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In A Tidal Wave Of MysteryLos Angeles, CA based duo Capital Cities will release their debut album In A Tidal Wave Of Mystery via Universal Music Canada, the country's leading music company. Founded and fronted by Ryan Merchant and Sebu Simonian, two jingle writers who met on Craigslist, Capital Cities first emerged on the soundscape with Alternative Radio hit "Safe and Sound".
RollingStone.com hailed "Safe and Sound" as "a song that merges high-energy dance beats with unbridled optimism and joy" while Neon Gold pronounced it a "sonic head rush an easy, breezy, beautiful slice of effervescent-electro-pop that absolutely kills it." The new lyric video for "Safe and Sound" can be seen here.
In A Tidal Wave Of Mystery takes its name from the lyrics of the hit single, "Safe and Sound" and was produced and mixed entirely by Ryan and Sebu. The album is an eclectic mix of tracks that include fan favorites "Kangaroo Court" and "I Sold My Bed, But Not My Stereo". The artwork is by Brazilian artist Joao Lauro Fonte who has done works for Wired, Converse and others. OutKast's Andre 3000 and vocalist Shemika Secrest are featured on the song "Farrah Fawcett Hair".1. Safe and Sound
2. Patience Gets Us Nowhere Fast
3. Kangaroo Court
4. I Sold My Bed, But Not My Stereo
5. Center Stage
6. Farrah Fawcett Hair f. Andre 3000 and Shemika Secrest. Narrated by Frank Tavares (of NPR)
9. Lazy Lies
10. Tell Me How to Live
11. Chasing You f. Saseh Keshishyan
12. Love Away$19.99Vinyl LP - Sealed Buy Now
Eccentric Soul: Capital City SoulFifty records later, The Numero Group returns to its
eccentric roots, Ohio's Capitol City and the sonorous
Shangri-La carved out by the indefatigable Bill Moss.
Filling in, around, and on top of our original The
Capsoul Label collection, Capitol City Soul is a trove
of completely unissued and underissued treasures from
Moss and company. A decade in the making, this is the
set of soul discoveries that no one but The Numero
Group could achieve. Features otherwise unreleased
songs from the Kool Blues, the Four Mints, Jupiter's
Release, and Love Maximum, alongside rare sides
by Dean Francis & the Soul Rockers, the Chandlers,
Associated Press, the Soul Partners, and the Vondors.
From the vaults under the basements under the garages
of one of the nation's most unsung music scenes.
This double LP set is ensconced in a thick tip-on
gatefold jacket splashed with a colorful spread of vivid
archival imagery accumulated over a decade of research
into the Columbus, Ohio culture. The liner notes
serve as an in-depth history of Columbus soul music,
linking The Capsoul Label with The Prix Label and
Norman Whiteside's Wee project (recently sampled by
Kanye West). A strong addition to the already
epic Eccentric Soul series from The Numero Group.1. Chandlers - Your Love Keeps Drawing Me Closer
2. Dean Francis & The Soul Rockers - Funky Disposition
3. Soul Partners - Lose The One You Love
4. Vondors - Look In The Mirror
5. Four Mints - Hysteria
6. La'Fez - This Is The Way That I Am
7. Kool Blues - I Need You
8. Four Mints - Crystal Rivers
9. Chandlers - I Need Your Love
10. Kool Blues - Since I Fell For You
11. Four Mints - Endlessly
12. Chandlers - Your Love Makes Me Lonely
13. Dean Francis & The Soul Rockers - Tippin
14. Jupiter's Release - Excuse Me Miss
15. Kool Blues - Woe Is Me
16. Love Maximum - Don't Say Goodbye
17. Associated Press - When He's Gone
18. Chandlers - I Loved You Girl
19. Four Mints - No Longer
20. Love Maximum - I've Been Trying$26.99Vinyl LP - 2 LPs Sealed Buy Now
No Pier PressureNew Album Features Collaborations with Beach Boys Bandmates, Kacey Musgraves, fun.'s Nate Ruess, She & Him's Zooey Deschanel and M. Ward, Peter Hollens, and Capital Cities' Sebu Simonian
He is one of popular music's most deeply revered figures, a legendary writer, producer, arranger and performer of some of the most cherished music in pop music history. Indeed, it is no exaggeration to call Brian Wilson one of the most gifted and influential composers of the past 50 years. For the release of his 11th solo studio album, titled No Pier Pressure, Wilson has returned to Capitol Records, his original label home with The Beach Boys.
For the No Pier Pressure sessions, Brian Wilson reunited with longtime collaborator Joe Thomas, with whom he co-produced The Beach Boys' No. 3 Billboard album That's Why God Made The Radio for the iconic band's 50th anniversary reunion in 2012. In addition, Wilson was joined at Hollywood's Ocean Way Studios by talented musicians he personally invited to record with him, including his former Beach Boys bandmates Al Jardine, David Marks and Blondie Chaplin, as well as Kacey Musgraves, fun.'s Nate Ruess, She & Him's Zooey Deschanel and M. Ward, Peter Hollens, Capital Cities' Sebu Simonian, and trumpet master Mark Isham. Wilson has also brought in session all-stars Don Was, Jim Keltner, Dean Parks, and Kenny Aronoff. Members of Wilson's longtime touring band, including Scott Bennett, Paul Mertens, Darian Sahanaja, and Probyn Gregory also participated in the sessions, along with Matt Jardine, son of Al Jardine, and former bandmate Jeffrey Foskett.
Wilson and Thomas began collaborating on the new songs during The Beach Boys' whirlwind 50th anniversary activities throughout 2012, a banner year for the band which also included a GRAMMY® Award win for Brian for The Beach Boys' long-awaited SMiLE Sessions release. He told family, friends, and journalists around the world that he looked forward to returning to the studio when he got back home to California.
Always most inspired when creativity is given time and space to freely flow, Wilson initially envisioned the sessions for his new album with The Beach Boys in mind, but that was not to be. Wanting to find the right voices to complete his vision, Wilson saw an opportunity to finally become hip with his kids and recruited some amazing young vocalists who have been inspired by his music to do the job.
Throughout his iconic career, Wilson has brought ingenious vision to his own compositions, as well as to those for which he has collaborated, weaving a lush, vibrant tapestry of intricately nuanced vocal harmonies and instrumental arrangements for himself, his bandmates and others. For more than 50 years, fans have marveled at the sheer beauty of the music that springs forth from Wilson's imagination into glorious song.
Camped out at Ocean Way, Wilson took a fluid, woodshedding approach to the recording process, deftly tailoring the vocal and instrumental parts and arrangements to each participant. Wilson worked to hone the arrangements, often assembling pieces from various takes, a signature style of recording he has enjoyed since his earliest sessions with The Beach Boys. In fact, several of the songs were written during the recording process.
Brian Wilson began his career as a teenaged founding member of The Beach Boys, who signed with Capitol Records in July 1962 and released their first album, Surfin' Safari, that same year. The band's initial surf-rock focus was soon broadened to include other themes, and 1966's Pet Sounds is universally hailed as one of the greatest albums of all time. Wilson's innovative vocal and instrumental arrangements for major hits including "I Get Around," "California Girls," "Wouldn't It Be Nice," "God Only Knows," and the No. 1 smash "Good Vibrations" made The Beach Boys America's preeminent band of the 1960s.
Brian Wilson has also achieved great solo success with 10 of his own albums released to date, including his acclaimed 2004 completion of an album he first began recording in the '60s, Brian Wilson Presents SMiLE, which reached Billboard's Top 20 and earned him his first GRAMMY® Award for a recording. Wilson won his second GRAMMY Award® for producing The Beach Boys' acclaimed 2011 release, The SMiLE Sessions. Wilson has also performed major, sold-out SMiLE and Pet Sounds tours in recent years with his own band. Wilson is a Kennedy Center Honors recipient, a Songwriters Hall of Fame inductee, and a UK Music Hall of Fame inductee. As a member of The Beach Boys, Wilson was inducted into the Rock and Roll Hall of Fame in 1988 and honored with The Recording Academy's Lifetime Achievement GRAMMY® Award in 2001.LP 1
1. This Beautiful Day
2. Runaway Dancer [featuring Sebu Simonian]
3. What Ever Happened [featuring Al Jardine and David Marks]
4. On The Island [featuring She & Him]
5. Our Special Love [featuring Peter Hollens]
6. The Right Time [featuring Al Jardine and David Marks]
7. Guess You Had To Be There [featuring Kacey Musgraves]
8. Tell Me Why [featuring Al Jardine]
1. Sail Away [featuring Blondie Chaplin and Al Jardine]
2. One Kind Of Love
3. Saturday Night [featuring Nate Ruess]
4. The Last Song
5. Half Moon Bay
6. Don't Worry
7. I'm Feeling Sad
8. Somewhere Quiet$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner)This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.
- The Columbia Symphony Orchestra
- New York Philharmonic Orchestra
- George Gershwin (composer)
- Leonard Bernstein (conductor)
Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno
Production: John McClure
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Rhapsody In Blue
2. An American In Paris$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SiltWonderwheel Recordings is proud to present the debut album, Silt, from Sudanese singer Alsarah and her band the Nubatones. Called "The New Star Of Nubian Pop" by The Guardian, the album was produced solely by Alsarah who describes the sound of Silt as "East African Retro Pop". It's music that harkens back to the hazy sounds of 1960s and 70s Nubian music with it's haunting instrumentation, soaring vocal melodies, and pentatonic arrangements.
The album has it's musical roots in the Nubian "Songs of Return" that began to spring up after mass displacement and resettlement of hundreds of thousands in a region of lower Nubia that Went under water after Egypt built Aswan High Dam to Control the flooding of the Nile in 1970. The focus of these songs, both thematically and lyrically is about a return to home and the beauty of home and embodies a certain kind of saudade - a nostalgic longing for a place that no longer exists. The album encompasses Alsarah and her band's musical Curiosities around Concept of migration being all displaced immigrant themselves. Silt is their take on ' L ' the music of this time and place mixed with the fusion goings-on of Khartoum, along with Arabic and North African influences appearing in the mix.
Alsarah, is a Sudanese born singer, songwriter and ethnomusicologist. Born in the capital city of Khartoum, where she spent the first 8 years of her life, she relocated to Taez, Yemen with her family to escape the ever stifling regime in her native country. She abruptly moved to the US in 1994, when a brief civil war broke out in Yemen. Now residing in Brooklyn, NY, she is a self-proclaimed practitioner of East-African retro-pop. Working on various projects, she most recently has been working with The Nile Project and was featured on their debut release, Aswan (named one of the top 5 must hear International albums of 2013 by NPR). She has also collaborated with French producer Dêbruit on the album Aljwal, released this past November via Soundway Records.
The Nubatones started out as dinner conversation between Alsarah and percussionist Rami El Aasser in his living room, digging thru archives of old music from North Africa, and reading about migration patterns in modern day Nubia, Soon the conversation opened into a musical one and spread to include master Oud player and Luthier Haig Manoukian and bass player Mawuena Kodjovi. With a collective love for pentatonic music and a common understanding of what it means to be an immigrant, the group Went on to perform both nationally and internationally at prestigious venues such as The Kennedy Center, The Apollo Music Cafe, Celebrate Brooklyn at Prospect Park, The World Music festival in Chicago, and The Festival du Mon'd Arab in Montreal just to name a few.1. Habibi Taal
2. Soukura (It's Late)
3. Nuba Noutou
4. Oud Solo
5. Bilad Aldahb
6. Fugu (Shams Alhurria)
8. Wad Alnuba feat. Sounds of Taraab
9. Yanas Baridou
10. Nuba Drums (Solo)
11. Jibal Alnuba$15.99Vinyl LP - Sealed Buy Now
Strange Weather, Isn't It?Everyones got a Berlin record in them and I guess we just wanted to see what
ours would sound like, !!!s lead singer Nic Offer says, with tongue partially in
cheek, of the groups fourth album, Strange Weather, Isnt It? Following in the
footsteps of artists like David Bowie, Iggy Pop, and Depeche Mode, who have
flocked to Berlin in order to mainline the citys legendary dark energy, !!! traveled
to the German capital to produce a record that is simultaneously brooding and
somehow their poppiest, most immediate record yet. !!! has also managed to
create the best distillation of the chaos, fun and intensity of !!!'s live show yet.
Strange Weather, Isnt It? was co-produced by the band with Eric Broucek,
who used to be the house engineer for DFA Records. We used everything we
could MacGyvered it together with a popsicle stick and a rubber band to make
it work and Eric was definitely instrumental in making that happen, says Offer.
The result is an album that is leaner and more detailed than any of !!!s previous
albums. In the early days wed put something deep in the mix, so that kids on
acid could hear it the 20th time they listened to it, says Offer. Now weve
learned how to make records better. Its like the deep techno you hear in Berlin;
its molded down to its most basic essence, almost like a sculpture that you keep
working on to make it both denser and clearer at the same time. Offer pauses
for a moment to consider what hes saying. Dont get me wrong, though, you
should still check the record out on acid. Trust me.01. AM/FM
02. The Most Certain Sure
03. Wannagain Wannagain
04. Jamie, My Intentions Are Bass
05. Steady As The Sidewalk Cracks
07. Jump Back
08. Even Judas Gave Jesus A Kiss
09. The Hammer$21.99Vinyl LP - 2 LPs Sealed Buy Now
MagnifiqueFollowing up on the experimental sounds of LP3 and LP4, Ratatat return to their core guitar-driven sound on Magnifique. Combining the bedrock beats and primordial riffs from their first two albums with the sonic experimentation and production prowess of LP3 and LP4, Mike and Evan arrived at a new plateau with Magnifique.
RATATAT recently returned to the stage for the first time in four years to complete a handful of sold-out shows in Tulsa, Denver, Salt Lake City and Las Vegas. RATATAT will also perform at Governor's Ball, Capital Hill Block Party and HARD SUMMER music festivals this summer.1. Intro
2. Cream On Chrome
7. Pricks Of Brightness
8. Nightclub Amnesia
9. Cold Fingers
13. I Will Return
14. Outro$22.99Vinyl LP - Sealed Buy Now
REDD-PIAS-1916xThe Very Best
Makes A KingTHE VERY BEST return this Spring with their their most ambitious and richly textured album to date, Makes A King, released 10th April on Moshi Moshi Records.
It's been a long, strange trip for Johan Hugo and Esau Mwamwaya, the Swedish-Malawian duo behind The Very Best's exuberant global pop. One which crosses continents as well as musical genres. It's also a trip, according to Johan, with no end in sight. "We're constantly evolving," he says with a laugh. "Not just in the sense that we're trying to change our sound. But we're constantly on a new journey which colours the music we make."
This particular journey began in October 2013, following a performance at Malawi's Lake of Stars festival when Johan stayed on in the capital, Lilongwe, to record some demos. Initial sessions were promising, but to really move ahead Johan felt they needed a change of scene. "When we were ready to get into writing and production we wanted to get away from Lilongwe and city life," he says. "We found a house about five hours drive from the capital in a village called M'dala Chikowa. It was an amazing experience recording there, especially because the community is half Christian, half Muslim. In a world often divided between the West and the 'other' it was amazing to see people living in peace and harmony despite differences in religion and culture."1. Nkhondo
2. Hear Me
3. Let Go
4. Guju Guju
5. Bilimankhwe (feat. Jerere)
7. Mwana Wanga
8. Mariana (feat. Seye)
9. The Dead and the Dreaming (feat. Seye)
11. Umasiye (feat. Baaba Maal)
13. Makes a King (feat. Jutty Taylor)$22.99Vinyl LP - Sealed Buy Now
Volume 5 (Awaiting Repress)Remastered from a Cassette Copy Source
From the late 1960s until the early 1990s, a vibrant music scene in Somalia's capital Mogadishu was teeming with pop and folk musicians exploring the boundaries of regional sensibilities. With inuences spanning several genres of Somali traditional music, often meshed with Western pop, jazz and Middle-Eastern elements, a swirling diversity of sounds were being created, consumed, supported and encouraged.
Dur-Dur Band emerged during a time when Somalia's distinctive contribution to the creative culture in the Horn of Africa was visible and abundant. Thousands of recordings made at the Somali National Theatre, Radio Mogadishu and other studios, were complemented by the nightclubs at Hotel Juba, Jazeera Hotel and Hotel al-Curuuba, creating a ourishing music scene.
This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced by the delity of this recording. However, the complex, soulful music penetrates the hiss.
By 1987 Dur-Dur Band's line-up featured singers Sahra Abukar Dawo, Abdinur Adan Daljir, Mohamed Ahmed Qomal and Abdukadir Mayow Buunis, backed by Abukar Dahir Qasim (guitar), Yusuf Abdi Haji Aleevi (guitar), Ali Dhere (trumpet), Muse Mohamed Araci (saxophone), Abdul Dhegey (saxophone), Eise Dahir Qasim (keyboard), Mohamed Ali Mohamed (bass), Adan Mohamed Ali Handal (drums), Ooyaaye Eise and Ali Bisha (congas) and Mohamed Karma, Dahir Yaree and Murjaan Ramandan (backing vocals). Dur-Dur Band managed to release almost a dozen recordings before emigrating to Ethiopia, Djibouti and America.
Dur-Dur Band was considered a "private band," not beholden to government pressure to sing about political topics. They practiced a love- and culture-oriented lyricism. Government-sponsored bands like those of the military and the police forces, as well as many of the well-known folk musicians, made songs that were chiey political or patriotic in nature.
In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Many of the
best-known musicians left the country. Music became nearly outlawed in Mogadishu in 2010. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briey enacted by Al-Shabab.
Dur-Dur Band is a powerful and illustrative lens through which to appreciate a facet of the incredible sounds in Somalia before the country's stability took a turn. But Somali music of all kinds continues to thrive thanks in part to the diaspora living in cities worldwide. An extensive network of news, music and video websites, along with dozens of voluminous YouTube channels, makes clear an exciting relentlessness among artists. Reports of musicians returning to Mogadishu from years abroad bodes well for the immediate future of music and expression in Somalia.1. Dur-Dur Band Introduction
5. Ilawad Cashaqa
6. Garsore Waa Ilaah
7. Aada Fududey Iga Ahow
8. Tajir Waa Ilaah
10. Amiina Awdaay
11. Dooyo$22.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Fuck Off Get Free We Pour Light On Everything
Marks The 15th Anniversary Of The Band, Founded And Led By Efrim Menuck Of Godspeed You! Black Emperor
First New SMZ Full Length Since GYBE's Return To Action In 2011
Recorded In Quebec By Greg Norman (electrical Audio)
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of
genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with
Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly
instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed
You! Black Emperor, in which group all three founding SMZ members also played (and
continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and
shifted towards an increasing use of lead and group vocals, with Menuck penning politically charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified
guitars against a 4-piece string section of violins,cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum spanning electric guitar sound emerging as the spine around which two violins, bass (now
more often electric than acoustic) and drums are deployed. SMZ have managed a handful
of short tours in the past couple of years (in the gaps between GYBE commitments) and
as anyone who has seen the band in its recent incarnation can attest, their current sound
is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage
and dark metal influences that have nothing to do with anything so quaint as "post-rock"
(a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of
the band's newfound sound and style as a quintet. It's also their first single LP-length
work since the band's debut record as a trio almost 15 years ago, and features road tested pummeling rock-outs "Fuck Off Get Free (For The Island Of MontrÉal)", "Take
Away These Early Grave Blues" and "What We Loved Was Not Enough" alongside the
previously unheard lullabyes/minuets "Little Ones Run" and "Rains Thru The Roof At Thee
Grande Ballroom (For Capital Steeze)" and the album centerpiece "Austerity Blues" with
its closing lyric "Lord let my son live long enough to see that mountain torn down"
sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with
shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance
and defiance. There are few other musicians who deliver social critique with the courage
and honesty of lines like "All our cities gonna burn / All our bridges gonna snap / All our
pennies gonna rot / Lightning roll across our tracks / All our children gonna die". Feel-good
music this is not; but neither can it reductively be tagged apocalyptic or world-weary.
Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly
unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working
today, that there is much to fight for and against, and plenty more fight songs to sing.1. Fuck Off Get Free (for The Island Of Montreal)
2. Austerity Blues
3. Take Away These Early Grave Blues
4. Little Ones Run
5. What We Loved Was Not Enough
6. Rains Thru The Roof At The Grande Ballroom (for Capital Steez)$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kick Out The JamsRanked 294/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Rather than try to capture their legendary on-stage energy in a studio, MC5 opted to record their first album during a live concert at their home base, Detroit's Grande Ballroom, and while some folks who were there have quibbled that Kick Out the Jams isn't the most accurate representation of the band's sound, it's certainly the best of the band's three original albums, and easily beats the many semiauthorized live recordings of MC5 that have emerged in recent years, if only for the clarity of Bruce Botnick's recording.
From Brother J.C. Crawford's rabble-rousing introduction to the final wash on feedback on Starship, Kick Out the Jams is one of the most powerfully energetic live albums ever made; Wayne Kramer and Fred Sonic Smith were a lethal combination on tightly interlocked guitars, bassist Michael Davis and drummer Dennis Thompson were as strong a rhythm section as Detroit ever produced, and Rob Tyner's vocals could actually match the soulful firepower of the musicians, no small accomplishment. Even on the relatively subdued numbers (such as the blues workout Motor City Is Burning), the band sound like they're locked in tight and cooking with gas, while the full-blown rockers (pretty much all of side one) are as gloriously thunderous as anything ever committed to tape; this is an album that refuses to be played quietly. For many years, Detroit was considered the High Energy Rock & Roll Capital of the World, and Kick Out the Jams provided all the evidence anyone might need for the city to hold onto the title.
-AllMusic.com1. Intro/Ramblin' Rose
2. Intro 2/ Kick Out The Jams
3. Come Together
4. Talk/Rocket Reducer No. 62
6. Motor City Is Burning
7. I Want You Right Now
8. Starship$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Freetown SoundDev Hynes (Blood Orange) is set to release Freetown Sound, his third proper full-length album, and the
most expansive statement of his career. Written and produced by Hynes, Freetown Sound is a tour de
force, a pastiche of Hynes' past, present, and future that melds his influences with his own established
For well over a decade, DevontÉ Hynes has proven himself a virtuoso of versatility, experimenting with
almost every conceivable musical genre under a variety of monikers. After moving to New York City in
the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city's musical legends to
create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011's Coastal
Grooves and 2013's breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist,
resulting in the most expansive artistic statement of his career.
Drawing from a deep well of techniques
and references, the album unspools like a piece of theater, evoking unexpected communions of moods,
voices, and eras. Freetown Sound derives its name from the birthplace of Hynes' father, the capital of
Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of
race, religion, sex, and sexism over 17 shimmering songs. Each song echoes into another, with leitmotifs
carefully stitched throughout, yielding a sound palette that gently recalls elastic funk, slinky R&B, and
pure pop, but resisting easy categorization.
For Hynes, the process of self-discovery involved in creating Freetown Sound proved as valuable as the
finished product. "This record really tries to say things that I've been wanting to express for many years,"
he says. "It looks into my childhood and examines who I am at this point in my life. There are so many
crazy layers to it that it's actually quite hard to talk about it, but the record is very reflective of how my
brain works. It's been very interesting for me trying to understand and tie all of these things together. It's
been a way of working through it."LP 1
1. By Ourselves
4. Best To You
5. With Him
7. Love Ya
8. But You
1. Hands Up
2. Hadron Collider
3. Squash Squash
4. Juicy 1-4
5. Better Than Me
6. Thank You
7. I Know
8. Better Numb$25.99Vinyl LP - 2 LP Sealed Buy Now
London ZooIn Gibson's Neuromancer, when Case and Molly meet the two surviving founders of Zion, there is talk of hearing a mighty dub in the Babel of tongues signaling the final days. If indeed we're living in these end times, as many predict, then there can be no more of an appropriate soundtrack for the coming apocalypse than The Bug's London Zoo.
The Bug is the main project for Kevin Martin, a producer who has headed a diverse range of projects. He is part of Techno Animal, Ice, and God (all with Justin Broadrick of Godflesh and Jesu), King Midas Sound, Razor X Productions (with The Rootsman), Pressure, and Ladybug; runs his Pathological Records label; and has collaborated with noise jazz outfit 16-17, Pete Sonic Boom Kemper's E.A.R. project, John Zorn, Kevin Shields, El-P, and the Antipop Consortium. He has recorded for Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal, and now Ninja Tune. He has been personally asked to remix Thom Yorke, Grace Jones, Einsturzende Neubauten, and Primal Scream, and compiled jazz and dub compilations for Virgin Records. London Zoo is the fruition of all these activities.
The album was born of three key moments: an introduction to the thriving dubstep scene (of which The Bug is very much a pioneer from before it carried a name) and its key producers (via Kode 9 and Loefah) where Martin realized there were others on the same sonic trajectory as himself; an introduction to Warrior Queen via his work with Wayne Lonesome on the Razor X Productions project; and a Mary Anne Hobbs Breezeblock session which introduced him to Flowdan (Roll Deep) and Ricky Ranking. All three of these figure heavily in the end result and live presentation.
The obvious entry point to the album is the dubstep tag, particularly after the success of the three lead-up singles, but London Zoo clearly reaches past, brings together, and celebrates reference points from dancehall, grime, hip-hop, and noise-- it could have only come out of London sound-system culture, while its appeal spans cities and scenes.
From the opening strains of Angry (featuring reggae legend Tippa Irie) it's clear that the world has been served notice from the heart of the UK capital. The message is further strengthened as Ranking (best known for his work with Roots Manuva), Flowdan, Warrior Queen, Spaceape, Roger Robinson, Killa P, and Aya step up to lay waste to the boombastic rhythms put before them, eventually culminating in Judgement where Ranking leaves us with a prophecy: So much people are losing their minds, because we're living in a serious time. I guess it come in like a judgment sign, the people have killing on their mind. Living in end times, indeed. Best start building the Marcus Garvey tug now.Angry ft Tippa Irie
Murder We ft Ricky Ranking
Skeng ft Killa P & Flowdan
Too Much Pain ft Ricky Ranking & Aya
Insane ft Warrior Queen
Jah War ft Flowdan
Fuckaz ft Spaceape
You & Me ft Roger Robinson
Warning ft Flowdan
Poison Dart ft Warrior Queen
Judgement Ricky Ranking$24.99Vinyl LP - 3 LPs Sealed Buy Now
52nd StreetRanked 352/500 on Rolling Stone's List of the 500 Greatest Albums of All Time
52nd Street on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity
Mainstream Perfection: Melodic Devices, Passionate Singing, Sophisticated Arrangements, Jazzy Backdrop Walk Down 52nd Street
Commanding Sonics: Mobile Fidelity Edition Sets the New Standard in How Joel's 1978 Classic Should-and Does-Sound
Chart-Topper Certified Seven-Times Platinum: Includes "Big Shot," "Honesty," "My Life"
Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.
A key component of Mobile Fidelity's Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 45RPM 180 gram LP at RTI. The wider and deeper grooves-as well as the meticulous mastering process-yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. Indeed, Joel wouldn't sound more realistic if were playing ten rows away from you onstage. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.
Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.
Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colors on several pieces-even employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.
52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. More than three decades later, it's finally available in fidelity that rivals that of those Columbia Records' master tapes produced right on 52nd Street. Mobile Fidelity takes you there and Joel sweeps you away.
This title is not eligible for discount.1. Big Shot
3. My Life
6. Roaslinda's Eyes
7. Half a Mile Away
8. Until the Night
9. 52nd Street$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now