this. It made it's a much darker album for sure," he says.
Offerings is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.
"I wanted this record to be a journey, like Dante's Inferno. It kicks off with 'Wake,' where the character wakes up and he's shitting the bedand doesn't know what's going on. I was going for a specific feel that Samuel Beckett does so well," says Morton, who was reading Beckett's Three Novels, specifically Malloy, while writing the song's lyrics. "Beckett would call it a literature of impoverishment where he'd strip away as much as he could so he could get a feeling of essence and scarcity; that's what I tried to do musically and lyrically here."
Mission accomplished. Morton also masterfully makes a parallel with the character's journey to the state of the world today starting with the second track, "Rorschach," which looks at the age of information and collapse of meaning.
"But, by the third song, 'Empiricist,' there's a regression to the womb where the character is back in his bed at home,talking about his range of motion shrinking. This first movement ends with 'Algernon' [taken from one of Morton's favorite short stories, Flowers for Algernon, by Daniel Keyes], where he's constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn't."
Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character's fear and anxiety. "The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel," says Morton.
To set the right tone for the story, Morton went for a less horns, more guitar approach. "We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it's very guitar-based. It's going back to my rock roots before Typhoon," says Morton.
The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. "I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven't learned the lessons of our past, historically, we can't recognize when elements come back to haunt us, which is what's happening right now," he adds.
One choral part ("Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure") was especially inspired by current politics. "I had Steve Bannon in mind quite a bit when I was writing these choral parts because I'm taking on this world view that I don't agree with, which is that the world needs a bloody struggle to reset -bring on the demolishing of order," he says.
The character's downward spiral continues through the album's second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with "Coverings," which is the first song Morton ever co-wrote with a band member -Shannon Steele, who also sings on it. (Steele lends her vocals to the end of "Bergeron," as well.)
"'Coverings' takes the story into the devil's mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles," he explains.
"At the same time, on the worldly scale," continues Morton, "this is the point where we don't have any public trust and there's no cultural memory, there's just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it's that -Without reference, you have an interesting concept of infinity, which can be really bad."
As the album comes to a close with the acoustic "Sleep," the character decides that instead of taking part of the chaos, he'd rather sacrifice himself. But there is light at the end of this dark, emotional journey. "The secret track, 'Afterparty,' is where he finds peace and freedom. It's his homecoming. He's on the other side of it now and has found his version of Heaven," says Morton.
It's this level of intricacy in Typhoon's storytelling and musicianship that has helped Typhoon become one of indie rock's most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard's Heatseekers Album Chart and got Best of The Year nods from NPR and Paste.Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.
Adds Morton of Offerings, "I kind of wanted to make a dystopian record. If it's nothing else, it's that. If I could write my own one-line review, I'd think I'd want people to say, 'It's disturbing and unfortunately correct."1. Wake
14. Sleep$29.99Vinyl LP - 2 LPs Sealed Buy Now
The Flood (Out Of Stock)
For The First Time Ever On Vinyl!
After just two records, Of Mice & Men has combined sales of over 145,000 records. The metal core heavy hitters stand at the top of their scene after a headlining stint on the Vans Warped Tour, a US tour with August Burns Red and a sold out UK/European headliner. Of Mice & Men's music has never before been released on vinyl and even though it's the first time, they're doing it right.1. The Calm
2. The Storm
3. The Flood
4. The Depths
5. O.G. Loko
6. Ben Threw
7. Let Live
8. Still YDG'n
9. My Understandings
12. Product Of A Murderer
13. Repeating Apologies
14. The Great Hendowski
15. I'm A Monster
16. When You Can't Sleep At Night$15.99Colored Vinyl LP - Sealed Temporarily out of stock
Van Halen II (Out Of Stock)Van Halen set quite a precedent with its self-titled 1978 debut, one of the most landscape-shifting albums ever released. How does a band follow something like that? By making a record that's even better. And Van Halen II fits the bill.
Granted, by the time this sophomore set appeared in late 1979, the world had already been introduced to Eddie Van Halen's pyrotechnic guitar skills and trick bags of jaw-dropping solos. And everyone knew about David Lee Roth's flamboyant singing, oversexed machismo, and vaudeville antics. But the quartet ups the quotient level throughout Van Halen II, which swaggers to a flawless batch of songs and phenomenal playing. There's not a weak moment or note here.
Moreover, as Eddie consistently delivers searing fills, acrobatic leads, and gravity-defying phrasings, Roth steps it up a notch, inserting himself in the role of the come-hither vocalist whose self-aware humor balances his glammed-up, spandex-clad, riser-leaping persona. Again proving itself deft with its choice of a cover (the lead-off You're No Good), Van Halen turns up the heat throughout, celebrating cheap and carefree sleaze, booze-soaked good times, and yes, the band's perennial favorite subject, women. There's no topping the soaring Beautiful Girls. It, and many of the songs here were actually aired in demo form for Kiss' Gene Simmons before the group signed to Warner Bros.
So, okay, the blonde bombshell and six-pack of Pabst Blue Ribbon don't come with this gorgeous pressing, but all of the sonic fun does. Play this awesomely remastered and cleanly pressed LP on a hi-fi system, crank the volume to the level where your neighbor leaves their house, and be prepared to be flooded by late-70s indulgences and one killer riff after another.
Mastered by Kevin Gray from the original analog master tapes, Rhino's stunning 180g LP brings brings the dynamics, details, and punch of the music into supreme focus, and also magnifies the group's famous characteristics and personalities. Close your eyes and you'll both hear and see Roth's frenetic energy and bawdy yelps; Alex Van Halen's drum-til-you-drop bluster and oversized percussion kit; Michael Anthony's Jack Daniel's-inspired bass runs and karate-chop kicks; and Eddie Van Halen's fretboard wizardry, so ahead of its time no one has yet to catch up.
Bottoms up!1. You're No Good
2. Dance the Night Away
3. Somebody Get Me a Doctor
4. Bottoms Up!
5. Outta Love Again
6. Light Up the Sky
7. Spanish Fly
9. Women in Love
10. Beautiful Girls$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock