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Days Are GoneDays Are Gone is the debut album from indie-rock outfit/sisters Haim.
Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.
Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.
Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.
- Dan Hyman (Rolling Stone)1. Falling
3. The Wire
4. If I Could Change Your Mind
5. Honey & I
6. Don't Save Me
7. Days Are Gone
8. My Song 5
9. Go Slow
10. Let Me Go
11. Running If You Call My Name$23.99Vinyl LP - 2 LPs Sealed Buy Now
Binary"My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."
With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.
She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)
"When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"
"When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"
On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.
"I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"
She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."
Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.
"Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."
The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."
Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."
For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.
Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.
"While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."
"I'm trying to figure it out daily," says Ani DiFranco. "Just like always."1. Binary
2. Pacifist's Lament
4. Play God
7. Even More
10. Terrifying Sight
11. Deferred Gratification$24.99Vinyl LP - 2 LPs Sealed Buy Now
Don't Press Your Luck! The In Sound Of 60's ConnecticutConnecticut had a solid garage rock scene in the mid-'60s, and more than a few of the best bands in the region logged time at Wallingford's Trod Nossel Studios (aka Syncron Sound), a recording facility run by Thomas Doc Cavalier, truly an unlikely champion of local rock & roll. Cavalier was a successful dentist who gave up his practice to manage New England rockers the Bram Rigg Set and the Shags (not to be confused with the infamous Wiggin sisters), and when Syncron Sound (where both bands had recorded) fell on hard times, he bought the studio, changed the name, and turned it into a profitable business that's still running today.
Don't Press Your Luck! collects material from a handful of New England acts who recorded at Trod Nossel and were overseen by Cavalier, and there's little arguing that the folks at the studio knew their stuff -- compared to many compilations of '60s garage rarities, these tracks sound lively and robust, crackling with teenage energy but recorded with a skill that didn't blunt the enthusiasm of the musicians. (Bob Irwin's superb remastering is also to be commended.) And the music is pretty great, too -- the Wildweeds' classic No Good to Cry (featuring a pre-NRBQ Al Anderson) is the standout here, but there's also some moody beat stuff from the Shags (Don't Press Your Luck, Hide Away), fuzztone-powered angst from the Bram Rigg Set (Sleepless Nights, You Don't Love Me, and a potent cover of Them's I Can Only Give You Everything), and intriguing weirdness from the misanthropic Fourth Ryke (Please Leave, You're Cutting Out).
While you'd expect high goofiness from a group called Uranus and the Five Moons, their material is actually smart and adventurous (Nothing Remains, SSS Happenin' Here). Some radio spots recorded at Trod Nossel also make the cut, as does a demonstration of the wonders of multi-track recorded based around a session by the Shags. Garage fanatics and folks with a taste for Connecticut history will both find this set to be well worth investigating.1. I Can Only Give You Everything: Bram Rigg Set
2. Don't Press Your Luck: The Shags
3. Help Me: George's Boys*
4. Too Many Lies: The Lively Ones*>
5. Take the Time Be Yourself: Bram Rigg Set
6. Hide Away: The Shags
7. 'SSS' Happenin' Here: Uranus and the Five Moons*
8. Sleepless Nights: The Ravens*
9. You're Cutting Out: Fourth Ryke*
10. I've Paid My Dues: The Bearies*
11. Radio Spot: WAVZ Radio Jingle: The Shags
12. No Good to Cry: The Wildweeds
13. Think: The Lively Ones*
14. I Can't Explain: Bram Rigg Set*
15. Breathe in My Ear: The Shags
16. Please Leave: Fourth Ryke*
17. Radio Spot: Specter's Radio Ad: The Shags
18. Nothing Remains: Uranus and the Five Moons*
19. You Don't Love Me: Bram Rigg Set*
20. Come Back to Me: The Shags*
21. LUV: The Roadrunners*
22. I'm Dreaming:The Wildweeds LP Bonus Track
23. Your Groove: Uranus and the Five Moons LP Bonus Track
24. Hey, Little Girl: The Shags LP Bonus Track
25. Sticks and Stones: George's Boys* LP Bonus Track
26. Bad News for Me: The Bearies* LP Bonus Track
27. Make a Record with the Shags: The Shags*$36.99Vinyl LP - 2 LPs Sealed Buy Now
City Wrecker EPHello everyone and anyone.
I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called City Wrecker, and run at around half an hour.
City Wrecker is the title track of the ep. I wrote it before Miley Cyrus released "Wrecking Ball", but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it's the aesthetic opposite of "Wrecking Ball" by Miley Cyrus, which is not to say that's a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song "Wrecking Ball" and to sometimes call me Miley, but that's okay cuz we're buddies.
I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so City Wrecker represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.
I have a tendency to wreck the places I live. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.
And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameIess and magnificent.
I suppose this is why I have moved so many times in my life. It is not a good characteristic, and one I should work toward eradicating from my personality. But having regret is also unhealthy. So, I am Popeye?
Anyway, all of the songs on this ep, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That's why it's called City Wrecker.
-Spencer Krug1. The Fog
2. City Wrecker
3. Running in Place with Everyone
4. Helsinki Winter 2013
5. Daughter of a Dove$13.99Vinyl EP - Sealed Buy Now
If I'm The Devil...letlive.'s new album, If I'm the Devil is a strident, principled and heavy work. It's also perfectly suited for someone who just wants to pound on the steering wheel after a hard day at school, work, or whatever institution happens to command most of your waking life. Just consider the name "letlive." - it's meant to be life-affirming above all else.
Frontman Jason Aalon Bulter has an ambitious nature which takes him to extremely lofty places. He acknowledges that letlive. is a punk band and one that reflects humanity
as a collection of emotional, frontal-lobe beings. At the same time, he fully believes that letlive. can access that utopian, inexplicable transcendental quality that allows art
to reach budding revolutionaries the way books and other oratory cannot.
letlive. continually refuse to be constrainedby the ideas of "scene" - whether letlive. is punk, metalcore, indie, rap, whatever, Butler finds these labels to be another form of systematic oppression. He grew up with Black Flag and Circle Jerks as well as 2Pacalypse and Xzibit's At the Speed of Life - it's all revolutionary counterculture music to him.
"Punk is more an ideology than a scene dictated by what pants you wear. What are you saying, what do you believe in? That's to me a better identifier." If their new album, If I'm the Devil needs a genre, Butler would call it "revolutionary counterculture music" , like a more emotional Rage Against the Machine, or Public Enemy with more inclusive politics. Butler grew up as a skater disillusioned with what he saw as a heteronormative, patriarchal punk rock scene until the older kids showed him black artists such as Bad Brains, Living Colour and Fishbone. "Punk rock is inclusive if you want to be included," Butler states, recognizing how letlive. can speak for people who feel they lack representation.1. I've Learned To Love Myself
2. NÜ Romantics
3. Good Mourning, America
4. Who You Are Not
5. A Weak Ago
6. Foreign Cab Rides
7. Reluctantly Dead
9. Another Offensive Song
10. If I'm The Devil...
11. Copper Colored Quiet$19.99Vinyl LP - Sealed Buy Now
Sabougla VoicesIn today's frenetically paced world, uncovering a lost treasure is often met with great enthusiasm, excitement, and anticipation. Lost footage of Gene Kelly dancing. A Vincent van Gogh no one knew existed. An Arthur Crudup album lost in a vault for 40 years. Jimi Hendrix material coming to light after 40 years. Well, now we can also celebrate the "discovery" of a blues master stepping into the sunlight, and delivering the best gospel album since Elvis gave us "How Great Thou Art" in February, 1967. The paradox is that Leo Welch has been there all along, living in Sabougla, Mississippi, first playing blues, and then moving to gospel. Born in 1932, Welch grew up playing blues. As his style of blues became less popular, he began to play gospel because churches offered more opportunities to play. Consequently, he was overlooked because blues aficionados frequented juke joints. Most blues lovers would never think to find blues, or blues related music in a church.
After an off-the-cuff call by Welch to Big Legal Mess Records, things continued to fall into place, and he was able to record his debut album, Sabougla Voices. It is really difficult to accurately describe this stunning album, and faithfully convey the vibe, the atmosphere, and way it moves a listener. Welch has poured a lifetime of learning, living, loving, playing, and praying into this work, and it shows!
This album is stripped down, bare bones joyful gospel being played and sung from the heart. This is not your daddy's gospel though. Sabougla Voices is a shot of love to your heart, a cool cleansing breeze blowing through your soul, and an orgasm for your ears. The album opens with "Praise His Name," which is beautifully sparse, raw, and has a great bouncing beat. "You Can't Hurry God" is almost a gospel honky-tonk that has a juke joint vibe. "Take Care Of Me Lord" has a very early Magic Slim and The Teardrops sound to it. "Mother Loves Her Children" is really basic, slow, artfully delicate blues. "Somebody Touched Me" has a mid 1960s Rolling Stones blues flavor, and nice backing vocals. "A Long Journey" is delightfully slow, and begs to be pulled over you like a comforting blanket of blues. "His Holy Name" is gospel as a shuffle, and definitely has the church rocking! The album closes with "The Lord Will Make A Way," an acoustic performance that is slow and stark, but very moving.
If this is Welch's debut alum, we can't wait for the follow-up! This album is definitely a must-have.
- Barry Kerzner (American Blues Scene Magazine)1. Praise His Name
2. You Can't Hurry God
3. Me and My Lord
4. Take Care of Me Lord
5. Mother Loves Her Children
6. Praying Time
7. Somebody Touched Me
8. A Long Journey
9. His Holy Name
10. The Lord Will Make A Way$15.99Vinyl LP - Sealed Buy Now
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now
The Other IBella Union are thrilled to announce the release of The Other I, the new album from 2:54.
Even before Colette and Hannah Thurlow wrote their new album, the London-based sisters' atmospheric, imaginative and thrilling vein of rock music under the name 2:54 was already a force to be reckoned with. But the events that tested their commitment and resilience have upped the ante, to produce the magnificent drama and beauty of The Other I. From the expansive, tempo-shifting opener 'Orion', and the pining roots of 'The Monaco' to the ambient haunts of 'Tender Shoots' and the shape-shifting tour de force of 'Raptor', the album significantly widens the net beyond the achievements of 2:54's self-titled debut. The Other I is all the stronger for Hannah and Colette's hands-on approach to production while Colette's lead vocals show a striking versatility. The album's emotional terrain has been carved from circumstances out of their control but equally their sisterly bond.
As Colette explains, the album's title was inspired by a favourite poet, Percy Shelley, "a rousing romantic, politically charged, a proto-punk of sorts. He called his friend and muse Elizabeth Hitchener the 'sister of my soul, my second self.' These lines kept returning to me last year and from there I arrived at 'The Other I'. The Other I is an enquiry into the duality of the human experience - the division between the self that pounds on like a juggernaut in your head, and the self you present to the world. The idea extends to Hannah and I, to our sisterhood. We know intrinsically what the other thinks and feels, music is just another language we use to communicate."
Written in Paris and London, the album was recorded at Bella Union's East London studio before the Thurlows and Alex Robins decamped to North London's Fish Factory to complete it alongside co-producer and mixer James Rutledge, who's worked with the likes of Radiohead and Fever Ray. 'In The Mirror' and 'Sleepwalker' are cited as key entry points to the album's core values, while lyrically 'Orion' sets the scene for the album's adventures. 'Raptor' is the album's brilliant finale, with its simmering intro, hypnotic flow, thrilling coda and rallying mantra: "Calling, I'm calling, I'm calling, I can hear it / You don't know us / One more turn and then I'll go / The end, the end, the end is close."1. Orion
3. In The Mirror
4. No Better Prize
6. Tender Shoots
7. The Monaco
11. Glory Days
12. Raptor$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
Front Porch SessionsSouthern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.
That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.
"It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."
The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."
I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."
We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.
"We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."
That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.
Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.
"This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."
The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"
Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.
"In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.
"Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."
The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.
"I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."
With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.
"I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."1. We Deserve a Happy Ending
2. When My Baby Left Me
3. Shakey Shirley
4. What You Did to the Boy Ain't Right
5. One Bad Shoe
6. It's All Night Long
7. One More Thing
8. Flying Squirrels
9. Let Your Light Shine
10. When You Lose Your Money
11. Cornbread and Butterbeans$18.99Vinyl LP - Sealed Buy Now
Porcupine MeatNaming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."
Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.
Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.
Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."
Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.
During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.
Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."
Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."
Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."
The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.
For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.
Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."
Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.1. I Don't Want Nobody Hanging Around
2. Porcupine Meat
3. Got Me Accused
4. Snake in the Grass
5. Funk O' De Funk
6. Me, Myself and I (feat. Joe Bonamassa)
7. Catfish Stew
8. It's Your Move (feat. Dave Alvin)
9. Nighttime Gardener (feat. Keb Mo)
10. I Think Your Dress Is Too Short
11. Standing on Shaky Ground
12. I'm Tired (Tangle Eye Mix)$25.99Vinyl LP - 2 LPs Sealed Buy Now
The Big BluesSourced from the Original King Mono Master Tapes
Pressed on 180-Gram Vinyl at Record Technology, Inc. (RTI)
Standing well over six feet and weighing in at around 250 pounds, it's no surprise that Albert King earned the nickname "The Velvet Bulldozer." Standing on stage with his Gibson Flying V, named Lucy, King cut an imposing visual figure. After a few abortive recording attempts, King scored a #14 R&B single on King Records with "Don't Throw Your Love on Me So Strong" in 1961. The song captured the distinctive call-and-response style between King's voice and guitar, a direct extension of his gospel roots and it was included on his debut album, The Big Blues. Backed by a razor sharp band, which included Ike Turner on piano, King showed an authoritative command of ballads, rumbas and mid-tempo shuffles. It was a sound honed in countless club gigs, a "vivid sound" as the LP jacket rightly proclaimed. To restore this sound to its royal splendor, Sundazed sourced this reissue from the original King mono master tapes. Pressed on 180-gram vinyl at Record Technology, Inc. (RTI) in Camarillo, CA, this resurrected LP boasts breathtaking sound. Nothing less would have been worthy of one of the most important albums in the blues pantheon. All hail King Albert!1. Let's Have a Natural Ball
2. What Can I Do to Change Your Mind?
3. I Get Evil
4. Had You Told It Like It Was (It Wouldn't Be Like It Is)
5. This Morning
6. I Walked All Night Long
7. Don't Throw Your Love on Me So Strong
8. Travelin' to California
9. I've Made Nights By Myself
10. This Funny Feeling
11. Ooh-Ee Baby
12. Dyna Flow$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
TweenThe word "tween" implies a certain, very specific kind of awkwardness, and
those implications are rarely positive. But think about it like this: Something
"tween" is in the process of becoming something else, and there's a very
specific kind of beauty in that becoming. There's something rewarding in
recognizing and celebrating it-in meeting it halfway.
Tween is a collection of eight songs born, raised, and almost abandoned for
various reasons during the years between 2011's breakthrough Civilian and
2014's reinvention-of-sorts, Shriek.
Jenn Wasner and Andy Stack described these songs as "not emblematic of
a step forward, but a step sideways in time." In other words, they just didn't
make sense for album number five-which will happen at some point in the
future. But just because they didn't belong there doesn't mean they don't
belong anywhere. To wedge them onto Shriek would've been dishonest; to
orphan them would've been somewhere on the line between criminal and just
Now that your expectations are lowered, let's build them back up, because
Tween is full of gorgeous Wye Oak songs whose only crime was timing and
context, made by two people at the height of their game. At first these songs
sounded too disparate to me to be called an album, but the more Tween sank
in, the more it made sense: One minute Jenn and Andy are embracing their
floatiest Cocteau Twins instinct ("If You Should See"), the next they're back
in Civilian territory a bit ("No Dreaming"), and later they're slinky and
electronic and gorgeously '80s ("On Luxury").
The common thread: These are no castaways or cutouts. In fact, pound for
pound, Tween might actually be more directly accessible than Shriek. It should
join the pantheon of amazing not-albums of history whose names try to
downplay how good they actually are, like R.E.M.'s Dead Letter Office, The
Who's Odds and Sods, maybe even Dinosaur Jr.'s Whatever's Cool With Me.
Who knows what an album is at this point, anyway? Here's what Jenn and
Andy had to say: "We rejoice in being free to make what we like and release it
in a way that feels true, and you are free to enjoy it or dismiss it as it suits you.
We hope, of course, for the former. But-all gimmicks aside-we created this
thing with love and are so happy to share it with you, whoever you are."
-Josh Modell1. Out of Nowhere
2. If You Should See
3. No Dreaming
4. Too Right
5. Better (For Esther)
6. On Luxury
7. Trigger Finger
8. Watching the Waiting$17.99Vinyl LP - Sealed Buy Now
Southern AvenueSouthern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."
Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.
Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.
Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.
The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.
The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.
According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.
I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.
We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.
Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.
I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.
This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.1. Don't Give Up
2. What Did I Do
3. It's Gonna Be Alright
4. Slipped, Tripped And Fell In Love
5. Love Me Right
6. 80 Miles From Memphis
8. No Time To Lose
10. Peace Will Come$21.99Vinyl LP - Sealed Buy Now
2-LP Set On 180-gram Vinyl Includes Remastered Original Studio Album, Plus Unreleased Live Performances
Extra 180-Gram Vinyl LP Of Live Performances By The Miles Davis Octet Of The Nice Jazz Festival Of 1986, Available For The First Time On Vinyl
Packaging Is A Replica Of The Original Vinyl Album, Including Stickers, LP Labels, Irving Penn's Beautiful And Iconic Photographs
30 Years ago, Miles Davis made waves in the music world when he left Columbia Records to sign recording and publishing contracts with Warner Bros. and Warner Chappell in 1985. With a new label to call home, Davis immediately started working on the album, which originally had the working title, Perfect Way, named after a song by new wave pop band Scritti Politti that he was covering on the album. The album was later renamed Tutu by producer Tommy LiPuma, taken from news headlines of the day referencing the well-known South African archbishop and anti-apartheid leader, Desmond Tutu.
Rhino celebrates one of jazz music's most revered and innovative talents with a 2-LP deluxe edition set on 180-gram vinyl of Miles Davis' TUTU, released to coincide with the 30th Anniversary of Davis signing with Warner. The deluxe edition includes a remastered LP of the original album and a bonus LP of live performances at the Nice Festival held in 1986, packaged with the original artwork featuring photographs by the legendary Irving Penn.
TUTU pushed Davis back into center stage, winning him two Grammy® awards, when even the most reverent seemed to admit that his best music lay in the past. Tutu stands as an important part of the Davis legacy, and a testament to a prolific artist whose boundless creativity continuously redefined a genre throughout his legendary career.
As Davis recalled, Tutu "started with some music that George Duke, the piano player sent to me." Davis' affection for the initial track - eventually titled "Backyard Ritual" and filled with synthesizer sounds and electronic beats - revealed the trumpeter's willingness to consider music written by others, and the use of cutting-edge electronics.
Producer Tommy LiPuma recruited composer and studio musician Marcus Miller to collaborate on the project, who at 27, had already made a name for himself in jazz, R&B and popular music, playing funk, rock, bebop and hip hop. Davis later praised him as being "so hip and into the music that he even walks in tempo . . . in the studio we make a great team."
"Technology was kind of exploding and I thought it would be interesting to hear Davis making his way through this new world," said Miller. Performing on the album were George Duke, Adam Holzman and Bernard Wright, percussionists Paulinho Da Costa and Steve Reid, drummer Omar Hakim and violinist Michael Urbaniak all contributed tracks; keyboardist Jason Miles played a significant role as well, programming the synthesizers and helping push the tracks to a level of sonic detail that could compete with contemporary recordings.
Tutu would feature a variety of tunes that offered a mix of flavors and mood. Besides the title track, four were composed by Miller - "Splatch," "Portia," "Don't Lose Your Mind" and "Full Nelson" (the last a tribute to another South African leader, Nelson Mandela). "Tomaas" - named by Davis for LiPuma - was co-written by Davis and Miller, based on ideas Davis had previously recorded. The selections were rounded out by one cover - "Perfect Way," which Davis had initially chosen to be the album's title track.
By that summer, Davis' group was touring Europe. With a four-night run approaching at the Grande Parade du Jazz festival in Nice, France, the decision was made to record the group at its prime. It was a wise choice. Warner Bros. hired a mobile recording truck and all four concerts were taped. "Everybody in the band knew we were being recorded so we were on our game," remembers his nephew, drummer Vince Wilburn. "Miles had an uncanny knack for knowing not only what to record but when and where. Every night was more beautiful than the one before: wonderful weather, captive audiences and the band was on fire."
"At the time, there wasn't anything that jumped out at me," LiPuma admits. "Believe me, if I thought there had been, I would've put an album out. But having spent some time with the music, it's brilliant - and I think it's an important recording." Like the best live recordings, these tracks are both historic and timeless - filled with a spirit and snap that can still be felt today, yet cannot be repeated.LP 1
5. Backyard Ritual
6. Perfect Way
7. Don't Lose Your Mind
8. Full Nelson
LP 2 - Live from Nice Festival, France, July 1986
2. Human Nature
3. Carnival Time
5. New Blues$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ConversationsWoman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.
In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.
Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.
Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.
We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.
The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.
But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.
Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.
It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.
Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.
Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.1. Unbroken Sequence
3. To The End
4. Darkest Place
5. In Stillness We Remain
6. Our Love Has No Rhythm
7. Her Ghost
8. Two Sides of You
11. The Day That Needs Defending$18.99Vinyl LP - Sealed Buy Now
Blues of DesperationGRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his 20160solo album, Blues of Desperation (J&R Adventures). Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.
I want people to hear my evolution as a blues-rock musician, says Bonamassa, somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.
The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.
These are some of the best guys in the business, Bonamassa raves. Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate.
Bonamassa and his longtime producer Kevin Shirley (Led Zeppelin, Iron Maiden, Journey) convened at Nashville's Grand Victor Sound Studios (formerly known as RCA Studio A), and during an intense, five-day period they recorded 11 galvanizing songs with a crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.
Of his decade-long collaboration with Shirley, Bonamassa says, I can explain our relationship with one word - 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine.
Which sometimes calls for unorthodox measures, says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to ruffle Joe's feathers.
I wanted him to work a little harder, like in his early years, he says, so I brought in an additional drummer, just to throw the cat amongst the pigeons. Of the results, Shirley raves, Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!
Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe's guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I've Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.
Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. No Good Place For the Lonely features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa Best Blues Guitarist in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.
There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out, he says. [During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it.
Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences - no mean feat when you continue his astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.1. This Train
2. Mountain Climbing
4. No Good Place For The Lonely
5. Blues Of Desperation
6. The Valley Runs Low
7. You Left Me Nothin' But The Bill And The Blues
8. Distant Lonesome Train
9. How Deep This River Runs
10. Livin' Easy
11. What I've Known For A Very Long Time$34.99180 Gram Audiopbhile Virgin Vinyl LP - 2 LPs Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now
Hair Of The DogHair of the Dog is the sixth studio album by the Scottish hard rock band Nazareth, released in 1975. The album was recorded at Escape Studios, Kent, United Kingdom with additional recording and mixing at AIR Studios, London, and is the band's biggest selling album, having sold two million copies worldwide.
After three albums with Deep Purple's Roger Glover producing, Manny Charlton stepped into that position, one he filled for several subsequent albums.
It was Nazareth's first big hit album (aside from the minor success of Razamanaz), including classics such as the title track, Love Hurts (on the US version, but not the Canadian/European, it replaced the original Guilty), Beggars Day and Please Don't Judas Me.
The album title is often considered to be a shortened form of the phrase describing a folk hangover cure, the hair of the dog that bit you. However, according to Dan McCafferty, the title is a play on heir of the dog, i.e. a son of a bitch. This was the title the band had intended for the album, but the label did not approve and had the name changed, although nearly a thousand album covers were printed. The original Heir of the Dog album covers are very rare and worth a small fortune to collectors. The title track is sometimes mistakenly called Son Of A Bitch because of its hook (now you're messin' with a son of a bitch).Side A
1. Hair of The Dog
2. Miss Misery
4. Changin Times
5. (a) Beggars Day (b) Rose In The Heather
6. Whiskey Drinkin Woman
7. Please Dont Judas Me
8. Love Hurts (bonus track)$37.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Manley Steelhead RC Phono Stage
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Handcrafted in the USA
We debuted to the world a killer frikkin' cool phono stage at CES 2001. It was called, aquatic naming theme continuing, The Steelhead®, as it is an upstream device and has a very clever MC variable load auto tranny that we designed and our very own Manley Magnetics department executed (which makes the MC stage so very clever). Iron=transformer=steel makes sense to me...
It has two Moving Coil inputs with selectable impedance load 25, 50, 100, 200 and 400 Ohms via Mr. Clever Steelhead transformer/autoformer. It also has variable and selectable Moving Magnet input impedances too 25, 50, 100, 200 Ohms and 47 kOhms. Very nifty is the selectable-dial-able-in-able-from-the-faceplate-able capacitive loading for all three of the MM & MC inputs 0 to 1100 picofarads in 10 picofarad steps. Very cool! Equalize baby! TEN picofard steps! Wow! Now you can really dial this in for perfect cartridge matching with ZERO penalty. None of this switching detracts from the sound quality or adds any extra anything to the signal path. Rest assured.
It's got six tubes. 2 x 6922 plus 4 x 7044 or 5687. It's got a big honkin' volume control. It can drive an amplifier directly if you want, if you don't do digital. Hey and if you happen to have three turntables set up, we give you 2 x MC and 1 x MM selectable inputs! It's got variable and fixed volume outputs. And All-tube really low Z tube buffered outputs. Like inherently 20 Ohms plus the little 47 Ohm OK drive those high capacitance audiophile cables why doncha resistor, so it's real output impedance is only 67 Ohms. No wanky cathode follower (oh bor-ing) output here like the other guys. We got your real low impedance all-tube outputs right here! It will drive anything and everything. Long cables, no problem.
It's got selectable gain 50, 55, 60, 65dB on a switch that even auto-mutes as you change it so no nasty bangs. Gain switch markings are referred to from the input of the 1st active electronics at 1 kHz to the fixed output @ 10k load, regardless of whether source is MM or XFMR stepped-up MC. It is not really practical to include MC step-up gain on the front panel markings due to the variable SOURCE impedances of the MC cartridges and the variable LOADING that the input XFMR will have on any given cartridge. All of this total MC gain variability should be confined to about 3 to 12 dB of range though. XFMR step-up gain plateaus as the load Z on a given MC cartridge is optimised...producing no VOLTAGE gain but in fact a bit more POWER gain... All this means you should set a load Z which sounds best with your particular MC cartridge and adjust gain to suit your system's operating level. Whatever you like. You will not blow anything up.
(Bottom line: there is plenty of gain... enough to do justice to your fave lo-output MC cartridges).
It's got a mute switch. It's got a just turn it down while I cue up so I don't throw my woofer cones across the room but I still want the same volume I was listening at before I flipped the side DIM switch. And what goes with DIM better than SUM which would be the MONO button... It has a killer hyper-regulated outboard power supply that plugs in on the huge-est connector you ever saw. And you can just hit the standby button to keep everybody off while you take a small holiday to Tahiti. A backlit MANLEY STEELHEAD illuminated badge reflects back to vinyl-days-of-yore while the millions of BLUE LEDs remind you that this is modern tube engineering design, baby!
The VARIABLE Outputs are controlled by the precision film dual NOBLE® volume control. They are SMOOTH action these days as the fashion went against the detented ones.
This is a tweak-o-holic tube-lover's dream...$8,400.00Manley Steelhead Phono Stage Buy Now
ElvisMastered by Joe Reagoso and Kevin Gray from the Original RCA Records Tapes
Elvis Aaron Presley was born during the great depression into a poor family in Mississippi. They moved to Memphis during the early '50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the career of a soon to be worldwide superstar unlike the world has ever known.
Elvis had the amazing ability to sing both R&B and country simultaneously. This with the persona and choreography of a Hollywood movie star on stage, the young Elvis Presley was soon touring, and over the year achieved a number of regional hit singles, electrifying audiences into frenzies wherever he performed.
The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long term deal, and his first RCA single Heartbreak Hotel forever etched 'The King Of Rock And Roll' trademark to his name. In 1956 after a chart topping debut LP, his second smash #1 album simply called Elvis truly proved once again that his career was unlike any other in music history.
Filled with more energy than a fireball, the Elvis album took off with the Little Richard classic rocker Rip It Up. Another chart topping single followed with the much revered Love Me, a song which he would perform well into the '70s. The album also featured more smash hits like the Otis Blackwell/Elvis Presley rocker Paralyzed, a blues belter Arthur Crudup revisit with Elvis interpretation of So Glad Youre Mine, and Red Foleys tender ballad about mans best friend Old Shep. In total, the album showcases twelve important Elvis Presley recordings which have truly stood the test of time.
In honor of the Man, the Music, the Legend, the 'King Of Rock And Roll', Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Vinyl release of the RCA Victor classic Elvis by Elvis Presley. As a first installment in their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, they are very pleased to present this masterwork in all its high fidelity glory.
Mastered impeccably from the original monophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., this brilliant album will be a much anticipated audiophile dream release for Elvis fans everywhere! For this exclusive presentation, Friday Music is also including the first time ever gatefold artwork which includes the groundbreaking original LP cover elements as well as more rare visuals from this historic Elvis era. They are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your vinyl in mint shape.1. Rip It Up
2. Love Me
3. When My Blue Moon Turns To Gold
4. Long Tall Sally
5. First In Line
7. So Glad Youre Mine
8. Old Shep
9. Ready Teddy
10. Anyplace Is Paradise
11. Hows The World Treating You
12. How Do You Think I Feel$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
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
Upside Down MountainThough only 34, Conor Oberst has been a recording artist for more than two decades, starting with raw, acoustic guitar-based bedroom tracks he cut as a young teenager and initially released on cassette. After his early Omaha-based band Commander Venus broke up, Oberst recast himself as Bright Eyes, an umbrella name for Oberst, producer-keyboardist Mike Mogis and multi-instrumentalist/arranger Nathaniel Wolcott, and a shifting group of collaborators. By the time he released Lifted or The Story is in the Soil, Keep Your Ear to the Ground on Saddle Creek, the label he helped found with friends in Omaha, Oberst was a word-of-mouth success, with an avid young audience that helped to sell out his tours. The critics soon followed. Rolling Stone called him "a true American original: the ghost of Walt Whitman setting up shop in the wraith-white, rail-thin frame of an acoustic-strumming Nebraska Cure fan." The 2005 simultaneous release of two markedly different Bright Eyes albums-the more singer-songwriter-oriented I'm Wide Awake, It's Morning and the darker, computerized Digital Ash in a Digital Urn-displayed the breadth of his talent. Time Magazine listed I'm Wide Awake among its top 10 albums of the year. Since then, Bright Eyes has continued to evolve, its lineup morphing with each successive tour. While supporting his 2007 Cassadaga album, Oberst took over New York City's Town Hall for a week of sold-out shows, with his large, string-augmented ensemble outfitted spectacularly in white suits. He's also recorded and toured with Mogis, Jim James, and M. Ward as Monsters of Folk as well as with his own Mystic Valley Band. For the first leg of his summer 2014 tour, he's bringing along Wilson's other pals, the Southern Californian quartet Dawes as his support act and backing band.
"I feel lucky that I have been able to do this for as longs as I have," declares Oberst. "I've seen so many talented friends come and go, for a lot of different reasons. Sometimes they stop making music because they can't pay the bills or they lose the passion for it. At this point it is my life. I don't know another way to live. There is something fundamental in myself; I have to be this way. It completes what I am."
Upside Down Mountain features many other friends of Oberst's, including producer Jonathan Wilson, engineer Andy LeMaster, bassist Macey Taylor, multi-instrumentalist Blake Mills, and the Swedish sibling folk-rock vocal duo First Aid Kit. What started as exploratory demos with producer-musician Jonathan Wilson at his Fivestar Studios in the Echo Park neighborhood of Los Angeles, in a home Wilson rents from Oberst, became the first de facto album sessions. Returning to his native Omaha, Nebraska, Oberst kept rolling with the help of frequent collaborator, engineer, and friend Andy LeMaster at his own ARC Studios. Even more tracking followed in Omaha last November and December. Then Oberst and Wilson moved south to Blackbird Studio in Nashville.
"This is a return to an earlier way I wrote," Oberst says of the songs on Upside Down Mountain. "It's more intimate or personal, if you will. Even if all my songs come from the same place, you make different aesthetic decisions along the way. For me, language is a huge part of why I make music. I'm not the greatest guitar player or piano player-I'm not the greatest singer, either-but I feel if I can come up with melodies I like that are fused with poetry I'm proud of, then that's what I bring to the table. That's why I'm able to do this."1. Time Forgot
2. Zigzagging Toward the Light
3. Hundreds of Ways
4. Artifact #1
5. Lonely at the Top
6. Enola Gay
7. Double Life
9. Night at Lake Unknown
10. You Are Your Mother's Child
11. Governor's Ball
12. Desert Island Questionnaire
13. Common Knowledge$32.99Vinyl LP + CD - 2 LPs Sealed Buy Now
Hug Of Thunder"I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.
They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.
Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."
Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.
"He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."
As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."
Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"
Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.
The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.
The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".
Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."
But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.
"The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."
Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"
That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.
"My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"
So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."1. Sol Luna
2. Halfway Home
3. Protest Song
5. Stay Happy
6. Vanity Pail Kids
7. Hug of Thunder
8. Towers and Masons
9. Victim Lover
10. Please Take Me With You
11. Gonna Get Better
12. Mouth Guards of the Apocalypse$25.99Vinyl LP - Sealed Buy Now