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Born To Be Wild'
Gold: Their Great Hits
Single 33 1/3 RPM LP Includes Poster Insert
Mastering By Kevin Gray At Cohearent Audio
Mastered From The Original Analog Tapes
200-Gram Plating And Pressing By Quality Record Pressings
Get your motor runnin' baby - Steppenwolf's Gold: Their Great Hits took its title literally. The towering rock album success rang in at No. 24 on the Billboard Pop Albums chart and became certified gold for record sales in excess of 500,000 units by the Record Industry Association of America (RIAA) in April 1971.
AllMusic praised the production and engineering of most of the tracks and called it a nearly perfect introduction to the band. Acoustic Sounds and Analogue Productions want to introduce you to the most sonically perfect version of this historic album you've ever heard on vinyl. Our 200-gram 33 1/3 RPM reissue was remastered from the original analog tapes by Kevin Gray at Cohearent Sound and plated and pressed by Gary Salstrom and his crew at Quality Record Pressings, makers of the world's finest-sounding LPs.
The Canadian-American rock band, named for Hermann Hesse's mystical novel, rocketed to worldwide fame after their third single Born to Be Wild dropped in 1968. The song and Steppenwolf's version of Hoyt Axton's The Pusher figured prominently in the 1969 counterculture cult film Easy Rider, and both show up on Gold's track list. Two other singles on this stunning album compilation also cracked the Top 10 on the charts: Magic Carpet Ride and Rock Me.
Magic Carpet Ride was released in 1968 on the album The Second. It was written by band members John Kay and Rushton Moreve, peaked at No. 3 in the U.S. and stayed on the charts for 16 weeks, longer than any other Steppenwolf song.
You also get the Don Covay soul cover Sookie, Sookie, which got airplay on some soul stations nationwide, as well as rock 'n' roll radio. Gold also includes Hey Lawdy Mama the hit studio single from Steppenwolf Live.
Steppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.
This title is not eligible for discount.1. Born to Be Wild
2. It's Never Too Late
3. Rock Me
4. Hey Lawdy Mama
5. Move Over
6. Who Needs Ya
7. Magic Carpet Ride
8. The Pusher
9. Sookie, Sookie
10. Jupiter's Child
11. Screaming Night Hog$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Wild And RecklessEarlier this year, the Portland, Oregon-based Blitzen Trapper accomplished a unique feat for a rock band who has been releasing albums and touring for the better part of two decades: a staged musical titled Wild & Reckless that ran for 28 performances at Portland Center Stage. Today, the band is announcing a new album of the same title that was born from the stage production and as a companion to their 2008 breakthrough album Furr.
'Rebel' is a song about a guy who for the love of a girl follows in his father's footsteps only to find it to be a scam, explains principal and frontman Eric Earley. After several tries at the American dream he ends up selling cocaine to blue bloods in the Hollywood hills. Something of a lost Raymond Carver story with shambling near-country soundtrack.
The album Wild & Reckless was born from the stage production that the band spent the better part of a year producing. The half musical, half rock-opera dealt with heroin abuse, desperation, true love and western power structures. The story evoked a bygone era of Portland with this sci-fi love story, featuring a rock-and-roll score that paired unreleased songs with favorites from the band's catalog.
Following the success of the production, the band took 7 original songs from the production and developed the theme further into the 12 songs that comprise the new album Wild & Reckless.
Frontman Eric Earley also sees the record as a companion and extention of their 2008 album Furr. Wild and Reckless is something like a cross-eyed stepchild to Furr, in that it chronicles the darker dystopian stories of rural and suburban west coast death-drive via a riffing psychedelic landscape. Ten years after Furr with all its talk of murder and the end of the western world, it seems there's more to tell.
Blitzen Trapper is Eric Earley (songwriter/singer), Erik Menteer (guitar, keyboard), Brian Adrian Koch (drums, vocals), Michael Van Pelt (bass) and Marty Marquis (keyboard, vocals). Wild & Reckless was produced by Eric Earley and Michael Van Pelt and was recorded by Gregg Williams at The Trench, in Portland, Oregon. It was mixed by James Brown (Foo Fighters, Kings Of Leon, Blitzen Trapper's All Across This Land) at The Union.1. Rebel
2. Wild & Reckless
3. Forever Pt. 1
5. No Man's Land
6. Stolen Hearts
7. Dance With Me
8. Love Live On
9. When I'm Dying
10. Baby Won't You Turn Me On
11. Forever Pt. 2
12. Wind Don't Always Blow$18.99Vinyl LP - Sealed Buy Now
The Best Of Wilson Pickett Volume 2
The Anniversary Release Of His Second Stunning Greatest Hits Album
Impeccably Mastered By Joe Reagoso At Friday Music Studios & Capitol Mastering
First Time Audiophile Vinyl & Original LP Cover Presentation
Wilson Pickett was truly one of the finest r&b and pop recording acts of all time. Forever associated with his sophisticated soul and rock vocal prowess, the legendary artist continues to garner both new and old fans alike with his amazing output of top charting hits and fine albums recorded over the years.
After years of huge hit singles and amazing albums with Atlantic Records, the label awarded the superstar once again with a terrific greatest hits collection simply titled "The Best Of The Wilson Pickett Volume II." Featuring more of his later 60's and early 70's hits like the smash Gamble and Huff groover "Don't Let The Green Grass Fool You", the funk filled "Get Me Back On Time, Engine Number 9", and of course his powerful interpretation of The Beatles "Hey Jude, this Lp was worth its' weight in gold!
The multi-platinum superstar continues this awesome collection with more classics like his soulful renditions of Steppenwolf's "Born To Be Wild", The Vanilla Fudge/ Supremes smash " You Keep Me Hangin' On" and The Archies pop classic "Sugar, Sugar", of which all became huge hit records for this sorely missed artist.
Friday Music is no stranger to the music of the "Wicked" Wilson Pickett, that is why we are so very honored to announce our second installment in The Wilson Pickett/Friday Music 180 Gram Audiophile Vinyl Series with his masterpiece "The Best Of The Wilson Pickett Volume II."
The long out of print original Atlantic Records classic is now mastered impeccably by Joe Reagoso (Earth, Wind & Fire/ The Spinners) and pressed for a very limited time on stellar 180 Gram Audiophile vinyl. This first time anniversary release will also be presented with the original rare Lp cover elements.
Wilson Pickett .The Best Of The Wilson Pickett Volume II" ..Impeccable first time audiophile "funk" vinyl .From Your Friends at Friday Music!1. Don't Let The Green Grass Fool You
2. Sugar Sugar
3. Get Me Back On Time, Engine Number 9
4. I'm A Midnight Mover
5. A Man And A Half
6. Born To Be Wild
7. She's Lookin' Good
8. I'm In Love
9. Hey Joe
10. Cole, Cooke & Redding
11. Hey Jude
12. You Keep Me Hangin' On
13. I Found A True Love$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
TribalLast summer Imelda May became a mother for the first time. You might expect her to turn to singing ballads. You would be horribly wrong.
"There are no lullabies on this album," laughs the lady who's brought rockabilly back into fashion sixty years after it was kicked into life by young men like
Carl Perkins and Elvis Presley, Gene Vincent and Jerry Lee Lewis.
"Tribal" is as primal a rock 'n' roll record as you could ever find, infused with the spirit of Sun Studios, where the sound was born in Memphis, Tennessee -
but given a 21st century kick up the butt by a girl from the back streets of Dublin.
Tribal" - her third album, following "Love Tattoo" and the Top Ten hit "Mayhem" - is her punchiest yet.
The songs on "Tribal" are infused with the rebel spirit that launched rock 'n' roll on an unsuspecting world way back in the mid-1950s, but also the rebel
spirit of the punk bands Imelda admired growing up in Dublin in the late 1970s as the youngest of five siblings - The Clash and The Undertones, The
Buzzcocks and The Cramps.
The motto for the way Imelda lives her life is the title of her new single 'It's Good To Be Alive'. "I wrote it in the early hours of the morning one day after I
had the baby," she reveals. "I was sleep-deprived and feeling very exhausted. I looked out of the window, watched the sun rise through the trees and felt
- God, it's good to be alive!"
Other song titles sum up Imelda's zest for life. 'It's Good To Be Alive'. 'I Wanna Dance'. 'Wicked Way'. 'Wild Woman'. Especially the latter, with its chorus:
"There's a wild woman livin' inside of me/A wicked, wicked wild woman, dyin' to be free". "You see people toning it down and becoming more responsible
as they get older. But inside, there's still the lunatic inside"1. Tribal
2. Wild Woman
3. It s Good To Be Alive
4. Gypsy In Me
5. Little Pixie
6. Hellfire Club
7. Five Good Men
8. Ghost Of Love
9. Wicked Way
10. Round The Bend
11. I Wanna Dance
12. Right Amount Of Wrong$19.99Vinyl LP - 2 LPs Sealed Buy Now
Cat Stevens - Collected
180 Gram Audiophile Vinyl
High-Quality PVC Protective Sleeve
Includes Liner Notes
Selection Of Classic Pop Songs Includes The Hits Matthew & Son, The First Cut Is The Deepest, Lady D'arbanville, Wild World, Morning Has Broken, His Work As Yusuf Midday (Avoid City After Dark) And Many More
Cat Stevens grew from being a teen idol of the 60s into one of the most influential singer-songwriters of all time. In addition to his vast musical achievements, his lifelong spiritual quest has added intrigue and depth to a groundbreaking career.
Cat, born Steven Demetre Georgiou, achieved early success in the mid-60s with I Love My Dog and Matthew and Son. He is a prolific songwriter writing songs such as Wild World and Lady D'Arbanville and The First Cut Is The Deepest the latter, in particular, would go on to become an international hit on multiple occasions for a variety of artists. Also included is Cat Stevens' version of Morning Has Broken a popular and well known Christian hymn which became one his biggest hits.
The Collected collection by Cat Stevens is a 2LP gatefold album, largely chronological through Stevens' career, ranging from his hits Matthew & Son to Midday (Avoid City After Dark), credited to the singer's latter-day Yusuf Islam identity. Stevens remains one of the few early 70s singer-songwriters specialized in folk and pop-songs, whose oeuvre continues to attract new listeners with every passing generation. This Collected album will only add to their numbers.LP 1
1. Matthew & Son
2. I Love My Dog
3. I'm Gonna Get Me A Gun
4. The First Cut Is The Deepest
5. A Bad Night
6. Peace Train
7. Where Do The Children Play?
8. Hard Headed Woman
9. Wild World
10. Lady D'arbanville
11. Father And Son
13. I Want To Live In A Wigwam
14. Tuesday's Dead
1. Morning Has Broken
4. Can't Keep It In
5. The Hurt
6. Oh Very Young
7. Banapple Gas
8. Two Fine People
9. Another Saturday Night
10. (Remember The Days Of The) Old Schoolyard
11. Child For A Day
12. Yusuf - Midday (Avoid City After Dark)$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Let Freedom RingImport
Prophet started his wild ride back in 1984, when Green on Red, the
seminal purveyors of American Rock-Roots, plucked him out of
Berkeley, CA and threw him in the van for an eight-year ride, and the
recording of as many albums. Since then Prophet has recorded nine
amazing solo albums and toured and recorded with the likes of
Lucinda Williams, Aimee Mann, Cake, and Jonathan Richman, not to
mention production credits for Warren Zevon, Alejandro Escovedo
and Kelly Willis. Ryan Adams, Solomon Burke and Heart have
recorded his songs, along with a host of others. Prophet has never
been one to rest on his laurels and ride it out.
For his ninth solo album Let Freedom Ring, Chuck reached out to
some musicians and talked them into going down to Mexico City, The
Biggest City in the World (pop. 25 million). Recorded at Estudio 19, a
state-ofthe- art studio (well, circa 1958 state-of-the-art anyway) with
Greg Leisz (Beck, Wilco, Emmylou Harris) coproducing.
Within three days of arriving swine flu broke out and the indignity of
having to wear blue surgical masks just to fit in.
Over the course of the next eight days, the band set about recording
¡Let Freedom Ring!, enduring a poorly timed blackout, shakedowns
by the Policia, and a 6.4 earthquake mid-take - Mexico City might only
be 4 hours away by plane but it might as well have been on the other
side of the moon. But whilst mayhem ensued, the band buckled down
to the task in hand, all set up together in a tight little bamboo lined
room with the amps cranked. Chuck played his Fender Squire, Kelly
Stoltz on backing vocals, Rusty Miller (Jason Lyteâ€Ÿs band) played
bass while Drummer Ernest Boom Carter turned his sticks into
kindling. Carter played on Springsteenâ€Ÿs Born To Run - he promptly
quit the E Street Band after they spent 6 months recording it. The
results can be heard from the Clash inspired opener to the power pop
of Let Freedom Ringâ€Ÿ and the Eddie Cochran infused Good Time
Crowdâ€Ÿ.1. Sonny Liston's Blues
2. What Can A Mother Do
3. Where The Hell Is Henry?
4. iLet Freedom Ring!
5. You And Me Baby (Holding On)
6. American Man
7. Barely Exist
8. Hot Talk
9. Love Won't Keep Us Apart
10. Good Time Crowd
11. Leave The Window Open$35.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Period of Review (1975-1983)
Expert Mastering By Greg Davis, Liner Notes By K. Leimer And Dave Segal
Double LP Packaging Features Unique Reverse Flap Exterior, Full Color Eurosleeves, &
For the third installment in RVNG Intl.'s archival series, the tape is wound back to 1970s
Seattle, home place of ambient music savant K. Leimer. A Period of Review (Original
Recordings: 1975-1983) unearths unreleased portions of Leimer's vast archives and
highlights the work of a self-taught visionary whose use of generative compositions ferried
his music to infinite resonance.
Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family
permanently settled in Seattle in 1967. Kerry's teenage interests and artistic experiments
blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s,
Leimer found musical parallels to these visual movements by studying import copies of NME
and Melody Maker and inquiring with local record store clerks about the exotic descriptions
he read of Can, Neu! and Faust-innovators who were bringing the wild dictates of 60s art-discourse into music
The tape-manipulated serenity Leimer experienced with Cluster's II was a key revelation.
Leimer realized the potential to compose with minimal training and scoured pawnshops
for cheap instruments and recording equipment to transpose his wayward musical instincts.
Leimer's sound palette and composition soon refined and heightened with the accessibility of
dynamic equipment such as the Micromoog and TEAC multi-track tape machines.
Synchronously, the Terry Riley indebted loop-based compositions of Robert Fripp and
Brian Eno's No Pussyfooting inspired Leimer to form recursive musical passages of bare
timbre and melody that would become hallmarks of his sound. "The loop provided an
instant structure-a sort of fatalism," recollects Leimer in A Period of Review's liner notes. "The
participation of the tape machine in shaping and extending the music was a key to setting
self-deterministic systems in motion and held a clear relationship to my interests in fine art."
The underground music scene of Seattle/Olympia in late 70s was small but seeded.
The vestiges of prog rock pompously pummeled the few clubs and record shops before
punk and New Wave became the rage. Leimer sought to support a growing community of
experimental composers by launching the Palace of Lights record label in 1979 with his wife
Dorothy Cross (this was years prior to the birth of regional titans K Records and Sub Pop).
Leimer rarely performed live, averting the litmus of instant appreciation for his solitary
studio pursuits. Tellingly, the "K." that abbreviated Leimer's first name was a nod to Kafka's
doomed pariah Josef K (from The Trial and The Castle). This gives a sense of the reclusive
and literary realm Leimer was fond of working in. Despite his reticence, Leimer's debut 1980
album Closed System Potentials would reach a receptive audience, and eventually sell more
than 3,000 copies thanks in part to Cross's persistent advocation to independent distributors
A Period of Review focuses on unheard material outside of the work Leimer offered on
Palace of Lights, though even that music could be considered relatively "unheard." The thirty
tracks of A Period of Review may have remained a mystery on moldy reels until now, but
Leimer's entire catalog of generative music remains pristine in its absolute power.
Liner notes were crafted by Seattle writer David Segal. Top-tier mastering was done by
Greg Davis, who produced the compilation with Palace of Lights artist Robert Carlberg, RVNG
and Kerry Leimer himself, who continues making music to this day.LP 1
2. My Timid Desires
3. From A Common Center
4. Explanation of Terms
5. From One To Ten
7. Bump In The Night
8. (aka accident)
9. Facing East
10. At Daybreak
11. A Spiritual Life
12. Honey To Ashes
13. Stop It!
14. Two Voices
15. Lonely Boy
16. Practical Demonstration
3. Archie's Dub
6. Assemble and Diffuse
7. Eno's Aviary
8. Almost Chinese
9. Agfa / Lupa
10. The Phonic Chasm (feat. Dawn Seago)
13. All Sad Days
14. Porcelain (feat. Nancy Estle)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Life. Love. Flesh. BloodImelda May's fifth studio record, entitled Life. Love. Flesh. Blood, is set for release via Verve Records.
It is clear that one of Ireland's biggest exports has found a new groove, here presenting the most personal and intimately autobiographical album she has ever written. The album is produced by the legendary T Bone Burnett, who said of Imelda: "When I first happened onto her music, she was a punky Irish Rockabilly singer with a great band. When I ran across her several years later, she had gone through a change of lives and was writing about it with a wild intensity and singing about it in the most open-hearted way."
The album marks a new direction for May who, in the time since her 2014 release Tribal, ended her marriage of eighteen years. Imelda May's new sound sits firmly outside of any sharply defined genre box, widely spanning blues, rock, soul, gospel and jazz. Life, Love, Flesh, Blood breathes new life into a classic sound, with Imelda's powerhouse vocal as distinctive as ever, cementing her position as one of the strongest vocalists of her generation. The singer herself describes the record as her most "honest" yet. Imelda's life changed considerably in the run-up to recording, and this is documented in the only way she knew how. Imelda explains, "It's therapy, like keeping a diary that a lot of people read. Some of my favorite songs don't say much, but they reveal everything."
Recorded over seven days in Los Angeles, the album features musical contributions from guitar hero Jeff Beck ("Black Tears"), piano legend Jools Holland ("When It's My Time") and an accomplished group of backing musicians including the core trio of guitarist Marc Ribot (Tom Waits, Elvis Costello), drummer Jay Bellerose (Elton John & Leon Russell, Ray Lamontagne) and bassist Zach Dawes (The Last Shadow Puppets, Mini Mansions), the same band that recorded Robert Plant and Alison Krauss' Raising Sand.
First single "Black Tears" is a personal and heart-wrenching ballad, it features a distinctive slide guitar part, coupled with a unique picking and guitar tone that could be the handiwork of only one man - the legendary Jeff Beck. Jeff Beck says of Imelda, "I knew it from the start you cannot ignore talent this unique."
Imelda showcases her raw yet restrained breathtaking lead vocal, complimented by rich backing vocals and a super tight rhythm section. Written with Angelo Petragalia (Kings of Leon), the inspiration for the song's visual and poignant lyrics was inspired by a very personal moment for Imelda: "I wrote Black Tears with Angelo Petraglia after a heart-wrenchingly difficult goodbye. I closed my door and caught a glimpse of myself in the mirror with black tears rolling down my face. It's a sight and situation most women have unfortunately seen ourselves in at some point in life. Angelo had a beautiful guitar piece that fit the mood perfectly."
Imelda May, born and raised in The Liberties area of Dublin, has become one of Ireland's most celebrated female artists in history. Discovered by Jools Holland, who asked Imelda to support him on tour, Imelda has gone on to perform alongside legendary artists including Lou Reed, Bono, and Smokey Robinson.1. Call Me
2. Black Tears (feat. Jeff Beck)
3. Should've Been You
4. Sixth Sense
6. How Bad Can A Good Girl Be
7. Bad Habit
9. When It's My Time (feat. Jools Holland)
10. Leave Me Lonely
11. The Girl I Used To Be$22.99Vinyl LP - Sealed Buy Now
PainWhen Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: "Let's not make anything that's going to last. If we're together for just two shows, then that's what it is." They've deviated some. Over the course of eight years, the Melbourne foursome-bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung, with each member contributing vocals-have instead amassed one of rock's most exhilarating bodies of work, a concise run of wooly seven-inches and white-knuckle LPs whose legendary live translation has been most accurately described as "unhinged." All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. "We didn't really know what this band was," Tjhung says. "We had something, but it wasn't clear-we had to figure out what that was." This year marks the arrival of Pain, the first they've written since coming together again semi-permanently in Melbourne, and their appropriately titled first full-length for Sub Pop. (Last October's St. Vincent EP was their proper Sub Pop debut.) It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they've ever had before, they're found themselves confronted with ideal (yet foreign) conditions. Two-minute freakouts like "Eyes Closed" share airspace with the meditate squall of "On" and the guitar-born majesty of "Calypso." Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne. Pain was mastered by Mikey Young (Eddy Current Suppression Ring, Total Control). "It's a simple thing," Tjhung says of their approach. "Simple takes the worry out of it. If we try to step it up and go sideways, it just doesn't seem to work. But we've grown up and been through some shit. To get to this point you have to bust through a few walls. It's easy to be new, and I think, in the end, this is what it is. When you put these people in the room, it's Deaf Wish."1. The Whip
2. Newness Again
3. They Know
4. Sunset's Fool
5. Eyes Closed
8. Sex Witch
10. Dead Air
11. Calypso$16.99Vinyl LP - Sealed Buy Now
Seeking Major TomWith a career that spans over 5 decades, Canadian-born actor William Shatner has become an instantly recognizable star of stage and screen whose vocal delivery, primarily in his performance as the square-jawed Capt. James T. Kirk, is as iconic as it is legendary.
The versatile Shatner has also brought his unique interpretive talents to the music world as well, first in 1968 with the cult favorite The Transformed Man and later in 2004 with Has Been. Now Shatner has returned to familiar territory, space in this wildly inventive concept album featuring brand new recordings of Shatners much celebrated speak-sing delivery on a host of classic rock favorites and other space-themed songs.
With guest appearances by an all-star cast of rock legends, Seeking Major Tom is sure to be one of the most talked about releases of 2011!1. Major Tom (Coming Home) feat. Nick Valensi (The Strokes)
2. Space Oddity feat. Ritchie Blackmore & Candice Night
3. In A Little While feat. Lyle Lovett
4. Space Cowboy feat. Brad Paisley & Steve Miller
5. Space Truckin feat. Ian Paice (Deep Purple) & Johnny Winter
6. Rocket Man feat. Steve Hillage (Gong / System 7)
7. She Blinded Me With Science feat. Bootsy Collins & Patrick Moraz (Moody Blues)
8. Walking On The Moon feat. Toots Hibbert (Toots & The Maytalls)
9. Spirit In The Sky feat. Peter Frampton
10. Bohemian Rhapsody feat. John Wetton (King Crimson / Asia)
11. Silver Machine feat. Wayne Kramer (MC5) & Carmine Appice (Vanilla Fudge / Rod Stewart)
12. Mrs. Major Tom feat. Sheryl Crow
13. Empty Glass feat. Michael Schenker
14. Lost In The Stars feat. Ernie Watts
15. Learning To Fly feat. Edgar Froese (Tangerine Dream)
16. Mr. Spaceman feat. Dave Davies (The Kinks)
17. Twilight Zone feat. Warren Haynes (Govt Mule / Allman Brothers)
18. Struggle (original track William Shatner / Adam Hamilton)
19. Iron Man feat. Zakk Wylde & Mike Inez (Alice In Chains)
20. Planet Earth feat. Steve Howe (Yes / Asia)$54.99Vinyl LP - 3 LPs Sealed Buy Now
TookahTookah is Emiliana Torrini's fourth album and it follows 2008's critically acclaimed Me And Armini. It sees Emiliana back in the studio with her long-time producer/collaborator Dan Carey.
'Tookah' was written at different stages over a 3 year period, the oldest song being "When Fever Breaks" which was written having come off a tough two year tour which took it's toll in many ways.
"The only way to deal with things is to go into the studio and do music, it is like brain scrambling. You come out of the session clearer as you get to step out of yourself take a look and deal with it."
Other songs like 'Autumn Sun' were written in Iceland.
"We had done that before, gone on a week's writing trip to Iceland, wrote five songs in that week which all made it onto ´Me and Armini´. We were kind of expecting the same to happen. It didn´t. We only wrote 'Autumn Sun'. It was extremely frustrating. Lyrics were hard to write for this album and I spent day and night trying to finish it - with Dan standing over me in military mode. The only time in my life I did not like him much."
On the airplane we realized Dan had left his computer at the airport - it had the only copy of the song. He ran out to find it and just made it back just before the doors closed. We had a terrifying landing that almost ended badly. We grabbed each other and the only thing we said was "Nooo the song! It will be lost forever!"
This record was my sound journey. I had not long had my baby and was getting my head around this huge love I had for him and then being absolutely devastated that I might have dragged him out of a world where he was wild and free, riding horses, swimming in rivers and eating over open fires, to this world where the bad is too much to handle. I had a new identity to figure out and the record was the tiger in the rowing boat. It was going nowhere. I did not like the music we were doing because we had done it before. We knew how to craft that. I needed a challenge, proof that something in me had shifted and it had to be musically as well. I was driving myself too hard.
Dan told me I was not ready to make a record, that I should forget about it for a while, just hang out.
So, we started hanging out, in the studio. In my head the difference was we were not making a record. I discovered the Oberheim on Youtube and that changed everything. That and the Swarmatron Dan had bought. We knew we would plaster it all over the record before we knew what the record was.
I pulled some friends together I was writing with Simon Byrt, ("Blood Red", "Elísabet"), Ian kellett (´Elísabet) and Matt Robertson who are real synth nerds and we started playing around and having fun. We went to Dan´s and jammed and started doing some synth symphonies.
After you have a baby there comes a time where you need to go out with your girlfriends and dance. I went to the studio with Dan and did a dance track "Speed of Dark." We danced. It had to be on the record it was a part of the journey. From that the sound of the record was born, it was a challenge bringing it all together.
The sound was worked very visually. There are almost two stories to each song there is the lyrical visual and then there is a whole different visual that comes with the instrumental and that is how the sound was often directed. "Home" is a very good example of how the sound was built from a visual. When we were writing it, it was clear it had to have a very certain feeling. ´I wanted it to have the visual of you standing in snow blinding white, watching your breath in the cold, not feeling the cold. You look to your left and a lake stretches out frozen and huge. You walk over it to the other side into a forest, you lose direction. Completely lost and helpless. Fireworks start lighting up the sky and you feel a wave of relief. You walk towards them. In the king blue sky they start changing into jelly fish in neon flashing colours, leading the way to home.´ We did not stop until we saw that when playing it.
'Tookah' is a made up word. It came when I was improvising and I connected with that word or name in a very deep blissful way. It is the core of you. The 'you' you were when you were born, before life decorated you like a Christmas tree with all the baggage. It is what connects us with everyone and everything.
It is what the sufis spin for, what we are looking for all our lives. It is the sudden thankfulness you feel when doing nothing in particular, where everything is gently perfect for a moment. God has many names. I call mine 'Tookah'.
- Emiliana Torrini1. Tookah
3. Autumn Sun
6. Animal Games
7. Speed of Dark
8. Blood Red
9. When Fever Breaks$18.99Vinyl LP - Sealed Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now
409Purple play pop music. Messy, dirty, raucous, grit-spitting, tequila-glugging pop music. They do not apologise for this. They have a big streak of it running skunk-like up their backs and through urgent tunes full of indie-punk snarl and piss and vinegar, but driven by grooves deep enough to rival any hop-hop classics. They are wrestling pop away from the world of vocoders, slick dance routines and coquettish airheads and bringing back to where it belongs: to the beach, to the house party, dancing on the table in that bar you need a fake ID to get into. They like to bare flesh and play until they bleed. Good things followed: a huge local following, two managers and endless touring.
'(409)' is the name of the area code for their East Texas neighbour and the name of Purple's debut album produced by Chris 'Frenchie' Smith (...Trail Of Dead, Jet ). Recorded in El Paso, '(409)' is an album that's borne out of endless jams and no shortage of live shows where Purple offer a combination of the explosive and the celebratory. Instruments are abused and crowds are surfed; their shows are somewhere between the wild, fleshy abandonment of early White Stripes. "We're positive people," shrugs Busby. "We're always looking for the party somewhere. Or maybe we are the party."
Pop is there in the 60s garage-influenced brilliance of 'Beach Buddy', a song propelled by a dual girl/boy vocal and the same endless summer joie de vivre of Ramones, Black Lips and Weezer . The chorus is an earworm that burrows deep. It's there too in 'Wallflower', a joyously uplifting song that flips the usual script and sees a girl ardently - some might say aggressively - pursuing an admirer through the upended bottles, overflowing ashtrays and tangled limbs of a party: "I'm a girl - you're supposed to be chasing me!" With definite shades of Bikini Kill and No Doubt it's the best femme-punk song we've heard in an aeon. 'Head On The Floor' meanwhile is a proto-grunge song that swings like early Hole and has a whole of soul.
'(409)' is certainly an album with sand in its shoes and a rocket up its ass. It transports you to a better place. Listening to Purple quickens your pulse. Gives you the sweats. Has you reaching for a cold one. And then another. And then ten more. They make you feel alive. They are good for you.1. Wallflower
2. Double Nickels
3. Leche Loco
4. Beach Buddy
7. Head On The Floor
9. New Born
10. DMT$22.99Vinyl LP - Sealed Buy Now
Tyler Bryant And The ShakedownA Band On The Verge Of Rock N Roll Greatness!
After carving out a fervent fan base and drawing widespread critical applause with their heady, high-voltage brand of guitar-driven rock, shooting from both hip and heart, Nashville's Tyler Bryant & The Shakedown find themselves at the epicenter of an advanced rock 'n' roll adventure that continues to take them around the world, appearing at some of the biggest venues along the way
Starting with a guest spot on AC/DC's 'Rock or Bust' World Tour in 2016, the quartet - Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age - have continued to share events and stages with some of rock's most legendary names, including Guns N' Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.
At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown - The Shakedown to friends and fans - have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records - the most immediate and exciting result being an 11-track, self-titled studio album set to be the label's inaugural release, with November 3rd locked in as the day of the launch
"So many great things have happened over the past few months," exclaims Caleb, "and it's all just so surreal. I remember seeing that Guns N' Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn't it be amazing if we appeared on both of those shows and we did!"
Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown
"The instant we started playing, I knew there was something special," reflects Caleb. "We played our first show a week later and haven't stopped since!"
The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.
All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown's sound. As Tyler recalls, "his bass sound scared me and he brought an edge and an attitude to the band that we didn't even know we needed."
2013's 'Wild Child' album announced the quartet's arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.
Following the release of 'The Wayside' EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N' Roses on a European tour
"We had just decided to self-produce a record completely on our own," says Tyler. "I'll never forget driving home that morning and getting a call from our manager saying, 'You wanna go back to Europe with Guns N Roses?' That was a great kick-start to the first day of tracking."
So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.
Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world - music based on authenticity and emotion, under-pinned by core values and beliefs.
In this respect, Tyler Bryant & The Shakedown - who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin' Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three - are a flagship representation; what's more, in 'Tyler Bryant & The Shakedown' they've delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.
"This is the definitive Shakedown record as of now, and that's why we decided it should be self-titled," explains a fired-up Tyler. "It's the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It's not just a guitar album; it's a song album, and I'm proud to hang my hat on this one."
The first single / video, 'Heartland', introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, "There's a slow beat in the heartland, going down in the quicksand, stack 'em up and watch the cards fall, if it happens to one, then it happens to all".
"It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they're singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in.
Elsewhere, 'Backfire' struts along on a stomping drum groove driven by thick distortion with lyrics "about pulling the short end of the straw and feeling vengeful". Then there's 'Aftershock'. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.
"That's a tune about feeling the effects of a situation long after it's come and gone.
As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N' Roses (again), The Who & Alice Cooper - as well as making their first appearance at Rock In Rio - this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled
"I want people to put this on and literally escape," Tyler leaves off. "I hope they feel free. That's what rock 'n' roll makes me feel. You don't have to think about your bills or any of the other things that have the power to bring you down when you've got your fist up in the air, your eyes closed and you're lost in the music. Angus Young told me, 'You've got to make the audience think you're taking them on a journey, and they'll go with you. If you believe it, they will too'. I believe it with this record."1. Heartland
2. Don't Mind The Blood
3. Jealous Me
5. Ramblin' Bones
6. Weak And Weepin'
7. Manipulate Me
8. Easy Target
9. Magnetic Field
11. Into The Black$29.99Vinyl LP - Sealed Buy Now
The Divine Miss MNumbered Limited Edition
Midler's Grammy-Winning 1972 Debut Announces the Birth of a Superstar
Record Overflows With Energy and Personality: Torch Songs, Girl-Group Classics, Campy Remakes, Theatrical Pieces Delivered With Supreme Emotion
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Plant in North America): Midler's Voice Upfront and Centered, Every Nuance of Her Phrasing Laid Bare
Oh, behave! Bette Midler's sparkling, energy-pulsing 1972 debut features the singer honing her trademark brassy personality as well as showing off an intimate, raw edge that fell by the wayside later in her career. Witness her forlorn, melancholic, and heartbroken moods, all conveyed with supreme emotion on several riveting ballads. But this LP is no downer. Midler offsets any bleakness with playfully campy songs laced with unadulterated enthusiasm and joyous defiance. This is a diva lover's delight. The music is astonishingly alive. A superstar is born!
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents The Divine Miss M with the warmly cozy and front-row perspective that the music demands. Midler's voice is transparent and full, the timbrel shadings colorfully outlined, the vocal images appearing as if she's singing just a few feet away. Similarly, her cast of back-up vocalists (the Harlettes) receives ample face time on songs that come across as if performed by a girl-group revue. Midler has cut many records in her career but none are this entertaining, diversified, and, now, sonically spectacular.
There's always risk associated with interpreting other artists' classics and hits, but Midler makes every song here her own. She injects Chapel of Love with extra swagger and feminine gusto. In her hands, the Carpenters' Superstar becomes more heartbreaking, filled with desolate sentiment and lonesome ache. John Prine's ballad Hello In There echoes, as if sung to an empty room, with forlorn emotion. The 50s smash Leader of the Pack positively stomps and declares, her band in tow, that she's not going to be stopped. Indeed, Midler's interpretations of these staples surpass the previous versions, mostly due to her impeccable strong vocals and contagious passion. She doesn't quit. And don't you dare decline her offer on Do You Want to Dance!
What else can be said of her trademark Boogie Woogie Bugle Boy, her update of the Andrews Sisters' jazzy hit landing in the Top 10, featuring a scat vocal (!), and smartly walking the line between campy fun and serious reverence. Similarly, Midler's two takes of Friends--the first off-the-cuff, wild, snappy, and humorous; the second slightly cooler and infused with gorgeous harmonies--remain modern marvels. There's not a bad note on this incredible record.
The Divine Miss M has always been prized for its clear, clean production. Mobile Fidelity's Silver Series LP further improves the sound, which, in combination with Midler's performances, make this collectible reissue an absolute no-brainer!
This title is not eligible for discount.1. Do You Want to Dance? (Bobby Freeman)
2. Chapel of Love (Jeff Barry, Ellie Greenwich, Phil Spector)
3. Superstar (Bonnie Bramlett, Leon Russell)
4. Daytime Hustler (Jeff Kent)
5. Am I Blue (Jarry Akst, Grant Clark)
6. Friends (Mark Klingman, Buzzy Linhart)
7. Hello In There (John Prine)
8. Leader of the Pack (Jeff Barry, Ellie Greenwich, George Morton)
9. Delta Dawn (Larry Collins, Alex Harvey)
10. Boogie Woogie Bugle Boy (Don Raye, Hughie Prince)
11. Friends (Reprise) (Mark Klingman, Buzzy Linhart)$24.99Vinyl LP - Sealed Buy Now
Hey Jude (Out Of Stock)"Hey Jude" is the classic 1969 release by Wilson Pickett cut with the Muscle Shoals session crew while Duane Allman added his intense, bluesy guitar to the mix. This album of hard Southern soul features Pickett in top form with his powerful vocals featured on soul tunes such as "A Man And A Half" and "Toe Hold" alongside choice rock covers including the title track and "Born To Be Wild". Reissued on 180 gram vinyl with tip on jacket by 4 Men With Beards.1. Save Me
2. Hey Jude
3. Back In Your Arms
4. Toe Hold
5. Night Owl
6. My Own Style Of Lovin'
7. A Man And A Half
8. Sit Down And Talk This Over
9. Search Your Heart
10. Born To Be Wild
11. People Make The World$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Husband And Wife Were Angry One Night (Out Of Stock)Born in North Carolina in 1892, singer and banjo player Charlie Poole is often considered to be one of the grandfathers of bluegrass and modern country music. Poole recorded 60 songs during the 1920s for Columbia Records with his wildly popular North Carolina Ramblers, so this LP is a small sampling of some of his very best songs, many of which, like his first big hit for Columbia, Dont Let Your Deal Go Down Blues are blues standards. Although Poole died of an alcohol-induced heart failure at just 39 years old, he still had plenty of time to influence bluegrass greats like Bill Monroe, and more indirectly, Hank Williams and the folk singers of the 1960s. Although Poole wrote none of his own material, his genius lay in his unique ability to rework a song, by changing lyrics and tempo, to make it something entirely new. In fact, many fans bought his records just to see how Charlie did it. His North Carolina Ramblers sold huge numbers of records for the time and Poole became one of the first country music stars.1. Shootin' Creek
2. Baltimore Fire
3. Leaving Home
4. There'll Come A Time
5. White House Blues
6. The Highwayman
7. Hungry Hash House
8. The Letter That Never Came
9. Take A Drink On Me
10. Husband And Wife Were Angry One Night
11. Ramblin' Blues
12. Took My Gal A-Walkin'
13. Old And Only In The Way
14. Don't Let Your Deal Go Down Blues
15. Bill Mason
16. A Kiss Waltz$24.99Vinyl LP - Sealed Temporarily out of stock
Bombay Disco (Out Of Stock)The sound of Disco rose out of Philadelphia in the
'70's before being nurtured in New York and later
rising to the top of the pops. By 1979 it made its way
to India, where it was blended with sitars, tablas and
huge orchestras in a wildly inventive, and often boldly
surreal, fusion of Purab aur Pachhim (East and West).
When a film producer told Bollywood composer Bappi Lahiri, I want to have music like 'Saturday Night
Fever', Bombay Disco was born. Soon nearly every South Asian film, it seemed, had a disco track blaring
from cinema screens. Although disco's popularity waned in the west, it soared in the east throughout the '80's.
Disco songs appeared in every type of film, from family dramas and historical epics to curry westerns and
Cultures Of Soul Records presents Bombay Disco, 13 selections excavated from the dusty bazaars of India by
DJ Brother Cleve. The hunt even brought him to Bappi Lahiri's home, where India's Disco King regaled him
with music and stories. Bombay Disco showcases the unique musical hybrid that is Bollywood filmi music.
Don your leisure suit, puff a chillum, and get on the dancefloor. Shabash!LP 1
1. Usha Uthup & Chorus - Hari Om Hari
2. Bappi Lahiri & Chorus - Mausam Hai Gaane Ka
3. Kishore Kumar & Amit Kumar - Hum To Aap Ke Deewane Hein
4. Asha Bhosle & Chorus - Udi Baba
5. Asha Bhosle & Chorus - Bugi Bugi
6. Asha Bhosle & Chorus - Bongo Bongo
7. Bappi Lahiri - Discotheque Music
1. Asha Bhosle & Chorus - Pyar Ka Imithaan
2. Bappi Lahiri & Amit Kumar - Karate
3. Kishore Kumar, Lata Mangeshkar & Chorus - Disco '82
4. Usha Uthup - Main Gul Badan
5. Asha Bhosle - Dil Dil Dil, Kabhi Dil De Bhi To Do
6. Salma Agha & Bappi Lahiri - Jeena Bhi Kya Hai Jeena (Pt. 2)$21.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
Nightbringers (Out Of Stock)Any band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."
Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."
Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."1. Widowmaker
2. Of God and Serpent, of Spectre and Snake
6. Kings of the Nightworld
7. Catacomb Hecatomb
8. As Good as Dead
9. The Lonely Deceased$25.99Vinyl LP - Sealed Temporarily out of stock