- Lowest Price
- Highest Price
I Am The CosmosClear Colored Vinyl
I Am the Cosmos is an enduring testament to the brilliance of Chris Bell; lyrically poignant and melodically stunning, this lone solo album is proof positive of his underappreciated pop mastery. While cuts like Get Away, I Got Kinda Lost, and Fight at the Table recall the glowing, energetic power pop of Bell's earlier work, the majority of the songs on I Am the Cosmos are more reflective and deeply personal; the title track is a harrowingly schizophrenic tale of romantic despair, while other cuts like the lurching Better Save Yourself and the lovely Look Up are infused with a spiritual power largely missing from his Big Star material.
The album's highlight, You and Your Sister -- which features backing vocals from none other than Bell's Big Star mate Alex Chilton -- is simply one of the great unknown love songs in the pop canon, a luminous and fragile ballad almost otherworldly in its beauty.
Jason Ankeny (All Music Guide)1. I Am The Cosmos
2. Better Save Yourself
3. Speed Of Sound
4. Get Away
5. Make A Scene
6. Look Up
7. I Kinda Got Lost
8. There Was A Light
9. Fight At The Table
10. I Don't Know
11. Though I Know She Lies
12. You And Your Sister$20.99Colored Vinyl LP - Sealed Buy Now
Nothing Can Hurt Me (Soundtrack)2011's RSD saw an Omnivore vinyl reissue of the "test pressing" of Big Star's 1975 swansong Third, meticulously recreated right down to the master tape box and tracking sheets. Early in 2012, the band's frontman Alex Chilton was celebrated via the label's release of Free Again: The 1970 Sessions. Now, Omnivore is handling the soundtrack to the Magnolia Pictures documentary Big Star: Nothing Can Hurt Me, and it will premiere as a RSD-exclusive yellow double vinyl edition limited to 4,000 copies worldwide. The 2012 SXSW Film Festival selection tells the story of the ultimate cult band, a group that never saw any considerable commercial success but influenced an entire generation of pop musicians. Nothing Can Hurt Me chronicles Alex Chilton's ascent to fame
As lead singer of The Box Tops through the recording of Big Star's three albums, to the 1978 death of Chilton's collaborator Chris Bell.
The 21 previously unreleased tracks on the soundtrack's four vinyl sides encompass vintage unissued mixes, alternate takes, demos, and new mixes made for the motion picture of Big Star, Chilton and Bell songs. The soundtrack includes 21 previously unheard period mixes, new mixes made specifically for the film, and alternate takes and demos.LP1
1. My Soul (Demo, 1973)
2. Give Me Another Chance (Control Room Monitor Mix 1972)
3. In The Street (Movie Mix, 2012)
4. When My Baby's Beside Me (Alternate Mix 1972)
5. Studio Banter (1972)
6. Try Again (Movie Mix, 2012) - Rock City
7. My Life Is Right (Alternate Mix, 1972)
8. The Ballad Of El Goodo (Alternate Mix, 1972)
9. Feel (Alternate Mix, 1972)
10. Don't Lie To Me (Alternate Mix, 1972)
11. Way Out West (Alternate Mix)
1. Thirteen (Alternate Mix, 1972)
2. You Get What You Deserve (Alternate Mix, 1972)
3. Holocaust (Rough Mix, 1974)
4. Kanga Roo (Rough Mix, 1974)
5. Stoke It Noel (Backward Intro, 1974)
6. Big Black Car (Rough Mix, 1974)
7. Better Save Yourself (Movie Mix, 2012) - Chris Bell
8. I Am The Cosmos (Movie Mix, 2012) - Chris Bell
9. All We Ever Got From Them Was Pain (Movie Mix, 2012) - Alex
10. September Gurls (Movie Mix, 2012)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Live In Memphis
Red Colored Vinyl
Only Known, Professionally Filmed Complete Big Star Concert!
The gig poster read: "BIG STAR IN THEIR FAREWELL U.S. PERFORMANCE." Luckily, this iconic Memphis band's homecoming show was
nothing of the kind. As Jody Stephens points out in his liner notes, "We
played Los Angeles three days later and went on to play together for
another 16 years. No one ever said anything about the poster."
Omnivore Recordings is proud to present Big Star's only known professionally filmed show in its entirety. Live In Memphis chronicles that
October 29, 1994 performance.
Contains Big Star classics like "Thank You Friends," "September Gurls,"
and "The Ballad Of El Goodo," Chris Bell's "I Am The Cosmos," and
covers of T.Rex, The Kinks, Todd Rundgren and more, performed by Big
Star: Alex Chilton, Jody Stephens, and Jon Auer and Ken Stringfellow
from The Posies.
Also included are notes from filmmaker Danny Graflund, Ardent Studios'
John Fry, Jody Stephens, Jon Auer, and Ken Stringfellow. Per Omnivore tradition, the first pressing of the LP
will be 1,000 colored vinyl, with black to follow.
For the first time, you will not only be able to hear this legendary performance,
but see it, as well. You will be in the New Daisy Theatre experiencing
Big Star Live In Memphis!1. In The Street
2. Don't Lie To Me
3. When My Baby's Beside Me
4. I Am The Cosmos
5. Way Out West
6. Till The End Of The Day
7. The Ballad Of El Goodo
8. Back Of A Car
10. Daisy Glaze
11. Jesus Christ
12. For You
13. Baby Strange
15. September Gurls
16. Big Black Car
17. Thank You Friends
18. The Girl From Ipanema
19. Patty Girl
20. Slut$29.99Colored Vinyl LP - 2 LPs Sealed Buy Now
ADAD-MAT-2983xBelle And Sebastian
Fold Your Hands Child You Walk Like a PeasantBelle & Sebastian's songs have always been instantly familiar while simultaneously original and unexpected. Listening to Belle & Sebastian, you have the inexplicable feeling that you have heard these songs somewhere before, filed away with the mothballs of your youth, or that, maybe, you have stumbled upon long-lost tapes of a young Nick Drake being backed by Village Green Preservation Society-era Kinks under the production of some low-rent Phil Spector. The fact that Belle & Sebastian have arrived at their distinct, anachronistic sound quite naturally and by accident is a large part of their charm. It's not surprising, then, that Belle & Sebastian's fourth full-length record, Fold Your Hands Child, You Walk Like a Peasant, has arrived with the band's sincerity intact. What is surprising, however, is the record itself: an eclectic mix of the soulful and the sublime, something of a departure for the band. Unlike their last record, the amazing Boy with the Arab Strap, the songs here are not instantly recognizable, but more subtle. The hooks don't automatically grab; instead, the songs' intent is to break you down, seeping into your bloodstream and working on you from the inside out like an infection.
The eclectic feel of the record owes itself to the fact that this is, by far, Belle & Sebastian's most record by committee affair yet, with songwriting contributions from several different band members and songs that seem to have been built up from simple ideas into lush orchestral pieces with the musical input of the band's many different instrumentalists. While Stuart Murdoch still writes and sings the bulk of the material, he collaborates with bandmates on a number of songs, including the delicately soulful Don't Leave the Light on Baby, written with keyboardist Chris Geddes. Unfortunately, songs by Belle & Sebastian cofounder and bassist Stuart David are not to be found on Fold Your Hands (he left the band during the recording). However, violinist Sarah Martin contributes her first song with the haunting Waiting for the Moon to Rise, while cellist Isobel Campbell adds the record's most surprising track, Beyond the Sunrise, sounding like a lost Leonard Cohen gem with its spare and fragile arrangement. Guitarist Stevie Jackson, who contributed some of the better songs on Arab Strap, manages only one on this outing, but it's one of the best: The Wrong Girl, a tale of misplaced love juxtaposed against swinging Spector- like strings and horns. By the time the band reaches Women's Realm, an infectious, life-affirming romp, the record's message, although never spelled out, is clear: Through all the melancholy and solitude and terrible things that could go wrong, life is still worth fighting for. --Paul Ducey1. I Fought In A War
2. The Model
3. Beyond The Sunrise
4. Waiting For The Moon To Rise
5. Don't Leave The Light On, Baby
6. The Wrong Girl
7. The Chalet Lines
8. Nice Day For A Sulk
9. Woman's Realm
10. Family Tree
11. There's Too Much Love$21.99Vinyl LP Buy Now
Inner ClassicsInner Classics is the sophomore record from the critically acclaimed Toronto duo, Snowblink. Written in a cottage on Lake Erie in winter, an attic studio in Toronto in the early spring, and a guest house in Malibu, CA in the summer while listening to a live feed of whales singing off the coast of Maui, Inner Classics represents singer/songwriter Daniela Gesundheit's first body of work since moving to Canada. The album title itself is inspired by the "Inner Classic," or Huang Di Nei Jing, a traditional Chinese medicine text written by several anyonymous authors between 300 and 100 B.C.E.
Co-produced by Dan Goldman and vocalist Daniela Gesundheit with Chris Stringer (Timber Timbre, Ohbijou) and mixed by Mark Lawson (Arcade Fire, Timber Timbre). Guest players on the record include friends and past collaborators of the band Barbara Gruska (Jenny Lewis Band, The Belle Brigade), Ryan Driver (Sandro Perri), Thom Gill (Owen Pallett), Misha Bower (Bruce Peninsula), and Caley Monahon-Ward (Extra Life).1. Pray for Surf
2. Unsurfed Waves
3. Best-Loved Spot
4. Black & White Mountains
5. Safety Stories
6. Inner Mini-Mississippi
7. Goodbye Eyes
9. Buttons$18.99Vinyl LP - Sealed Buy Now
ADAD-NEW-0719xThe Whistles & The Bells
The Whistles & The BellsNashville-based The Whistles & The Bells is set to release their self-titled album, produced by Grammy Award winning engineer Vance Powell (Jack White, Chris Thile, Buddy Guy). The vehicle of singer/songwriter Bryan Simpson, former front man of Cadillac Sky, The Whistles & The Bells defy easy categorization as folk, alt-country, indie rock and gospel thread together to create a rich musical tapestry that matches the intense soul searching of Simpson's evocative and poetic lyrics.1. Mercy Please
2. Transistor Resistor
3. Ghost Town
4. Canary Cage
5. Two Elephants
7. Ghetto Gold
8. Cosmic Torpedoes
9. Last Night God Sang Me A Song
10. Bad Superheroes
11. Shadow Of Death$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Radio CityRanked 403/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Although the original members of the Memphis quartet Big Star recorded only the album, #1 Record together and were dissolving rapidly by the time the second, Radio City, was completed, those records have influenced countless 80s and 90s rockers on both sides of the Atlantic, from the Replacements and R.E.M. to Englands Primal Scream and Scotlands Teenage Fanclub. That Big Stars impact should extend so far afield is less surprising in light of the bands own inspirations. Taking the gritty soul of Memphis rhythm and blues and fusing it with the artful melodies and vocal harmonies of British power pop, and injecting it all with a flailing, pre-punk, garage-band energy, Big Star created a unique sound with a universal appeal.
Much of the tension that fueled Big Star's wonderful harmonies apparently came from the undercurrents of competition instilled by the medias perception of Alex Chilton as the leader of the band, one which Chris Bell once steered. Near Christmas of 1972, Bell left the band. Chilton, Hummel and Stephens continued as a trio, but Big Star was clearly on the rocks. They pulled themselves together enough, however, to record 1973's Radio City, which has been called one of rocks most seminal albums, and while Bell was not a formal participant, his lingering spirit is evident in several of the albums 12 tracks.1. O My Soul
2. Life Is White
3. Way Out West
4. What's Going Ahn
5. You Get What You Deserve
6. Mod Lang
7. Back of a Car
8. Daisy Glaze
9. She's a Mover
10. September Gurls
11. Morpha Too
12. I'm in Love With a Girl$21.99Vinyl LP -Sealed Buy Now
Bidin' My TimeChris Hillman, whose credits include co-founding Rock and Roll Hall of Famers the Byrds, as well as the Flying Burrito Brothers, Manassas and Desert Rose Band, is truly one of the architects of American music. His newest solo work, Bidin' My Time, produced by Tom Petty and executive-produced by Herb Pedersen, captures a rarity: an icon who has never sounded better, making music with old friends for the sheer love of it.
Collaborators and admirers from Hillman's storied career appear throughout the record: Tom Petty; Hillman's Byrds bandmates David Crosby and Roger McGuinn; the Heartbreakers' Benmont Tench, Mike Campbell, and Steve Ferrone; Desert Rose Band's John Jorgenson, Pedersen, and Jay Dee Maness; premier upright bassist Mark Fain; singer/guitarist Josh JovÉ; and fiddler Gabe Witcher.
The album kicks off with a new recording of Pete Seeger's and Welsh poet Idris Davies' 'The Bells of Rhymney,' which the Byrds recorded for their debut. 'Here She Comes Again' was co-written by Hillman and McGuinn and, until now, had only been recorded on a live Byrds album in Australia. 'She Don't Care About Time' was written by Byrds co-founder Gene Clark, and was the original B-side to 'Turn! Turn! Turn!' Covers of the Everly Brothers' 'Walk Right Back' and Petty's 'Wildflowers' round out this understated yet undeniable masterpiece.
Folk, rock and roll, bluegrass and the unmistakable country-rock Hillman himself helped pioneer come together seamlessly on the triumph that is Bidin' My Time.1. Bells of Rhymney
2. Bidin' My Time
3. Given All I Can See
4. Different Rivers
5. Here She Comes Again
6. Walk Right Back
7. Such Is The World That We Live In
8. When I Get a Little Money
9. She Don't Care About Time
10. New Old John Robertson
12. Wildflowers$21.99Vinyl LP - Sealed Buy Now
HealFrom the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent
teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old,
believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle
healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst
parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria,
confusion and clarity.It is deeply personal and unwittingly anthemic.
Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the
personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage
was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted so I'd gone on tour, I was
gone about two years!I didn't take time to think about failure, but I knew I was going deeper and deeper I was thinking,
I have this life, but it's not my life,I haven't done it right "
When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times
invigorating.Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional
rock and electronic currents,that have now come to the fore.HEAL is a bold new beginning,with a thrilling full-tilt sound
that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense
Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton.
Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve
Clements,who provides HEAL's thunderous ,sinewy drive. Songs such as 'Shut In','Plymouth' and'Woke Up To The Light'
have a classic construction and mood,recalling '70s power-pop/ballads and the yearning ache of Big Star'slate, great Chris
Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired
dynamic to its stretching point, especially on'For Me',which expertly bridges the album's twin decades of influences.And
if 'Goshen '97'recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the
album's smoldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as
comfort no matter how bad things get.
Which brings usto another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec.
26, 2013.Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck,
and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me
much more than Irealized at the time."Fearing delays, Showalter didn't let Congelton know about it,so the mixing session
went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction,"
Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at
that exact moment,somewhere between almost dying and being absolutely fearless."
HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill.
Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance.
Finally, he and Strand Of Oaks have much to celebrate.1. Goshen '97
3. Same Emotions
4. Shut In
5. Woke Up To The Light
8. Mirage Year
9. For Me
10. Wait For Love$17.99Vinyl LP - Sealed Buy Now
After The DiscoWhen Shins frontman James Mercer teamed up with producer Danger Mouse and Sparklehorse for a track on the pair's Dark Night Of The Soul project, it seemed farfetched to assume that we'd see any further collaboration from its members, especially following Sparklehorse frontman Mark Linkous' suicide shortly thereafter. But to our delight and surprise, the surviving duo went on to form Broken Bells in 2009, and since then have delivered an album and an EP to the world before fading back into the night. Danger Mouse (real name Brian Burton) has stayed busy in the meantime, producing albums for Portugal. The Man, The Black Keys, and U2, while Mercer poured his focus into a new Shins album and subsequent tour cycle. But now that all those side projects are behind the iconic artists, the duo is ready to give the world another welcomed surprise - their sophomore LP, After The Disco. And if that album title isn't enough of an indicator of the group's surprising new direction, the Bee Gees-esque backing vocals are certainly telling.
- Chris Roy (Revolt)1. Perfect World
2. After the Disco
3. Holding On for Life
4. Leave It Alone
5. The Changing Lights
7. Lazy Wonderland
9. No Matter What You're Told
10. The Angel and the Fool
11. The Remains of Rock & Roll$22.99Vinyl LP - Sealed Buy Now
Matt CostaMatt Costa's self-titled album, produced by Tony Doogan (also known for his work with Teenage Fanclub, Mojave 3, and Super Furry Animals), was recorded at Castle of Doom, the Glasgow recording studio created by Doogan and Mogwai. This ferociously creative self-titled LP also features a prestigious line-up of supporting musicians, including Costa's friend and guitarist Danny Garcia, Belle & Sebastian guitarist Stevie Jackson and bassist Bobby Kildea, and former Isobel Campbell collaborators Chris Geddes (organ) and Dave McGowan (pedal steel, piano, double bass).1. Loving You
2. Early November
3. Eyes For You
4. Good Times
6. Clipped Wings
7. Laura Lee
8. Silver Sea
10. Golden Cathedrals$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
HamartiaFormed in 1989, this release marks the band's 28th anniversary year and is a sonic testament to their legacy as one of the earliest U.S. dark & doom metal bands still active today.
Considered by the band to be their best work to date, Harmartia's mastery is due in part to the synergy of its lineup, who constituted their previous album Bled White: Paul Kuhr (founder/vocalist), Larry Roberts (guitars), Vito Marchese (guitars), Mike Feldman (bass), and Garry Naples (drums).
Recorded at Belle City Sound in Racine, WI, this album sees production from long-time Novembers Doom producer Chris Djuricic (Jungle Rot, Malevolence), and Mix Master metal legend Dan Swano (Opeth, Dissection, Katatonia).1. Devils Light
2. Plague Bird
4. Ever After
9. Waves In The Red Cloth
10. Borderline$27.99Vinyl LP - 2 LPs Sealed Buy Now
The Feeling Of Jazz1962 Set from Duke Ellington and His Orchestra Contains New Material and Fresh Interpretations of Classics
Spectacular Audiophile Restoration Series Resurrects UK Label Black Lion: Mastered at Bernie Grundman Studios by Chris Bellman and Pressed at Pallas
EQ Notes and Curation Performed by Iconic Engineer Steve Hoffman; LPs EQ'd and Set Up by Bernie Grundman
Conceived, Designed, and Manufactured for Collectors and Enthusiasts: Vinyl Jacket Features Exclusive Art
Age never slowed Duke Ellington. Recorded at four different sessions in 1962 at Bell Studio in 1962, The Feeling of Jazz is one of the rarest titles America's greatest composer ever released, and contains both never-before-heard originals as well as reinterpretations of Ellington classics. Performed by the Duke Ellington Orchestra, which included players such as Paul Gonsalves, Johnny Hodges, Harold Baker, and Jimmy Hamilton, the material contains a wealth of spot-on solos and stop-on-a-dime changes.
Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, The Feeling of Jazz represents a critical juncture in Ellington's career and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Helmed by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.
Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180g LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. This is what being a collector is all about. The title isn't widely known, but this reissue preserves historically significant music that will be enjoyed by generations to come.
Jazz fans, audiophiles, and music fanatics, don't sleep on this extraordinary treasure.1. Taffy Twist
4. What Am I Here For
5. Take the 'A' Train
6. I'm Gonna Go Fishin'
8. Black and Tan Fantasy
9. The Feeling of Jazz
10. Jump for Joy
11. I Let a Song Go Out of My Heart/Don't Get Around Much Anymore$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Dye It Blonde (Awaiting Repress)Smith Westerns consists of Cullen Omori (vocals), Max Kakacek (guitar) and Cameron Omori (bass). All members range from ages 19 to 20. Since forming in 2007, Smith Westerns have managed to tour both the U.S. and Europe while supporting the likes of MGMT, Florence and the Machine, Belle and Sebastian, Girls and Passion Pit. Their self recorded 'lo-fi' self-titled debut was released in 2009 to critical acclaim for their youthful and glam rock tinged approach to pop music.
In 2010, Smith Westerns teamed up with Chris Coady (Yeah Yeah Yeahs, TVOTR, Beach House) and current record label Fat Possum to record their sophomore effort in a proper studio. The result is a cleaner/higher quality recording of lush, layered timeless pop songs with emphasis on the guitar virtuosity of Led Zeppelin and the arena rock anthem's of Oasis.1. Weekend
2. Still New
3. Imagine Pt. 3
4. All Die Young
5. Fallen In Love
6. End of the Night
7. Only One
9. Dance Away
10. Dye the World$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
180° South (Original Soundtrack Recording)The 180° South soundtrack features new music from James Mercer (The Shins, Broken Bells w/Danger Mouse), Mason Jennings, and Ugly Casanova (Isaac Brock of Modest Mouse with various collaborators), all of whom participated significantly in the overall film project. Songs by Jack Johnson and Love as Laughter also appear, as well as James Mercer's cover of Neil Young's Journey Through The Past. The compilation was assembled by the film's producer, Emmett Malloy, who recently directed The White Stripes' Under Great White Northern Lights.
Director Chris Malloy's film strikes deeply into the heart of Patagonia's wilderness, it was there, during the making of the film that the soundtrack was conceived. Mason Jennings and James Mercer visited Patagonia during the shooting of the film. Deeply impacted, they spent the following weeks, months and years that followed, writing music and enlisting friends such as Modest Mouse's Isaac Brock and Jack Johnson to help get the soundtrack made.1. Mountains Of Storms
2. Here's To Now
4. Doug's Theme
5. Wave Goodbye
6. Journey Through the Past
7. Lonesome Blues
8. Spring Wind
9. Hotcha Girls
11. Maybe We're Lost
12. Coconut Flakes
13. The Geezer
14. Lay Me Down$24.99Vinyl LP - Sealed Buy Now
HEART (Awaiting Repress)Pressed On Translucent Light Blue Colored Vinyl
STARS' BREAKTHROUGH SOPHOMORE ALBUM
HEART WILL BE REPRESSED FOR THE FIRST TIME IN
15 YEARS ON LAST GANG RECORDS WORLDWIDE.
The album was recorded in the bedroom of keyboard player Chris Seligman on
Avenue Mont-Royal in Montreal and released in 2003. A description at the time
pinned the band as more New Order and Saint Etienne than Smiths, and with
male and female vocals, the band comes across as an electro-pop Belle &
Sebastian. The New York Times praised the album as: "Lovely. Romantic.
Devastating...words often used to describe the soothing sounds of Stars.
Adjectives aside, one thing is for certain: Stars have a knack for writing gently
devastating pop songs."1. What The Snowman Learned About Love
2. Elevator Love Letter
4. The Woods
5. Death To Death
6. The Vanishing
7. Romantic Comedy
8. Time Can Never Kill The True Heart
9. Look Up
10. Life Effect
11. Don't Be Afraid To Sing$22.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Antifogmatic (Awaiting Repress)Antifogmatic, the follow-up to the Punch Brothers' 2008 debut, Punch, is a collaboratively written collection of songs from these five wily, omnivorous bluegrass titans, as the Village Voice has called them, a quintet that the Washington Post, in turn, has described as some of the best string pickers of the new generation.
Antifogmatic is seamlessly sequenced to display the collective imagination, the instrumental and vocal power, of the band: Thile, guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, and fiddler Gabe Witcher. Though the quintet is now based in New York City, where they have an informal residency at Manhattan's The Living Room, they recorded and mixed the album at Hollywood's historic Ocean Way studio with iconoclastic producer Jon Brion (Brad Mehldau, Aimee Mann, Fiona Apple, Kanye West) and engineer Greg Koller. Says Witcher, We knew we needed a producer equally as well-versed in pop and rock as in instrumental music, and I don't think there is anyone more able to capture and communicate the essence of this material than Jon Brion.
The arrangements on Antifogmatic range from intimate to boisterous and back; genre-wise, the band once again ventures where no string band has ever gone before. The spare opening track You Are contrasts percussive guitar riffs with lyrical string parts that dance around Thile's sweet upper register as he spins a tale of romantic emancipation; occasionally, the other instruments give way to reveal the throb of the bass. The band also engages in some unexpectedly beautiful harmony singing, smoothing out the compelling melodic twists and turns of Welcome Home. Me and Us and Woman and the Bell both have a dream-like quality; the former, in fact, was inspired by those jumbled, thought-filled moments before sleep sets in, and the instrumentation keeps pace with the ever-shifting imagery. In contrast, Don't Need No and Rye Whiskey are foot-stomping barroom boasts and Next to the Trash is the closest the band gets to traditional bluegrass, even as the lyrics tug the piece in a more surreal direction.1. You Are
2. Don't Need No
4. Rye Whiskey
5. Me and Us
7. The Woman and the Bell
8. Next to the Trash
9. Welcome Home
10. This Is The Song [Good Luck]$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Coil SeaCoil Sea is a collaborative and mostly improvised recording project featuring David Heumann (Arbouretum, Human Bell), Matthew Pierce (Arbouretum) and Michael Lowry (both of Lake Trout and Big in Japan) and Walker David Teret (ex-Arbouretum, Anomoanon).
The project began when Lowry and Pierce invited Heumann to sit in with their long-running instrumental project Big in Japan for one performance of a month-long residency at Baltimores Windup Space. Heumann and Arbouretum had recently finished a European tour, and the show with Big in Japan enlivened his idea to record improvised performances with a loose group of familiar but unaffiliated musicians.
Heumanns goal was to record with few set ideas and little editorial input, allowing the music to develop naturally as the group coalesced. Heumanns performance with Big in Japan had also included percussionist Michael Kuhl (Red Headed Temper, Jenny Boyle and the Drivers), so Heumann invited Kuhl, childhood friend Jimmy Wallace (guitar), and his former Arbouretum and Anomoanon bandmate Walker Teret (bass) to join the session.
The first session was recorded by Chris and Mickey Freeland on a Saturday in September. Only one song (Abyssinia) had a pre-written melody; the rest of the performances were composed and improvised on the spot, with the only verbal directions being references to tempo and key. A portion of the recording from that session was edited and mixed with Freeland, and later with Rob Girardi at Lord Baltimore Recordings, for the album tracks Abyssinia, Revert to Dirt and Waking the Naga. Much care was taken to preserve the spirit and feel of the original takes, even as effects were added to the original tracks, instruments were brought in and out of the mix and performances were cut and spliced.
A second session was arranged, this time recording at Lord Baltimore, based around a melody Heumann had come up with in a Lydian mode, which appears on the record as Dolphins in the Coil Sea. The track was envisioned as an homage to jazz/noise legend Sonny Sharrock, and is unique to the album in that its almost untouched from the original recording.1. Abyssinia
2. Dolphins in the Coil Sea
3. Revert to Dirt
4. Waking the Naga$16.99Vinyl LP - Sealed Buy Now
Fleetwood Mac 1969-1972 (Box Set)Features Four Complete Albums: Then Play On, Kiln House, Future Games, And Bare Trees
Contains An Exclusive Replica Of The Original 1969 7 Single: "Oh Well - Pt. 1" b/w "Oh Well - Pt. 2."
FLEETWOOD MAC: 1969-1972 is a beautiful vinyl boxed set that collects four of the band's classic albums, each lovingly reproduced on 140-gram vinyl. As a bonus, the set comes with an exclusive replica of the original 1969 7-inch single of "Oh Well - Pt. 1" b/w "Oh Well - Pt. 2."
FLEETWOOD MAC: 1969-1972 features four complete albums - Then Play On (1969), Kiln House (1970), Future Games (1971) and Bare Trees (1972) - housed in a striking black slipcase. To ensure superb sound quality, Chris Bellman at Bernie Grundman Mastering cut the lacquers for all four albums. The records look as good as they sound thanks to authentically reproduced packages, including gatefolds for Then Play On and Kiln House and single sleeves for Future Games and Bare Trees.
The set follows the band through an early transitional period. With Kiln House, Fleetwood Mac began moving toward a more melodic pop sound on songs like "Mission Bell" and "One Together." At the time, the band included: Jeremy Spencer (guitar, vocals, piano), Kirwan (guitar, vocals), John McVie (bass) and Mick Fleetwood (drums). Christine McVie was at the recording sessions and contributed backing vocals and the album's cover art, but she did not join the band until shortly after the album was finished.
The band's shift toward pop and folk styles continued on Future Games with songs like "Show Me A Smile" and "Morning Rain." This marks the first Fleetwood Mac album with Christine McVie as a full band member as well as the Mac debut of Bob Welch on guitar.
The line-up stayed the same for Bare Trees, which boasts a consistently strong collection of songs like McVie's "Spare Me A Little Of Your Love," Kirwan's "Dust" and Welch's "Sentimental Lady." Although Kirwan was a dominant figure during the recording, penning half of the songs, this would ultimately be his last appearance on a Fleetwood Mac album.Then Play On (1969)
1. Coming Your Way
2. Closing My Eyes
3. Fighting For Madge
4. When You Say
5. Show Biz Blues
7. One Sunny Day
8. Although The Sun Is Shining
9. Rattlesnake Shake
10. Without You
11. Searching For Madge
12. My Dream
13. Like Crying
14. Before The Beginning
Kiln House (1970)
1. This Is The Rock
2. Station Man
3. Blood On The Floor
4. Hi Ho Silver
5. Jewel Eyed Judy
6. Buddy's Song
7. Earl Gray
8. One Together
9. Tell Me All The Things You Do
10. Mission Bell
Future Games (1971)
1. Woman Of 1000 Years
2. Morning Rain
3. What A Shame
4. Future Games
5. Sands Of Time
7. Lay It All Down
8. Show Me A Smile
Bare Trees (1972)
1. Child Of Mine
2. The Ghost
3. Homeward Bound
4. Sunny Side Of Heaven
5. Bare Trees
6. Sentimental Lady
7. Danny's Chant
8. Spare Me A Little Of Your Love
10. Thoughts On A Grey Day
Bonus 7" Single
1.Oh Well - Pt. 1
2.Oh Well - Pt. 2$79.99Vinyl LP + 7 Vinyl Single - 4 LPs Sealed Buy Now
True RomanceOver the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.
As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.
True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.
In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.
The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.
And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
- Marc Hogan, Pitchfork1. Nuclear Seasons
2. You (Ha Ha Ha)
3. Take My Hand
4. Stay Away
5. Set Me Free (Feel My Pain)
7. So Far Away
8. Cloud Aura
9. What I Like
10. Black Roses
11. You're the One
12. How Can I
13. Lock You Up$21.99Vinyl LP - Sealed Buy Now
The Heat Is On (Speakers Corner)A glance at the discs, which rocked through the charts under the simple name of "Isley Brothers" will give you an idea of how a long-lasting and self-generative family enterprise (The Times) became a true soul factory. After a brisk start with popular rock'n'roll music, similar to that which a large number of black vocal groups turned out in the Fifties, followed a long march from one record company to another - all of whom were hard pushed to equate the dynamic musicality of these brothers with the 'own sound' of their productions. After hopping from one record label to the next, and not even getting a long-lasting break with the potent Motown label Tamla, golden days arrived when they set up their own label - T-Neck.
Amidst the turmoil created by strong competition from superb studio albums, the Isleys landed a smash hit in 1975 with The Heat Is On, an album which achieved double platinum status with its collection of perfectly written numbers. Powerful, funky volleys (Fight The Power), gyrating riffs as a launch pad for harmonious vocals and a creative solo (The Heat Is On) go their own way, which is also apparent in the bell-like, airy ballads that swing along tastefully - quite without the sugar-sweet strings so popular at that time.
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.
- Ernie Isley (guitar, drums, percussion, vocals)
- Chris Jasper (keyboards)
- O'Kelly Isley, Ronald Isley, Rudolph Isley (vocals)
- Marvin Isley (bass)
Recording: 1975 at Kendun Recorders, Burbank (CA), by Kent Duncan
Production: The Isley Brothers
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. Fight the Power, Pts. 1 & 2
2. The Heat Is On, Pts. 1 & 2
3. Hope You Feel Better Love, Pts. 1 & 2
4. For the Love of You, Pts. 1 & 2
5. Sensuality, Pts. 1 & 2
6. Make Me Say It Again Girl, Pts. 1 & 2
7. Fight the Power, Pts. 1 & 2$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
- Ernie Isley (guitar, drums, percussion, vocals)
Fog Electric (Out of Stock)Fog Electric is the follow-up to Grappling Hooks, the band's debut which received massive critical acclaim when it was released in 2010. This praise included being named as Zane Lowe's album of the
week on his BBC Radio 1 show and further radio support followed including sessions on 6 Music, BBC
Scotland and BBC Introducing.
NAO are the Scottish based trio of Sam Healy (vocals, guitar, bass, keyboards, synths, sax, percussion), Ben Martin (drums, percussion, programming) and Chris Howard (bass, synth bass, vocals).
They describe themselves as playing their instruments within a computerised wall of sound and they have been labelled prog-pop and electro-rock, but really they just make music. The music has soaring harmonies and loud guitars and dreamy synths and heavy drums and strange effects and unexpected
Fog Electric has been recorded and produced by Tony Doogan (Super Furry Animals, Mogwai, Teenage Fanclub, Belle & Sebastian) and looks set to lift the band to even higher levels.1. Soft Coda
4. Empire Waste
5. Savage With Barometer
6. Expert With Altimeter
7. The Receiver
8. Downhill$24.99Vinyl LP - Sealed Temporarily out of stock