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  • Acoustic Collection (Awaiting Repress) Acoustic Collection (Awaiting Repress) Quick View

    $27.99
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    Acoustic Collection (Awaiting Repress)

    "BOY writes and sings tuneful, friendly, forthright pop-folk songs
    about life and relationships...cradled by melodies with a
    comfortable lilt and by Ms. Steiner's sweet, unfailingly precise
    lead vocals " - The New York Times (live review)


    "Great pop songs are boiled-down emotion -- a simple line or melody
    that says it all...Swiss-German duo BOY nails it with viral hit
    'Little Numbers'...simple, catchy, effective." - Billboard Magazine


    "It's just...so addictive." - NPR All Songs Considered


    Singer-Songwriters Valeska Steiner and Sonja Glass of BOY have put together an acoustic collection that consists of tracks from their acclaimed debut LP Mutual Friends and sharp second offering We Were Here, along with a previously released cover of Playground Love from the French band Air.

    1. Into The Wild
    2. Drive Darling (Acoustic Version)
    3. Boris (Acoustic Version)
    4. Skin (Acoustic Version)
    5. Hit My Heart (Acoustic Version)
    6. Little Numbers (Acoustic Version)
    7. Oh Boy (Acoustic Version)
    8. Playground Love
    9. July
    Boy
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • We Were Here We Were Here Quick View

    $23.99
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    We Were Here

    Hamburg's favorite female duo BOY's highly anticipated sophomore album We Were Here is the follow up to their 2013 critically acclaimed debut album Mutual Friends, that featured the infectiously catchy "Little Numbers" and boasts over 14 million YouTube views. This new album finds BOY spreading their wings, exploring new textures and musical approaches while remaining true to their aesthetic. We Were Here is a sharp burst of delightful melodies, perfectly poised craft and mischievous grace.
    Boy
    $23.99
    Vinyl LP + CD - Sealed Buy Now
  • Cost of Living Cost of Living Quick View

    $17.99
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    Cost of Living

    Includes Poster

    The United States' myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of political bands versus apolitical bands simply doesn't exist. Either you are comfortable and unfazed by the current reigning power structures, or you use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.

    The position of Providence, RI's Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded rock music: they are here to topple the white-cis-het hegemony and draft a new history. Downtown Boys began by combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as their sound and audience have grown.

    Cost of Living is their third full-length, following a self-released 2012 debut and 2015's Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto (Fugazi; producer of Blonde Redhead, The Gossip), one of indie-rock's most mythological figures, in the producer's chair. Picciotto fostered the band's improvisational urges while pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.

    Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They're using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. In just one example, album-opener A Wall rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it's designed to crush.

    Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while singer/lyricist Victoria Ruiz spits out her frustrations and passions. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!

    - Matt Korvette, Pissed Jeans

    1. A Wall
    2. I'm Enough (I Want More)
    3. Somos Chulas (No Somos Pendejas)
    4. Promissory Note
    5. Because You
    6. Violent Complicity
    7. It Can't Wait
    8. Tonta
    9. Heroes (Interlude)
    10. Lips That Bite
    11. Clara Rancia
    12. Bulletproof (Outro)
    Downtown Boys
    $17.99
    Vinyl LP - Sealed Buy Now
  • Pet Sounds (Mono) Pet Sounds (Mono) Quick View

    $34.99
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    Pet Sounds (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-gram Vinyl Pressing By Quality Record Pressings!


    It was Pet Sounds that blew me out of the water I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album. - Paul McCartney


    All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one. - Eric Clapton


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.


    This title is not eligible for discount.

    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B
    8. God Only Knows
    9. I Know There's An Answer
    10. Here Today
    11. I Just Wasn't Made For These Times
    12. Pet Sounds
    13. Caroline No
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Big To-Do The Big To-Do Quick View

    $21.99
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    The Big To-Do

    ATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.


    The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.
    The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.
    This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.


    It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.


    Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.


    We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'


    And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.


    ...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 27

    1. Daddy Learned to Fly
    2. The Fourth Night of My Drinking
    3. Birthday Boy
    4. Drag the Lake Charlie
    5. The Wig He Made Her Wear
    6. You Got Another
    7. This Fucking Job
    8. Get Downtown
    9. After the Scene Dies
    10. (It's Gonna Be) I Told You So
    11. Santa Fe
    12. The Flying Wallendas
    13. Eyes Like Glue
    14. Girls Who Smoke (vinyl only bonus track)
    Drive-By Truckers
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Both Sides of the Sky Both Sides of the Sky Quick View

    $24.99
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    Both Sides of the Sky

    Both Sides Of The Sky presents 13 studio recordings including 10 which have never before been released. All but two of these studio recordings were made during a fertile period between January 1968 and 1970. Jimi's mastery and use of the studio as a proving ground for new songs resulted in a growing collection of extraordinary material. This album completes a trilogy of albums [with Valleys Of Neptune and People, Hell & Angels] presenting the best and most significant unissued studio recordings remaining in the Hendrix archive. The songs include fascinating alternate versions of Stepping Stone, Lover Man and Hear My Train A Comin' as well as recordings where Jimi is joined by special guests Johnny Winter and Stephen Stills. Both Sides Of The Sky was mixed by Eddie Kramer, the engineer for all of Hendrix's albums throughout the guitarist's lifetime, and produced by Janie Hendrix, Kramer and John McDermott.


    Mannish Boy - The first ever studio session by the group Hendrix would christen as his Band Of Gypsys. Hendrix, Cox & Miles shared a love for the blues as this driving, uptempo reworking of Mannish Boy by Muddy Waters makes clear.


    Lover Man - Just two weeks before their triumphant New Year's concerts at the Fillmore East in NYC [yielding both 1970's Band Of Gypsys and 2016's sequel Machine Gun], Hendrix gathered with Cox and Miles to cut this dynamic rendition of what had become a favorite concert staple.


    Stepping Stone - A totally unique take on this Hendrix favorite, with Jimi showcasing both blues and country styled licks atop a relentless, galloping beat.


    $20 Fine -Stephen Stills joined Jimi, Mitch Mitchell and Buddy Miles Express keyboardist Duane Hitchings at this September 1969 session. With Stephen handling lead vocals and organ, Jimi added multiple guitar parts to this rollicking Stills original.


    Power Of Soul - This 1970 studio session came three weeks after the Band Of Gypsys concerts at the Fillmore East. While a live version remains one of the highpoints of Band Of Gypsys, Jimi never released a studio version during his lifetime. For this album, we present the mix that Hendrix and Kramer prepared of the complete song at Electric Lady on August 22, 1970.


    Jungle - The influence of Curtis Mayfield can be heard here as Jimi expands on the Villanova Junction Blues theme he made famous by its inclusion in the 1970 Woodstock documentary.


    Things I Used To Do - Jimi is joined for this rendition of Guitar Slim's blues classic by Johnny Winter. Jimi's trademark guitar work and Winter's deft slide playing weaves in and around the foundation set by bassist Billy Cox and Crosby, Stills, Nash & Young drummer Dallas Taylor.


    Georgia Blues - Jimi reunited with some old friends from his pre-Experience days. Lonnie Youngblood, with whom Hendrix played in R&B groups like Curtis Knight & The Squires, voiced this superb twelve bar blues neatly underpinned by Hendrix's sublime rhythm and lead guitar work.


    Sweet Angel - With Axis: Bold As Love only just released, Jimi immediately turned his focus to recording what would become Electric Ladyland. This gorgeous, instrumental reading of Angel,, features Jimi on guitar, bass and vibraphone joined by Mitch Mitchell.


    Woodstock - Stephen Stills came to this session fresh from having visited Joni Mitchell, who had a new song that Stills was excited to try and record. Long before CSNY's version, Stephen, Jimi and Buddy Miles recorded this amazing rendition.


    Send My Love To Linda - A superb new Hendrix original composition recorded with Cox and Miles in the aftermath of their successful Band Of Gypsys performances at the Fillmore East.


    Cherokee Mist - Together with drummer Mitch Mitchell, Jimi created this moody, evocative original complete with his playing of a sitar to complement his traditional electric guitar.

    1. Mannish Boy
    2. Lover Man
    3. Hear My Train a Comin'
    4. Stepping Stone
    5. $20 Fine
    6. Power of Soul
    7. Jungle
    8. Things I Used to Do
    9. Georgia Blues
    10. Sweet Angel
    11. Woodstock
    12. Send My Love to Linda
    13. Cherokee Mist
    Jimi Hendrix
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Son Of A Preacher Man (Pure Pleasure) Son Of A Preacher Man (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Son Of A Preacher Man (Pure Pleasure)

    Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.



    Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.



    This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says one of the greatest arrangers there ever was. Very sparse, nothing overdone.



    Musicians:



    • Nancy Wilson (vocal)

    • Jimmy Jones (piano, arranger, conductor)

    • Phil Wright, Joe Parnello (arranger, conductor)

    • Chuck Rainey (bass)




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Son of a Preacher Man
    2. By the Time I Get to Phoenix
    3. Mr. Walker It's All Over
    4. I Made You This Way
    5. Almost Persuaded
    6. Got It Together
    7. Make the World Go Away
    8. Husbands and Wives
    9. Little Green Apples
    10. Trouble in Mind
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cheap Trick (Speakers Corner) Cheap Trick (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Cheap Trick (Speakers Corner)

    Cheap Trick proved to a thrilled audience that a band in the late seventies could stay in the limelight over many years without having to reinvent rock 'n' roll. Any band that wanted to survive as an opening act for such top bands as Queen, Kiss and Boston simply had to be either courageous, naive or give a really good show. That Cheap Trick brought their audience to boiling point in a suspiciously similar fashion to such groups as the Beatles, Hollies and Bee Gees, can now be relived by listening to their present debut album. The boys from Illinois realized that a special magic lay in their early numbers and perform here the very best titles from their earlier live acts, which are just as good in these days as in the past. They really get down to business with their »playful, perverse lyrics« (Crawdaddy), which deal with anything from delicate to precarious issues (Daddy Should Have Stayed In High School and He's A Whore). »Cheap Trick is not important for their great innovative qualities but for their considerable entertainment value«, wrote the critical music magazine Melody Maker. Old and new rock fans will revel in this album.



    Musicians:



    • Robin Zander, Rick Nielsen (vocal, guitar)

    • Tom Petersson (bass, vocal)

    • Bun E. Carlos (drums)




    Recording: 1976 by Jay Messina at The Record Plant, New York

    Production: Jack Douglas





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Hot Love
    2. Speak Now Or Forever Hold Your Peace
    3. He's A Whore
    4. Mandocello
    5. The Ballad Of T.V. Violence (I'm Not The Only Boy)
    6. Elo Kiddies
    7. Daddy Should Have Stayed In High School
    8. Taxman, Mr. Thief
    9. Cry, Cry
    10. Oh, Candy
    Cheap Trick
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Life Is Good Life Is Good Quick View

    $21.99
    Buy Now
    x

    Life Is Good

    The social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.


    For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."


    "The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.


    Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.


    And people are indeed taking action, adds King, which is a crucial point.


    "I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."


    Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.


    "It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."


    Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.


    "He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?


    Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.


    "It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.


    Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.


    "We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."


    "The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."

    1. There's Nothing Left Pt. 1
    2. The Hand Of John L. Sullivan
    3. Welcome To Adamstown
    4. Reptiles (We Woke Up)
    5. The Days We've Yet To Meet
    6. Life Is Good
    7. The Last Serenade (Sailors And Fishermen)
    8. The Guns Of Jericho
    9. Crushed (Hostile Nations)
    10. Hope
    11. The Bride Wore Black
    12. Until We Meet Again
    Flogging Molly
    $21.99
    Vinyl LP - Sealed Buy Now
  • Acoustic Recordings 1998-2016 Acoustic Recordings 1998-2016 Quick View

    $29.99
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    Acoustic Recordings 1998-2016

    JACK WHITE ACOUSTIC RECORDINGS 1998-2016 collects 26 acoustic songs from throughout White's wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with ''Sugar Never Tasted So Good'' (originally found on The White Stripes' second-ever 7-inch single) and then lighting upon favorites like ''Apple Blossom'' and ''I'm Bound To Pack It Up'' (remixed here from the original recordings on 2000's DE STIJL), ''Hotel Yorba'' and ''We're Going To Be Friends'' (from 2001's WHITE BLOOD CELLS), ''You've Got Her In Your Pocket'' and ''Well It's True That We Love One Another'' (from 2003's GRAMMY® Award-winning ELEPHANT), ''Forever For Her (Is Over For Me),'' ''White Moon'' and ''As Ugly As I Seem'' (from 2005's GET BEHIND ME SATAN) ''Effect & Cause'' (from 2007's ICKY THUMP), and the Beck-produced ''Honey, We Can't Afford To Look This Cheap,'' first found on the B-side to The White Stripes' final single, 2007's ''Conquest.''


    ''City Lights'' (below) was written for The White Stripes' GET BEHIND ME SATAN but then forgotten until White revisited the 2005 album for Third Man's Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released White Stripes song since 2008.


    Also featured are ''Never Far Away'' (recorded for 2003's COLD MOUNTAIN: MUSIC FROM THE MIRAMAX MOTION PICTURE) and ''Love Is The Truth'' (written and recorded for Coca-Cola's 2006 What Goes Around campaign) as well as the Bluegrass Version of ''Top Yourself'' and an acoustic mix of the epic murder ballad, ''Carolina Drama,'' both written by White and Brendan Benson for The Raconteurs' GRAMMY® Award-winning 2008 album, CONSOLERS OF THE LONELY. White's two chart-topping solo albums, 2012's BLUNDERBUSS and 2014's LAZARETTO, are represented by a remarkably diverse range of material including ''Love Interruption,'' ''On And On And On,'' ''Blunderbuss,'' ''Entitlement,'' ''Want And Able,'' and alternative mixes of ''Hip (Eponymous) Poor Boy,'' ''Just One Drink,'' ''I Guess I Should Go To Sleep,'' and B-side, ''Machine Gun Silhouette.''


    ''This, like (Son House's) 'Grinnin' In Your Face,' is mirror-music,'' writes renowned music journalist Greil Marcus of ''City Lights'' in the album's exclusive liner notes, ''the singer talking to himself, trying to tell himself the truth, which he's going to need if he's going to step out of his door, walk into the world, and fool himself, for just a second, that he's ready to take it on. As you listen, it's no surprise at all that it took most of White's music-making life to bring the song home.''


    The 26 tracks featured on JACK WHITE ACOUSTIC RECORDINGS 1998-2016 were remastered by Andrew Mendelson at Nashville, TN's Georgetown Masters. All songs were written and produced exclusively by Jack White, except ''Never Far Away'' (produced by T Bone Burnett), ''Honey, We Can't Afford To Look This Cheap'' (produced by Beck), ''Top Yourself (Bluegrass Version)'' and ''Carolina Drama'' (written & produced by White & Brendan Benson), and ''Machine Gun Silhouette'' (written by White & Rob Jones).

    LP 1
    1. Sugar Never Tasted So Good
    2. Apple Blossom (Remixed)
    3. I'm Bound To Pack It Up (Remixed)
    4. Hotel Yorba
    5. We're Going To Be Friends
    6. You've Got Her In Your Pocket
    7. Well It's True That We Love One Another
    8. Never Far Away
    9. Forever For Her (Is Over For Me)
    10. White Moon
    11. As Ugly As I Seem
    12. City Lights (Previously Unreleased White Stripes Track)
    13. Honey, We Can't Afford To Look This Cheap
    14. Effect & Cause


    LP 2
    1. Love Is The Truth (Acoustic Mix)
    2. Top Yourself (Bluegrass Version)
    3. Carolina Drama (Acoustic Mix)
    4. Love Interruption
    5. On And On And On
    6. Machine Gun Silhouette (Acoustic Mix)
    7. Blunderbuss
    8. Hip (Eponymous) Poor Boy (Alternate Mix)
    9. I Guess I Should Go To Sleep (Alternate Mix)
    10. Just One Drink (Acoustic Mix)
    11. Entitlement
    12. Want And Able

    Jack White
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • No Matter What No Matter What Quick View

    $16.99
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    No Matter What

    To deny reality is to create conict, he always tells us. No one knows how it happened, or when - but here in the last
    known metropolis on Earth, where all public memory has been erased, Evan Ønly is on a mission to recover the promise
    of our future. He works among other maverick scientists, artists, and revolutionaries in shadow, intent on piecing
    together our shattered history. It was mass denial that led us to the state we're in, Ønly is on a mission to prevent us
    from making the same mistake.


    His material draws inspiration from the classic "future vintage" synth pop he discovered through his archival
    explorations. His work is evocative of British pioneers Pet Shop Boys, La Roux, and David Bowie's "Let's Dance". The
    debut Evan Ønly EP, No Matter What, is a highly-evolved synth rock record. Produced by Ice Choir's Kurt Feldman at
    the pristine Winter Station, these rst six songs are personal anthems turned psychological pop. Ønly creates music in
    the belief that pop can still change the way we see ourselves and the world - the one we've inherited and the ones we'll
    build next.

    1. Shadows
    2. Take Me Back
    3. No Matter What
    4. Lifting Me Up (Feat. Alaina Riley)
    5. The Actress
    6. From the Stone
    Evan Ønly
    $16.99
    Vinyl LP - Sealed Buy Now
  • Option Paralysis (Red Vinyl) (Awaiting Repress) Option Paralysis (Red Vinyl) (Awaiting Repress) Quick View

    $21.99
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    Option Paralysis (Red Vinyl) (Awaiting Repress)

    Pressed On Red Vinyl


    Limited Edition of 500 Copies


    Printed Dust Sleeve & Vinyl-Only Bonus Track


    At first glance, "Option Paralysis" seems like a highly inappropriate title to describe the constantly evolving output of THE DILLINGER ESCAPE PLAN. But once you're faced with the cumulative power and vision of guitarist Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, guitarist Jeff Tuttle and new drummer Billy Rymer, you'll wonder-right after you pick yourself up off the floor-why more bands don't achieve similar force-of-nature status.


    "The title 'Option Paralysis' represents being in a situation where you have so many choices you can't decide, and end up being frozen," says founding member Weinman about the mindset permeating the band's fourth full-length album. "Back in the early days when I started to discover music, go to shows and find out about new bands, there were 'filters' from various circumstances - geography, economic status, etc - which deeply affected how a band sounded and what they stood for. Now, everyone is going through the same filter-namely computers and the internet-and everyone has the same circumstances: Everybody's seeing the same thing for the first time at the very same time, simultaneously all over the world. That very system is negatively affecting art and has created a situation where everything is influencing itself and art is not based on struggle, personal scarcity or unique and personal inspiration. This cultural revolutions is a big part of what determines our mission. We're not listening to any of the bands around us for some kind of input as to what we should sound like. At this point, we're using our own accomplishments as a measurement of what we need to do next."


    From their early days in the late-'90s as short-haired Rutgers, New Jersey, college students delivering hyper-complex thrash to audiences of boorish long-haired surly metalheads, to performing with NINE INCH NAILS on the pioneering electronic band's farewell shows, the DILLINGER ESCAPE PLAN have merely one prerogative: to go forward in ALL directions simultaneously. Their groundbreaking 1999 debut full-length, "Calculating Infinity", is inarguably the essential technical-metal talisman for the 21st century, melding hardcore's blinding rage with a musical vision that made most progressive-rock bands sound positively lazy by comparison. "Irony Is A Dead Scene", the band's 2002 collaboration with Mike Patton, maintained their patented extremity while exploring electronic textures. The 2004 follow-up, "Miss Machine", (the first record to showcase frontman, Puciato) was a distillation of the band's work thus far, while including jaw-dropping flirtations with mainstream metal ("Unretrofied") that further enforced DILLINGER's desire-and ability-to take their music wherever the hell they wanted. 2007's "Ire Works" had the band finding inspiration from underground glitch and breakcore electronica, as well as indigenous music genres, in a world seemingly overrun with metalcore bores and screamo trend-hoppers. THE DILLINGER ESCAPE PLAN's unerring sweat equity has consistently found resonance with listeners on both sides of the stages the band trod upon.


    "Option Paralysis" marks the beginning of another trajectory in the DEP mythology. After aligning themselves with the renowned Relapse label for most of their career, the band entered into a deal with the French label SEASON OF MIST to put out "Option Paralysis", tagging their new PARTY SMASHER INC label. "We signed a pretty traditional record deal with them for one record," explains Weinman. "What's exciting is that Michael [Berberian, SOM label founder] is a really big music fan and has a great understanding of how we operate. He was totally aware of the possibilities and limitations of working with a band like us-he's not expecting pop hits-and he's been extremely enthusiastic to dive right in and make it work for everyone."


    Produced by Steve Evetts, Dillinger's new music is positively abundant with possibilities. Drummer Billy Rymer, whom Weinman describes as "young and hungry," now occupies the engine room that powers the band. Frontman, Puciato has always had a knack with a bellow that could make reciting a grocery list seem like an exhortation to open the mouth of Hell. But feeling some of the lyrics on "Option Paralysis", you can't positively determine if the singer is handing down indictments ("Farewell, Mona Lisa") or feeling emotionally wounded. "This record is concept driven but there is still a very emotional and personal aspect to his lyrics," says Weinman soberly. "He's going through transitional stages in his life right now." Nothing so eloquently supports that statement than the six and-a-half-minute "Widower", where the band are joined by veteran David Bowie keyboardist Mike Garson for an aural excursion that incorporates piano-trio jazz, tender balladry and anthemic power. While there's no shortage of DEP plasma-balls on "Option Paralysis" ("Room Full Of Eyes", "Good Neighbor"), the band keep things fresh with the math-rock/free-jazz convergence of "I Wouldn't If You Didn't," the electro-tweaked "Chinese Whispers" and the closing "Parasitic Twins". The latter track sports lead vocals courtesy of guitarist Tuttle, as well as Beach Boys-styled harmonies and a major-key Weinman solo that's more Clapton (ca. Derek And The Dominos) than calculus crush. Clearly, this is not your older brother's DILLINGER ESCAPE PLAN. "We're just trying to make music we can be stimulated by," says Weinman about the assorted directions and sonic vistas on "Option Paralysis". "We consider ourselves songwriters, which is kind of odd when you consider the kind of band most would consider us."


    As passionate about their craft as ever, DEP are looking to ramp up things even more in 2010, with a planet-beating touring campaign that includes basement shows, a stint on the main stage at this summer's Vans Warped Tour, a performance at the legendary Cochella festival, and various points in between. But after 12 years of deliberately challenging themselves, as well as the preconceived notions of critics and the strict genre-specific zealots of the world's underground music scenes, the big question remains: What is the mission of the DILLINGER ESCAPE PLAN? It's a question Weinman addresses with equal parts melancholy, unwavering determination and humor. "I've been trying for a while to have someone explain that to me," he says, laughing. "Seriously, 'Option Paralysis' represents why we're here and why we're still making music. We started at a time when there wasn't all this access to the larger world. Our only goal was to make a small dent in the scene that we were in. The fact we've made it this far and that we're still relevant is really special to me. I feel that it is extremely important for bands like us to continue to represent the ethic and attitude that was present during a time that doesn't exist anymore."


    "That," he says, pausing to smile. "And I have to pay my mortgage somehow "

    1. Farewell, Mona Lisa
    2. Good Neighbor
    3. Gold Teeth on a Bum
    4. Crystal Morning
    5. Endless Endings
    6. Widower
    7. Room Full of Eyes
    8. Chinese Whispers
    9. I Wouldn't If You Didn't
    10. Parasitic Twins
    11. Chuck McChip (vinyl only bonus track)
    Dillinger Escape Plan
    $21.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tyler Bryant And The Shakedown Tyler Bryant And The Shakedown Quick View

    $29.99
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    Tyler Bryant And The Shakedown

    A 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
    4. Backfire
    5. Ramblin' Bones
    6. Weak And Weepin'
    7. Manipulate Me
    8. Easy Target
    9. Magnetic Field
    10. Aftershock
    11. Into The Black
    Tyler Bryant & The Shakedown
    $29.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • Chicago VII (Awaiting Repress) Chicago VII (Awaiting Repress) Quick View

    $39.99
    Buy Now
    x

    Chicago VII (Awaiting Repress)


    The Chicago/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate The 40th Anniversary Of The Legendary #1 Chicago VII - First Time Audiophile Vinyl!


    Mastered Impeccably By Joe Reagoso And Lee Loughnane From Chicago!


    Chicago VII was another huge multiplatinum plus #1 smash for Chicago and a stunning return to the double LP
    format for this brilliant band. Featuring the original award winning line-up of Robert Lamm (lead vocals/keyboards),
    Peter Cetera (lead vocals/bass), Terry Kath (lead vocals/guitars), the legendary horns of Lee Loughnane (trumpet),
    Walter Parazaider (saxophone/woodwinds), James Pankow (trombone) plus Danny Seraphine (drums), Chicago VII is
    undoubtedly one of their biggest selling albums and is also one of the most revered offerings in their huge catalog.


    Buoyed by the success of huge hit singles like (I've Been) Searchin' So Long and Call On Me, their seventh album
    was filled with more smashes like the power driver Robert Lamm smash Lifesaver, the funk rocker Woman Don't Want
    To Love Me and the Chicago/Beach Boys duet smash hit single Wishing You Were Here.


    The wonderful 2 LP release also features a fine array of long band workouts on instrumentals which feature each
    bandmate laying down some serious grooves on tunes like Hanky Panky, Aire and Prelude To Aire, which of course
    feature the horn work of the founders Lee Loughnane, Walter Parazaider and James Pankow.


    Several of the fine tunes on this well-crafted album also feature the sorely missed vocals and guitar of Terry
    Kath, where he truly shines on tracks like the progressive jazz rock infused Song Of The Evergreens and the stunning
    Byblos, both of which make this fine album even more of a treasure trove of classic rock enjoyment.


    Peter Cetera shines vocally throughout on the LP as well, especially on the hit acoustic ballad sounds of Happy
    Man. While being one of the more signature songs from this collection, the tune also was known for its false start
    making it one of Chicago's more collectable rarities if you were lucky to own the original vinyl version from 1974.
    It's been several decades since the rare original vinyl version of Chicago VII has been available that is until now!


    Friday Music is very honored to continue the CHICAGO 180 GRAM AUDIOPHILE VINYL SERIES with their masterpiece Chicago VII. Mastered impeccably from the original Chicago Records master tapes by Joe Reagoso at Friday
    Music Studios and Capitol Records in Hollywood, CA, with the supervision of Chicago's Lee Loughnane, this album is
    truly a thrilling first time audiophile vinyl release.


    For this special limited edition, we have also included the original full color album cover in gatefold style for the
    first time since it was released in 1974, complete with the great music you will always remember from this historic
    release.


    Chicago VII from Chicago on impeccable first time 180 Gram Audiophile Vinyl exclusively from your friends
    at Friday Music I've Been Searchin' So Long

    LP 1
    1. Prelude To Aire
    2. Aire
    3. Devil's Sweet
    4. Italian From New York
    5. Hanky Panky
    6. Life Saver
    7. Happy Man


    LP 2
    1. (I've Been) Searchin' So Long
    2. Mongonucleosis
    3. Song Of The Evergreens
    4. Byblos
    5. Wishing You Were Here
    6. Call On Me
    7. Woman Don't Want To Love Me
    8. Skinny Boy

    Chicago
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Love, Pain & The Whole Crazy Thing (Pre-Order) Love, Pain & The Whole Crazy Thing (Pre-Order) Quick View

    $24.99
    Buy Now
    x

    Love, Pain & The Whole Crazy Thing (Pre-Order)

    Grammy Award winner and reigning Country Music Association Entertainer of the Year Keith Urban has completed the follow-up to his nearly four times platinum third album Be Here. Love, Pain & the whole crazy thing (Capitol Records Nashville) contains thirteen brand new tracks and is one of the most anticipated releases of the year.


    The album showcases Urban's consummate songwriting and vocal talents, as well as his searing guitar work. Co-produced by Dann Huff and Urban, Love, Pain & the whole crazy thing, includes ''Once In A Lifetime,'' (John Shanks, Keith Urban) the album's first single, which upon its release last month became the highest debuting single since the inception of the Billboard Chart. Highlights of Love, Pain & the whole crazy thing include the bold, contagious rockers ''Faster Car'' (Urban) and ''I Told You So'' (Urban). Songs such as ''Shine'' and ''Used to the Pain'' exhibit Urban's ability to produce infectious melodies that patiently build to a musical climax.


    While brilliant songs such as ''Stupid Boy,'' ''I Can't Stop Lovin' You'' and ''God Made Woman,'' an anthemic tribute to women, all show Urban's ability to select and interpret songs written by others. Said Urban of Love, Pain & the whole crazy thing; It's just an accurate reflection of where I'm at now. I think it's the sound of being happy and extremely excited with the music that we're making.''

    1. Once In A Lifetime
    2. Shine
    3. I Told You So
    4. I Can't Stop Loving You
    5. Won't Let You Down
    6. Faster Car
    7. Stupid Boy
    8. Used To The Pain
    9. Raise The Barn
    10. God Made Woman
    11. Tu Compañía
    12. Everybody
    12. Got It Right This Time
    Keith Urban
    $24.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
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