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Beside Bowie: The Mick Ronson Story - The Soundtrack
First-Ever Career-Spanning Compilation Features Key Tracks From Ronson's Solo Albums, Collaborations With David Bowie, Elton John, Ian Hunter, Michael Chapman And Queen And Exclusive New Contributions From Joe Elliott And Mike Garson
Pressed On 2x Heavy-Weight 180-Gram Vinyl
UMe is pleased to announce the release of Beside Bowie: The Mick Ronson Story, The Soundtrack. The album comes on the heels of the film's streaming debuts on Hulu and Amazon Prime following last year's successful theatrical run and the DVD/Blu-ray releases.
The soundtrack is the first official career retrospective compilation for the guitar virtuoso, Mick Ronson, known affectionately as Ronno. As well as highlights from Ronson's solo records, the compilation includes material from his key collaborations with David Bowie, Elton John, Ian Hunter, Michael Chapman and Queen. The album also includes a previously unreleased cover version of This Is For You by Def Leppard's Joe Elliott and a piano tribute to Ronson from Bowie's piano-man and band alumni Mike Garson (David Bowie, Nine Inch Nails, Smashing Pumpkins). The soundtrack includes extensive essay & liner notes and will be available on heavy-weight 180-gram black vinyl.
For the career-spanning documentary, producer/director Jon Brewer (BB King: The Life of Riley, Nat King Cole: Afraid of the Dark, Jimi Hendrix: Guitar Hero, The Most Dangerous Band in The World) gained the unprecedented access and permission for use of materials relating to the life of rock hero Mick Ronson, who was largely commercially overlooked despite his direct contribution and pivotal involvement in countless iconic compositions of David Bowie and The Spiders from Mars.
Despite his production and guitar work with Lou Reed, Morrissey, Ian Hunter and Mott The Hoople, Bob Dylan, John Mellencamp and many others, it is Ronson's dynamic support, contribution, and co-creation of the expansive and multi-faceted career of David Bowie and in fact that era of music, that the film and this soundtrack exposes. Featuring exclusive narration by David Bowie and exclusive contributions by Rick Wakeman, Joe Elliott, Roger Taylor, Ian Hunter, Angie Bowie and many more, Beside Bowie: The Mick Ronson Story is a tribute to an uncomplicated man who achieved the pinnacle of success in the music industry as well as the rarefied respect from his contemporaries for his production and guitar skills.
His humble beginnings (in the northern English city of Hull) underpinned the values and modest, unpretentious personality of Ronson. Originally working with Hull City Council while he pursued his craft with consummate dedication, word of his talent reached Bowie who grabbed at the chance to work with Ronson, and from there rock history was made. The Man Who Sold the World, Aladdin Sane, Hunky Dory and Jean Genie were all constructed with Ronno on guitar. In 1974, he was voted #2 'Best Guitarist' in Cream magazine (notably Eric Clapton came in third).
Sadly, in 1993 Ronson passed away before receiving the recognition he so richly deserved before taking that final bow, as seen on film, at his last show. He had been making a solo album at the time, which was subsequently finished by his contemporaries. Emperor Media have achieved ultimate authenticity and access in chronicling the life and works of this man, an extraordinary talent who became a cornerstone of rock music and who stood Beside Bowie during one of the most memorable periods of his dazzling career.1. Queen, Ian Hunter, David Bowie, Mick Ronson, Joe Elliott & Phil Collen - All The Young Dudes (Live)
2. Michael Chapman - Soulful Lady
3. Elton John - Madman Across The Water
4. David Bowie - Moonage Daydream
5. David Bowie - Cracked Actor
6. David Bowie - Time
7. Ian Hunter - Once Bitten, Twice Shy
8. Mick Ronson - I'd Give Anything To See You
9. Mick Ronson - Hard Life
10. Mick Ronson - Midnight Love
11. Mick Ronson - Like A Rolling Stone
12. Joe Elliott - This Is For You*
13. Queen, David Bowie and Mick Ronson - Heroes (Live)
14. Mike Garson - Tribute To Mick Ronson *
*Previously Unreleased$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
La Maison De Mon ReveA vinyl version of the CD that was released in March 2004. The record has been gathering avid fans across the country and Europe has been working hard to make them superstars. These two sisters make an original style of music with delicate vocals and intricate instrumentation that stands beside the most modern and innovative artists today including Devandra Bernhart, Joanna Newsome an many more.Side One1. Terrible Angels
2. By Your Side
3. Jesus ♥'s Me
4. Good Friday
5. Not For SaleSIde Two1. Tahiti Rain Song
4. West Side
6. Hatian Love Song
7. Lyla$15.99Vinyl LP - Sealed Buy Now
Masterpiece Theatre (Awaiting Repress)Masterpiece Theatre is the second studio album by Canadian rock group Marianas Trench, originally released in 2009. The album is a slight departure from Fix Me, containing more theatrical elements and instruments while still retaining the punk rock influence of its predecessor. Songs like Masterpiece Theater (parts one, two and three), Beside You, and Good To You show some experimentation using pianos and strings and harmonies.1. Masterpiece Theatre I
2. All to Myself
3. Cross My Heart
4. Beside You
6. Masterpiece Theatre II
7. Sing Sing
8. Good to You (feat. Kate Voegele)
9. Celebrity Status
11. Lover Dearest
12. Masterpiece Theatre III$39.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Feral HarmonicOld Canes' second album Feral Harmonic is bold and loud, presenting folk and traditional music melded with new ideas, crafted with new intensity, and with the rulebook of contemporary recording thrown out the window. Production value, fidelity, a low noise floor, whatever, are all beside the point. says songwriter Chris Crisci (also frontman for Appleseed Cast). The only things I care about are the idea and the energy... Music loses out when the focus is on slick production, and not on expressing what matters most in a song.1.Intro
2.Little Bird Courage
3.Last Collapse, The
8.I Will Be the Sun
11.Black Hill Chapel
12.Southern Radio$19.99Vinyl LP - Sealed Buy Now
Beethoven: Violin Concerto In D, Op. 61/ Kogan
Full Analog Mono Production
Recorded June 29 and 30, 1957, originally by EMI Music France. Leonid Borisovich Kogan was born on Nov. 14, 1924, in the Ukraine. His father played the violin as an amateur and the sound so fascinated the boy that by age 3 he would not go to sleep unless he had the fiddle beside him. After age 5 he began taking lessons on the instrument. He made his first public appearance playing, at age 10. His official concert debut came playing the Brahams Concerto with the Moscow Philharmonic in 1941. For the celebrated violinist, his interpretation of the Beethoven Concerto was one of the glories of his era; none of his contemporaries played it with such consistent stylistic command or such intellectual and spiritual penetration.1. Violin Concerto in D, Op.61
2. I Allegro ma non troppo
3. II Larghetto
4, III Rondo (Allegro)$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
UNIM-GLAS-1436xHamilton Leithauser & Rostam
I Had A Dream That You Were MineIncludes Limited Edition 14-page Booklet Of Handwritten Lyrics
I Had A Dream That You Were Mine is an album of songs Hamilton Leithauser and Rostam wrote and recorded together between July, 2014 and February, 2016. In the spirit of collaborative albums, not unlike those of David Byrne and Brian Eno, each musician's individuality remains in tact, while in fact, on this record, both Hamilton's identity as a singer and Rostam's as a producer seem to reach new heights.
This was a record I d been wanting to make for at least a decade, Rostam says. As a fan of Hamilton's voice in the Walkmen I'd been wanting to capture it in ways it hadn't been captured before to make songs with him that placed the crooner right beside the howler, the screamer beside the whisperer to try to leave no stone unturned in terms of how we should approach the delivery of a song. And also to try to push his voice outside of any musical context it had lived in before.
Says Leithauser, Rostam's one-man-band process is so fundamentally different from the way I've always written songs, and it's very impressive. We had no idea what kind of music we were going to make we actually didn't know we were working on an album at first but unexpected things kept falling into place. We were writing and recording everything simultaneously it was flat-out inspiring just to be there.
Many of these songs seem to take place in a memory of New York's past, or wading through the waist high waters in a half-submerged New York of the future. Yet what unites them is that they tell stories. I Had A Dream That You Were Mine is an album, a collection of songs yes, but also a collection of narratives. 'The Bride's Dad' faithfully recounts an unexpected (an probably uninvited) guest at a friend's recent wedding; 'You Ain't That Young Kid' follows the wistful narrator through a night of lost love and transformed resolve.
From the doo-wop of 'When the Truth is...' to the country pedal steel of 'The Morning Stars'; from the piano and organ alchemy of the 'Band in A 1000 Times', to the Leonard Cohen-esque Spanish triplets of 'In a Black Out'; the album harnesses the exploding musical styles of midcentury America which, when melded with the warbled 1980s analogue synthesizers of 'You Ain't That Young Kid,' the ultramodern sub bass of 'Sick as a Dog,' the intimate falsetto of '1959,' and the raucous bar-room chorus of 'Rough Going' sparks an entirely unexpected and innovative style.1. A 1000 Times
2. Sick as a Dog
3. Rough Going (I Don't Let Up)
4. In a Black Out
5. Peaceful Morning
6. When The Truth Is...
7. You Ain't That Young Kid
8. The Bride's Dad
9. The Morning Stars
$19.99Vinyl LP - Sealed Buy Now
Let The Dominoes FallRancid's Let The Dominoes Fall is essential Rancid: a readymade punk classic that will take its place beside And Out Come the Wolves as a touchstone of the genre, filled with two-minute gems that every kid in America will be singing along with this summer. Lead by first single Last One To Die, a defiant anthem of brotherhood and commitment that's already tearing it up at modern rock radio, Let the Dominoes Fall both continues and expands on Rancid's legacy, as the new songs show a lyrical depth perhaps best shown in the two songs that center the album, Civilian Ways and The Bravest Kids. Punk has often seen the world as us vs. them, but with these two songs, a sensitive portrait of a returning serviceman and a loving tribute to those that serve, Rancid show empathy for working Americans that recalls the songs of Springsteen or Petty. Rancid have set their sights on greater things and hit the bullseye. Also features guest star Booker T. on Hammond organ on the super danceable Up To No Good.1. East Bay Night
2. This Place
3. Up To No Good
4. Last One To Die
6. I Ain't Worried
8. New Orleans
9. Civilian Ways
10. The Bravest Kids
11. Skull City
12. L.A. River
14. Dominoes Fall
15. Liberty and Freedom
16. You Want It, You Got It
18. That's Just The Way It Is Now
19. The Highway$19.99Vinyl LP - 2 LPs Sealed Buy Now
Brian Olive (Awaiting Repress)Green Vinyl
Brian Olive's name first came into the public eye as a founding guitarist/singer of the Greenhornes, and later as a member of the Soledad Brothers, for whom he provided saxophone and sundries under the pseudonym of Oliver Henry. However, unlike those prior genre-specific endeavors, this album, his self-titled debut, is a breakout multicolored affair that takes musical and lyrical cues from the British psychedelic '60s, as well as the soul-pop hit factories of Memphis, and wanders through the erstwhile streets of the Ninth Ward.
The sessions took place in Cincinnati, in what was once the basement vault of a pawn shop, and were produced, recorded and mixed on analog tape by Brian himself. Beside playing guitar, woodwind and piano, Olive is accompanied on the album by friends Jared McKinney and Craig Fox of the Greenhornes, Mike Weinel, formerly of the Heartless Bastards, and Dan Allaire who did time with the Brian Jonestown Massacre. Olive also sings lead and is backed by the Kadish Sisters with Donna Jay, a vocal trio brought together in the studio for the occasion.1. Ida Red
2. The Day Is Coming (Sainte-Marie's Dream)
3. Echoing Light
4. There Is Love
6. Jubilee Line
7. Killing Stone
8. High Low
9. See Me Mariona
10. Calling All Around$14.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
I Remember Brother RayDavid 'Fathead' Newmanï's warm tone, occasionally terse phrasing, and always heartfelt delivery placed him in high demand by artists as diverse as B.B. King, Herbie Mann, Jane Monheit, and Gregg Allman. With over twenty recordings to his name, I Remember Brother Ray stands as an understated highlight, a record that doesn't so much jump out at you as it does gently sidle up beside you and ingratiates itself with its warmth and affability. Newman got his first big break with Ray Charles in the early '50s, playing in his band from '54 through '64 and subsequently making numerous guest appearances over the years. And so Newman entered the studio of another legend, engineer Rudy Van Gelder just two months after Charles' death to record I Remember Brother Ray, a tribute to the jazzier side of a man who regarded himself as a jazz singer anyway.
The record evokes the ambience of a smoky bar in the early hours of the morning. Newman assembled a quintet as comfortable with the tender balladry of Georgia on My Mind as it is the soul-drenched blues of Drown in My Tears. Charles believed that the ability to play jazz permits the ability to cross over into other genres, and the playing on I Remember Brother Ray clearly supports his conviction.
While there were quite a few Ray Charles tributes, few equaled I Remember Brother Ray for its grace, integrity, honesty, and pure connection to the true essence of Charles' legacy.1. Hit The Road Jack
2. Georgia On My Mind
3. Drown In My Tears
4. When Your Lover Has Gone
5. Deed I Do
6. It Had To Be You
7. Them That Got (I Ain't Got Nothing Yet)$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pro-Ject 1Xpression Carbon Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Classic turntable with superior tone-arm reaches magical performance levels!
1Xpression Carbon is the 6th generation of the hi-fi classic Pro-Ject 1, which was presented for the first time in 1991. No other entry-level turntable concept is more audiophile and the current version includes a totally new carbon tone-arm with spin-off „EVO"-technology. It has new innovative gimbal design features a resonance damping counterweight, that allows best performance for any cartridge. The approved belt drive design offers low noise AC motor with effective motor decoupling, ultra precision frequency DC-driven AC generator (like Speed Box) for ultimate speed stability. The complex main platter construction cannot be found elsewhere in this price range and is similar to the Xtension models. Advanced thermo plastic elastomers (TPE) are used in a sandwich construction with steel alloy for optimized resonance behavior. Platter bearing axle is made from low tolerance chrome plated stainless steel running on a Teflon bottom in bronze bearing housing. Turntable main plinth is made from low resonance MDF, which effectively is decoupled from structure-born noise by special absorber feet, that use TPE technology. Beside it`s class-leading sound quality, this turntable convinces with classic elegance and high-class black piano finish.$799.001Xpression Carbon Turntable Buy Now
i will be my own hell because there is a devil inside my bodyTeen suicide's first & only proper album, 'i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like 'cop graveyard' and 'grim reaper' sit beside more energetic full-band outings like 'dead bird skeleton and 'give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center.
It's to the band's credit that their more outrÉ moments feel necessary, not distracting. What becomes clear upon listening to 'my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality.1. 'anne'
2. give me back to the sky
3. have you been eating that sandwich again?
4. the way we were with people
5. cop graveyard
6. dan collins vs. the maryland judicial system
7. dead bird skeleton
8. grim reaper
9. the same things happening to me all the time, even in my dreams
11. dead cat
12. spooky ghost
13. no, the moon
14. i am my own hell
15. afterlife dating
16. if i cleaned everything
18. yr glow (acoustic demo)$17.99Vinyl LP - Sealed Buy Now
Skye & RossFor over a dozen years, Ross and Skye had been playing across the globe as Morcheeba, but Ross' brother, Paul - their co-producer, with whom they'd founded the band - had stayed at home. During this time, the inevitable separation between what happened in the studio and what happened live had become increasingly pronounced, and, as they observed the band beside them with delight, the singer and guitarist shared an epiphany. "Why don't we make our records feel more live?"
The result of this revelation is SKYE | ROSS, an album that pursues its own musical path while returning to the roots of the sound that made Morcheeba a household name back in the late 1990s. It is, Ross explains, "what Skye and I do naturally when you ask us to make music together, and yet not necessarily a continuation of what we'd been doing with Morcheeba. It therefore felt only right to give it a new identity."
What emerged recalls the spirit of Morcheeba's international, platinum selling Big Calm, while boasting a revived spirit and the mature experience that comes with two decades of making music.
Ultimately, SKYE | ROSS doesn't signify the end of Morcheeba, but rather a purge of sorts, an opportunity for the two musicians who have represented the public face of their band to exploit the musical relationship that has developed between them outside of the studio on stages around the world. "Our intentions are really aligned," Ross concludes, "and once you have that synchronicity with someone everything falls into place."1. Repay The Saviour
2. Light Of Gold
3. All My Days
4. How To Fly
5. Clear My Mind
6. Hold On
8. Feet First
9. Head Home
10. The Point Of No Return$20.99Vinyl LP - Sealed Buy Now
Pro-Ject 1Xpression Carbon Classic Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Classic turntable with superior tone-arm & advanced magnetic cartridge reaches magical performance levels!
1Xpression Carbon Classic is the 6th generation of the hi-fi classic Pro-Ject 1, which was presented for the first time in 1991.
No other entry-level turntable concept is more audiophile and the current version includes a totally new carbon tone-arm with spin-off „EVO"-technology. It`s new innovative gimbal design features a resonance damping counterweight, that allows best performancefor any cartridge. The approved belt drive design offers low noise AC motor with effective motor decoupling, ultra precision frequencyDC-driven AC generator (like Speed Box) for ultimate speed stability.
The complex main platter construction cannot befound elsewhere in this price range and is similar to the Xtension models. Advanced thermo plastic elastomers (TPE) are used in asandwich construction with aluminium alloy for optimised resonance behaviour. Platter bearing axle is made from lowtolerance chrome plated stainless steel running on Teflon bottom in a bronze bearing housing. Turntable main plinth is from lowresonance MDF, which effectivly is decoupled from structure-born noise by special absorber feet, that use TPE technology. As aspecial feature, this package comes with the outstanding 2M silver cartridge, which features silver spools for ultimate fidelity.
Beside it's class-leading sound quality, this turntable convinces with classic elegance and four first-class finish options.
*Not compatible with Speed Box S or Speed Box DS.
$999.001Xpression Carbon Classic Turntable - 4 Colors Available Buy Now
Hit It Or Quit It
25th Anniversary Reissue Of Girl Trouble's 1988 Debut LP
Featuring Two Bonus Tracks Exclusive To This Release, "White Lightning" And "Shakin' All Over."
Hit It Or Quit It Was Originally A Co-Release Between K And Sub Pop, And It Was The First Full-length That Sub Pop Ever Released.
Tacoma, Washington, 1988: A town where hazardous waste and
pulp mill fumes smelled like a breath of fresh air, old buildings were
being leveled in order to revitalize a dying downtown, forests and
farmlands were giving way to industrial parks and shopping malls, a
cultural event was wrestling at the Tacoma Dome, and Girl Trouble
could be found practicing with their plywood speaker cabinets and a
drum set purchased for $70 from the Sears surplus store in a shed
beside Bon and Kahuna's parent's house, where they still practice
This reissue of Girl Trouble's debut album, Hit It Or Quit It [KLP229],
includes eleven original songs, one Northwest classic (Steppin'
Out by Paul Revere & The Raiders), and two bonus tracks. To keep
the energy level up and the over-production level down, these songs
were recorded live with only an occasional added guitar or vocal
track. With the minimal pounding of Bon's drums, the steady cool of
Dale on bass, the buzzsaw scream from Kahuna's Ouija guitar, and
the rabid rock 'n' roll stylings of K.P. Kendall, Girl Trouble continues
playing throughout the Northwest, 30-plus years on.
So that's the story, kids. Use it or lose it. It's my way or the highway. Eat
it or wear it. Hit It or Quit It!1. Wreckin' Ball
3. Hot Monkey Love
5. Hurt Your Heart
6. Old Time Religion
7. Steppin' Out
8. Follow Me Down
9. She No Rattle My Cage
10. The Skin
11. My Baby's Gone
12. Where's The Loser?
13. White Lightning
14. Shakin' All Over$18.99Vinyl LP - Sealed Buy Now
AudioQuest Niagara 1000
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Low-Z Power | Noise-Dissipation System
Redefining the Science of Power Conditioning
Niagara 1000 brings the benefits of highly optimized power management to far more music lovers.
Designed by Garth Powell, the Niagara 1000 embodies the very same design philosophy and incorporates the same patented technology found in its larger sibling, the Niagara 7000, but packs it into a smaller, sleeker enclosure-at a fraction of the price. Much like the Niagara 7000, the Niagara 1000 uses ultra-low resistance solid-core wiring optimized for low-noise directionality, capacitor forming technologies that vastly improve linearity and minimize distortion, and low impedance AC inlet and outlet contacts with heavy silver plating over high-purity Beryllium Copper for superior noise dissipation.
Similarly, Niagara 1000 features our non-sacrificial surge protection, Zero Ground-Contamination Technology, and over-voltage shutdown, ensuring that your customers' A/V systems are thoroughly protected from AC surges and spikes. While the Niagara 1000 lacks the 7000's sophisticated Transient Power Correction and Dielectric-Biased AC Isolation Transformers, it does employ our patented Ground-Noise Dissipation System and Ultra-Linear Noise-Dissipation Technology. And, whereas the Niagara 7000 has 12 AC outlets, the Niagara 1000 fits six high-performance outlets into its sleek chassis. In addition, input current maximum capacity-20 amps RMS in the Niagara 7000-is 15 amps RMS in the 1000.
Of course, the biggest differences between the 7000 and 1000 are also the most obvious: size, shape, and weight. The Niagara 7000 can be rack-mounted and measures 15.5" W x 5.24" H x 17.2" D and weighs an impressive 81lbs. The Niagara1000, however, is designed to be placed on a floor or atop a rack, beside or behind a hi-fi system, measures 4.75" W x 4.0" H x 20.0" D, and weighs a much more manageable 5.5lbs. Perhaps most important, at $995 US, Niagara 1000 brings the benefits of highly optimized power management to far more music lovers.$999.95Power Strip Buy Now
ADAD-ANTI-6814xLost In The Trees
A Church That Fits Our NeedsA Church That Fits Our Needs, the second album by North Carolina group Lost In The Trees, is underway, announcing itself as a work of vaulting ambition, a cathedral built on loss and transformation. In the summer of 2009, Ari Picker, writer, composer and architect of the band, lost his mother, an artist in her own right, when she took her own life. Picker was in the midst of releasing his bands debut album, All Alone in an Empty House, a collection of folk-inflected songs that surprised with its orchestral arrangements, to an acclaim usually reserved for seasoned veterans: both heart wrenching and beautiful, said Paste, while the Huffington Post called the album spellbinding in its musical ambition, touching in its intimacy, and often overwhelming in its emotional honesty. Picker took the loss of his mother and set about transforming the events into a tribute, composing, writing lyrics, his mothers picture above his writing desk: the same picture that now graces the albums cover. I wanted to give her a space, in the music, to be, and to become all the things she didnt get a chance to be when she was alive.
The result is A Church That Fits Our Needs, an album that can stand beside musical journeys like Neil Youngs Tonights the Night and Bon Ivers For Emma, Forever Ago. Pickers astonishing voice, an instrument that veers from Carl Wilsons emotional purity to the otherworldly abstractions of Thom Yorke, opens our window into this intensely emotional music. While this might sound like a somber affair, A Church That Fits Our Needs is anything but. Picker, a classically trained composer, has Shostakovich and Stravinsky at his fingertips, but the music on this album speaks just as much to his love of Phil Spector and old film scores. Above all this is pop music, in the way that A Day In the Life or Radioheads No Surprises are pop music, seeking to present complex ideas to the widest possible audience. This is the album Picker set out to make, a celebration of the woman he calls a warrior, and a testament to the power of music to heal and transcend.1. Moment One
2. Neither Here Nor There
4. Golden Eyelids
5. Icy River
6. Tall Ceilings
7. Moment Two
8. This Dead Bird Is Beautiful
10. Villain (Ill Stick Around)
11. An Artists Song
12. Vines$19.99Vinyl LP - Sealed Buy Now
Souvenir Part 1The ensemble TrondheimSolistene was founded in 1988 by Bjarne Fiskum, and was for many years an arena for professional concert training for string-players at the Conservatory in Trondheim. As a result of many concerts throughout Europe as well as concert tours to the United States, Japan and Brazil, the TrondheimSolistene has grown to be an ensemble of international renown, receiving much critical acclaim and attracting attention with its combination of high standards, youthful vigor and lively enthusiasm for the music.
New collaborations have pleased both performers and audiences alike, and the orchestra has been noted for its considerable musical versatility, performing music from the baroque and romantic repertoires as well as tango, jazz, rock and contemporary music. The ensemble is an important advocate of Norwegian music, has commissioned and given premiers of several works and invariably includes Norwegian works in its concert tour programs. TrondheimSolistenes discography includes over twenty recordings. Øyvind Gimse was appointed artistic director of TrondheimSolistene in 2002, continuing the ensembles broad programming profile and musical versatility. TrondheimSolistene collaborates regularly with soloists such as Leif Ove Andsnes, Martin Fröst, Joshua Bell, Ole Edvard Antonsen, Arve Tellefsen and Anne-Sophie Mutter.
Through its dynamic co-operation TrondheimSolistene (the Trondheim Soloists) and 2L has always stretched the boundaries of what is possible to convey to the listener, aiming for the ultimate recorded listening experience. With the Serenade the team has taken things one step further with the TrondheimSolistene truly justifying their name. By placing each individual next to someone from a different voice rather than sitting in conventional sections we are working at the very outer limits of what is possible and creating chamber music at the highest level - Øyvind Gimse, 2012.
2L allocated two weeks in 2011 to record this new album. Artistic director Øyvind Gimse and his associate Geir Inge Lotsberg initially chose two pieces that represent, in their estimation, the most beautiful music ever composed for the string orchestra: Tchaikovsky's Souvenir de Florence and his Serenade for Strings. Aiming for a 90 minute program left 30 more minutes to record. So the orchestra and 2L logged on to Facebook and asked the listeners worldwide what they'd like to hear. And the audience responded: Nielsen's Suite Opus 1. A little gem that would exploit the Trondheim Soloists' singular way with Nordic repertoire.
Inspired by Morten Lindberg's extensive work with choral music, the Tchaikovsky's Serenade was recorded with the ensemble placed in mixed voices, meaning no one is sitting beside anyone playing the same part, creating a totally new soundscape to the music. Carl Nielsen's Suite opus 1 is recorded in a more traditional way in these sessions.1. Tchaikovsky - Souvenir de Florence
2. Tchaikovsky - Serenade for Strings, opus 48
3. Nielsen - Suite, opus 1$38.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
City Wrecker EPHello everyone and anyone.
I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called City Wrecker, and run at around half an hour.
City Wrecker is the title track of the ep. I wrote it before Miley Cyrus released "Wrecking Ball", but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it's the aesthetic opposite of "Wrecking Ball" by Miley Cyrus, which is not to say that's a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song "Wrecking Ball" and to sometimes call me Miley, but that's okay cuz we're buddies.
I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so City Wrecker represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.
I have a tendency to wreck the places I live. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.
And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameIess and magnificent.
I suppose this is why I have moved so many times in my life. It is not a good characteristic, and one I should work toward eradicating from my personality. But having regret is also unhealthy. So, I am Popeye?
Anyway, all of the songs on this ep, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That's why it's called City Wrecker.
-Spencer Krug1. The Fog
2. City Wrecker
3. Running in Place with Everyone
4. Helsinki Winter 2013
5. Daughter of a Dove$13.99Vinyl EP - Sealed Buy Now
VThe emergence of Swedish duo JJ in March 2009 was both meaningful and mysterious. A debut single, 'jj no.1', enchanted the music press, simultaneously existing across indie-pop and hip-hop spectrums, excitingly new and yet frustratingly vague in its presentation. This was a taste, a scent, something intangible, an impression made without force. The music was here, but little else - its makers remained anonymous. Pitchfork's Best New Music review for the band's debut album, summer 2009's 'jj no.2', spoke first of their enigmatic qualities, rather than precisely what this music was: another sumptuous menagerie of styles, blended by an expert hand, intoxicating and otherworldly. Both Elin Kastlander and Joakim Benon appeared in the Marcus Söderlund-directed video to 'Let Go'. Cover, broken.
We didn't mean to be anonymous, to begin with, says Kastlander. We just knew we needed to put our music out.
I'd say we've been working on this album our whole lives, says Benon of 'V', the band's third long-player. It's the thing I've always wanted to do. I feel that we've been working on this album ever since we began to record music. We have never really had any other plan than to make this V shit happen and at the same time we never knew what it was - the story presented itself to us - and it's a story that's always been clear. It's only grown in its own way. And now we're finished, we look at it and back at it, and can begin to realize what it really is, what we have done, because it's something you don't necessarily decide for yourself, even though you've made it. And the songs... we don't write them, we just do our best to catch them forever, for real. JJ have, with new album 'V', realised the definitive expression of their experiences to date, and are finally comfortable with being a press-welcoming, tour-ready outfit.
As Benon explains, everything the pair has produced in the past has been part of this journey, to a zenith that they always sought to reach. But just as 'My Boyz' exists exclusively in and of itself, so too does the new album's material, always envisioned as a whole, separate from other projects despite carrying over select DNA from its pop progenitors.
Tracks like the gorgeously understated 'Be Here Now' and subtle strings of 'When I Need You' float into clarity, coming together from vaporous beginnings. The latter number is one of several on 'V' that showcase how Kastlander has grown as a vocalist. Hers is no indiscernible mumble, no vulnerable presence set to music that fizzes like a beachside cocktail on 'Fågelsången' and soars on digital wings on 'All White Everything'; rather, it's a mix-spearing confirmation that, whatever the bruised heart or open sexuality behind the lyrics, she's intent on connecting without compromise. Words are crisp, intonation perfect. There's still a hard thud on occasion, too: 'Hold Me' opens with lean-flavoured raps, before twisting into a stained-glass confessional of absolute gravity, and 'All Ways, Always' packs substantial swagger beside its rock riffs.
We do it now, sings Kastlander on 'I'. And now really is the time for JJ, as acknowledged by Benon. At last I have music that I really want to listen to, that I want to hear from a stage. In a way, we've made this music quite selfishly, to appeal primarily to ourselves and I really haven't felt this way about our material before. This is the moment. It's for real now.
And why do anything to restrict the sharing of that joy? Evidently at the top of their game in 2014, JJ are ready to, in Benon's words, communicate with the world, quite unlike they've ever done so before. They're embracing, not retreating. Besides, mysteries are more frustrating than fascinating without resolution.1. V
3. Dean & Me
4. All White Everything
5. When I Need You
8. Inner Light
9. Hold Me
11. Be Here Now
12. All Ways, Always$19.99Vinyl LP - Sealed Buy Now
The Carnegie Hall ConcertFrom-the-Vault Live Release Captures Iconic Singer-Songwriter at Height of Her Breakout Period
Half-Speed Mastered from the Original Tapes: Intimate Sonics Make It Seem Like King is Sitting Five Feet Away
Stripped-Down Songs Teem With Warmth, Nuance, Emotion; James Taylor Also Appears
Every so often, a from-the-vault release captures our hearts, minds, and attention in such a way that its impossible not to tell all family, friends, and neighbors about its existence. Originally issued to commemorate the 25th anniversary of Tapestry, Carole Kings The Carnegie Hall Concert: June 18, 1971 is such a record, a fortunate document of an absolutely magical period in the singer-songwriters legendary career and a revealing look at the then-stagefright artist turning in a commanding performance just as she was becoming a superstar.
Half-speed mastered from the original tapes, Mobile Fidelitys numbered limited-edition 180g LP of this compelling concert album brims with liveliness, depth, dimension, detail, and transparency. The nuances of Kings spare performances and warm vocals emanate as if shes sitting five feet away. Stripped down even further than they are on the studio albums, songs breathe with palpable earnestness and emotion, the subtle differences from their more polished studio brethren allowing listeners an insight into Kings creative genius.
At the time of its recording, King still suffered from shyness and who could blame her? She had been accustomed to penning lyrics for other artists and sitting behind a desk in the Brill Building. Only recently did King strike out on her own and enter the public realm. This set encapsulates this contrast in thrilling fashion. Disarmingly genuine and daringly honest, The Carnegie Hall Concert: June 18, 1971 benefits from the inclusion of Kings nervous between-song banter that exposes who she is as a person and performer. Most importantly, despite her anxiety, she turns out stirring renditions of tunes from 1970s Writer, Tapestry, and even a few from Music.
Her control is demonstrated on the records six opening cuts, which feature King alone at her piano. For the remainder of the program, shes accompanied by guitarist Danny Kortchman, bassist Charles Larkey, and a string quartet, which enter and exit according to arrangement. As such, the concert is profoundly intimate and personal, an unplugged session that predated the use of the term by nearly two decades. Longtime collaborator James Taylor joins her for a memorable medley of some of her biggest hitsWill You Love Me Tomorrow/Some Kind of Wonderful/Up on the Roofthe chemistry evident of why the duos 2010 tour was one of the most in-demand outings in years.
Mobile Fidelitys remastered sound ties everything together and is what makes this release extra special. By going to the original source, the audiophile label considerably opens up the sonic perspectives, revealing the spacious acoustics of the famed venue that act in concert with Kings music. In particular, the songs from Writer benefit from the no-nonsense production. You can literally picture Kings piano beside her, and her voice sincere, tender, melodic is rich, full-bodied, and penetrating. Listeners can even hear it crack on occasion, the results a consequence of her nerves. Unpolished and non-synthetic, the performance is better for it.
No, they don't make albums like this anymore. The Carnegie Hall Concert: June 18, 1971 as real as it gets. And so is the sound. Get your collectible copy now!
This title is not eligible for discount.1.I Feel the Earth Move
3.After All This Time
4.Child of Mine
5.Carry Your Load
6.No Easy Way Down
7.Song of Long Ago
10.So Far Away
11.It's Too Late
13.Way over Yonder
15.You've Got a Friend [Performed with James Taylor]
16.Will You Still Love Me Tomorrow?/Some Kind of Wonderful/Up on the Roof [medley; performed with James Taylor]
17.(You Make Me Feel Like) A Natural Woman$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-AST-0871xRaymond Byron And The White Freighter
Little Death ShakerStripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.
This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)
The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.
Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.
More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.
With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.
One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!
The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!1. Allegiance
2. Little Death Shaker
3. Some of My Friends
5. You'll Never Surf Again
6. Don't That Lake Just Shine
8. A Little More Credit
9. Some Kind of Fool
10. You're Not Standing Like You Used To
12. Meridian, MS
13. Allegiance 2$19.99Vinyl LP - Sealed Buy Now
Home AgainFew records make such an instant impression as Home Again, the debut album by Michael Kiwanuka, winner of the prestigious BBC Sound of 2012 prize. Immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. For Kiwanuka, key musical touchstones include Marvin Gaye, Otis Redding, Bob Dylan, Paul Simon, Shuggie Otis, Roberta Flack's First Take, Bill Withers' Live At Carnegie Hall and D'Angelo's modern soul landmark Voodoo.
Born in Muswell Hill to Ugandan ÉmigrÉ parents, Kiwanuka was brought up in a home from which music was largely absent, with his first introduction to rock (Nirvana, Radiohead) arriving at the same time as he began to hang with the skater kids in the north London suburb during his early teenage years. Later coming across a soul compilation album given away with a music monthly, he was enthralled by the sound of Otis Redding's studio talkback discussions with his engineer while recording an outtake version of (Sittin' On) The Dock Of The Bay. From this point on, he resolved to make music that sounded raw and authentic.
Though deeply into soul and jazz, he found real inspiration in the cross-pollination of the two styles with folk in the music of Bill Withers. "Bill Withers was very rootsy and earthy," he points out, "but people branded him as a soul singer. To me, he was a folk artist. So that encouraged me to keep going, 'cause I didn't know where I would fit in as a black guy with an acoustic guitar."
While performing on the acoustic circuit around London, Kiwanuka quickly attracted interest and made connections, not least with his current manager who in turn garnered the attention of Communion Records, the label that in 2011 released the singer's first two acclaimed EPs, Tell Me A Tale and I'm Getting Ready. Both of these EPs, as with Home Again, were produced by Paul Butler (The Bees) in his vintage equipment-stuffed basement studio at his house in Ventnor on the Isle Of Wight. Together the pair played almost every instrument to be heard on the album, with Butler's remarkably intimate, detailed productions adorned with everything from flute to brass to sitar to aching strings, perfectly matching Kiwanuka's visions for his songs.
"The way we made the record was very modern," the singer points out. "There was loads of editing. We manipulated it to get exactly what we wanted." From the opening bars of the stirring Tell Me A Tale, it is instantly clear that Home Again is a very special album. While its more upbeat characteristics are embodied in the Prince Buster-like loping of the lovelorn but irresistibly catchy Bones and the rolling soul groove of I'll Get Along, elsewhere it proves itself to be a record of real stripped-down beauty.
In I Won't Lie, with its gospel-infused echoes of The Staples Singers, Kiwanuka offers something akin to a modern spiritual, while in Rest he turns in a tender love lullaby and in Always Waiting, he blends classical elements with the confessional intimacy of Roberta Flack. It is with the title track of Home Again, however, that Michael Kiwanuka feels the record's sounds and themes are ultimately encapsulated. "That's the song that really for me ties everything together," he says. "It's one of the earliest songs I wrote for the album and even though I progressed and changed stuff in the studio, it was the one I could never throw away. Like a lot of them, it's a hopeful song. I use home as the metaphor for contentment and peace within."
Other parts of the record, on the other hand, find Kiwanuka struggling for peace of mind and using his songs as a form of self-empowerment, not least in the soulful I'm Getting Ready, the darker, unburdening Any Day Will Do Fine and the self-explanatory Worry Walks Beside Me. "It can really paralyze you, if you worry too much," the singer admits. "I do tend to overthink things. All of these songs are me talking to myself, really. Trying to encourage myself to believe."1. Tell Me A Tale
3. I'll Get Along
4. Home Again
5. I'm Getting Ready
7. Always Waiting
8. I Won't Be Long
9. Any Day Will Do Fine
10. Worry Walks Beside Me
11. Lasan$19.99Vinyl LP - Sealed Buy Now
Cosmic EggCosmic Egg is the sophomore release from the Australian rock outfit Wolfmother and besides vocalist and guitarist Andrew Stockdale, the album features an entire new lineup consisting of bassist/keyboardist Ian Peres, guitarist Aidan Nemeth and drummer Dave Atkins. Despite the overhaul, Cosmic Egg is yet another slice of Zeppelin-esque classic rock, with mammoth guitar riffs and top of the mountain vocals. The album was recorded with My Bloody Valentine producer Alan Moulder.1. California Queen
3. White Feather
4. In the Morning
5. 10,000 Feet
7. Eyes Open
8. In the Castle
9. Back Round
10. Cosmic Egg
11. New Moon Rising
14. Far Away
16. Violence of the Sun$34.99Vinyl LP - 2 LPs Sealed Buy Now
Blues In My BottleThe great Lightnin' Hopkins was one of the most natural of bluesmen-a poet who would often make up lyrics as he recorded. Because his meters and chord changes were frequently irregular, he was at his best when
unaccompanied, as on this 1961 Prestige date. Besides such blues standards as Wine Spodee-O-Dee, Blues in
the Bottle, and Catfish Blues, the album contains originals, including Beans, Beans, Beans about his stint on a railroad track gang and D-7 about his aversion to flying.1. Buddy Brown's Blues (98 Degree Blues)
2. Wine Spodee-O-Dee
3. Sail On, Little Girl, Sail On
5. Death Bells
6. Goin' To Dallas To See My Pony Run
7. Jailhouse Blues
8. Blues In The Bottle
9. Beans, Beans, Beans
10. Catfish Blues
11. My Grandpa Is Too Old!$21.99Vinyl LP - Sealed Buy Now