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Clap Hands, Here Comes Charlie!Mastered by George Marino at Sterling Sound!
Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 - played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz.
Originally released in 1962.
Ella Fitzgerald, vocals
Herb Ellis, guitar
Gus Johnson, drums
Stan Levey, drums
Lou Levy, piano
Wilfred Middlebrooks, bass
Joe Mondragon, bass
This title is not eligible for discount.1. Night In Tunisia
2. You're My Thrill
3. My Reverie
4. Stella My Starlight
5. 'Round Midnite
6. Jersey Bounce
7. Signing Off
8. Cry Me A River
9. This Year's Kisses
10. Good Morning Heartache
11. (I Was) Born To Be Blue
12. Clap Hands, Here Comes Charlie!
13. Spring Can Really Hang You Up The Most
14. Music Goes 'Round And 'Round$49.99200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
URPD-CLA-7210xClap Your Hands Say Yeah
The TouristPressed On Limited Edition White Vinyl
Housed In A Gatefold Sleeve
''The Tourist'' nods to Alec Ounsworth's musical heroes--a group that includes artists such as John Cale, Robert Wyatt, Tom Waits and Nick Cave. However, this album also shows a natural progression from previous records. ''Better Off'' and ''The Vanity Of Trying'' are lush, keyboard-augmented songs, while ''A Chance To Cure'' and ''Ambulance Chaser'' are rhythmically askew, and the sighing ''Loose Ends'' is delicate, acoustic-based folk-rock.1. The Pilot
2. A Chance to Cure
3. Down (Is Where I Want To Be)
4. Unfolding Above Celibate Moon (Los Angeles Nursery Rhyme)
5. Better Off
7. The Vanity of Trying
8. Loose Ends
9. Ambulance Chaser
10. Visiting Hours Edit$18.99Colored Vinyl LP - Sealed Buy Now
Mo BeautyMo Beauty is the debut solo release from celebrated singer/songwriter Alec Ounsworth, who earned acclaim with his band Clap Your Hands Say Yeah. The album was produced by veteran musician/producer and fellow Philadelphia native Steve Berlin (Los Lobos, Blasters, John Lee Hooker, The Replacements), who initially suggested a New Orleans setting for recording. Working with some of the city's most storied musicians, including George Porter of The Meters on bass, Ounsworth has crafted a collection of songs that pick up where Clap Your Hands Say Yeah leave off. Mo Beauty carries on the band's vein of quirky humor, unabashed melody, and sonic experimentation, but with the weight of New Orleans and its history hovering over the recording, Ounsworth has dug deep on songs like Holy, Holy, Holy Moses (song for New Orleans), while tracks like South Philadelphia groove in a whole new way.
Mo Beauty features George Porter, Jr. on bass, Stanton Moore on drums, Robert Walter on keys, and Matt Sutton on baritone and pedal-steel guitars, with additional help from members of the talented New Orleans community.1. Modern Girl (with scissors)
2. Bones in the Grave
3. Holy, Holy, Holy Moses (song for New Orleans)
4. That is not my Home (after Bruegal)
5. Idiots in the Rain
6. South Philadelphia (Drug Days)
7. What Fun
8. Me and You, Watson
9. Obscene Queen Bee #2
10. When You've No Eyes$19.99Vinyl LP - Sealed Buy Now
Blues & RootsBlues & Roots is an album by Charles Mingus, recorded in 1959 and released in 1960. Mingus explained the birth of this record in the album's liner notes: This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi ErtegÜn suggested that I record an entire blues album in the style of Haitian Fight Song (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed. (via Wikipedia)1. Wednesday Night Prayer Meeting
2. Cryin' Blues
5. My Jelly Roll Soul
6. E's Flat Ah's Flat Too$21.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
The Body WinsSarah Jaffe started work on The Body Wins the day she bought a bass and a drum set at a pawnshop. That day, she wrote the rhythmic A Sucker For Your Marketing and her second full-length began to take shape. Jaffe had pent-up creative energy inside her, after spending most of the year traveling and touring behind her debut Suburban Nature, and she explores it with abandon here.
There's a side of The Body Wins that didn't exist with Jaffe on her debut and it has a newfound pulse to it, more than a heartbeat, not quite a breakbeat. Glorified High, the first single perfectly captures that with a chorus that smacks you in the chest and lovingly lingers.
The Body Wins may sound different to those introduced to Jaffe through Suburban Nature and it should as it's more of a product of everywhere she's been, literally and figuratively, and a hint of everywhere she might go from here. Produced by John Congelton (St. Vincent, Walkmen, Clap Your Hands Say Yeah, Explosions in the Sky.)1. Paul
2. Body Wins
3. Glorified High
4. Manneguin Woman
5. Halfway Right
6. The Way Sound Leaves
8. Hooray for Love
9. Foggy Field
10. Sucker For Your Marketing
13. When You Rest$13.99Vinyl LP - Sealed Buy Now
We're All Young TogetherNot wasting much time since The Walkmen announced their hiatus (and then reneged that announcement for a night), the band's multi-instrumentalist and co-writer Walter Martin has revealed details of his debut solo outing. Entitled We're All Young Together, the record is due out in 2014 from Family Jukebox.
The label name is especially apt as the spark for the album came when Martin's wife was pregnant with their first child. "It wasn't that I wanted to write songs to suit my new situation as a parent," Martin said in a press release. "It was more parenthood made relevant writing the kind of songs I've always loved most." He continued, "I began to imagine a record I really wanted to hear: something new and original that captured the essence of early rock 'n' roll - innocent but mischievous, romantic but funny, and unabashedly sweet."
Martin brought in the help of some big name friends for the record, including Yeah Yeah Yeahs' Karen O and Nick Zinner, The National's Matt Berninger, Clap Your Hands Say Yeah's Alec Ounsworth, and - proving that their are no hard feelings - The Walkmen's own Hamilton Leithuaser and Matt Barrick.
Subject matter ranges from sibling similarities ("Hey Sister") to a treatise on the difference amongst The Beatles ("The Beatles (When Ringo Shook His Mop)"). Our first taste of the record, however, comes in the form of the acoustic lullaby "Sing To Me", featuring Karen O.
- Ben Kaye (Consequence Of Sound)1. We're All Young Together ft. Alec Ounsworth
2. We Like The Zoo ('Cause We're Animals Too) ft. Matt Berninger
3. I-M-A-G-I-N-A-T-I-O-N ft. Kat Edmonson
4. Rattlesnakes ft. Karen O and Nick Zinner
5. Sing To Me ft. Karen O
6. The Beatles (When Ringo Shook His Mop) ft. Hamilton Leithauser, Nick Stumpf, Josh Wise, and Matt Iwanusa
7. If I Were a Tiger ft. Martin McAlevey & Nina Dhongia
8. Costa Rica
9. Hey Sister ft. Kat Edmonson
10. It's a Dream$19.99Vinyl LP - Sealed Buy Now
Morning Tide (Discontinued)Birthed under the warm rays of Los Angeles, The Little Ones upbeat offering, Morning Tide features Edward Reyes on vocals and guitar; Brian Reyes on bass; Ian Moreno on guitar; Lee LaDouceur on keyboards; and David Esau on drums. Together they play giddy guitar pop music infused with lashings of wit and effervescence. Morning Tide is a fine collection of songs that take the word æpopÆ in æpop musicÆ literally, bursting with effervescence and joy.
ôThe Little Ones play a perky brand of blue-skies indie pop that sounds like a retrofitted blast from CaliforniaÆs endless-summer past.ö - Spin
ôCheery indie-pop with enough tambourine-shake to make Stevie Nicks jealous.ö - Rolling Stone
ôTop bands to watch in 2008ö - Alternative Press
ôIf there ever was a textbook on writing foot-tapping, hand-clapping pop songs, these guys should write the introduction.ö - National Public Radio1. Morning Tide
2. Ordinary Song
4. All Your Modern Boxes
5. Tangerine Visions
6. GregoryÆs Chant
7. EverybodyÆs Up To Something
9. Rise & Shine
10. Like A Spoke On A Wheel
11. Farm Song$17.99Vinyl LP - Sealed Buy Now
Acoustic SoulIndia Arie's Acoustic Soul is just as advertised: grooving soul music with an acoustic bent. Arie herself plays guitar, supplemented by strings (instead of synthesizers) and drums (instead of drum machines). The first single, Video, is a calm, confident ode to self-love, comparing the dreadlocked, petite Arie to the average girl in a video. Arie is indeed anything but average: her debut marks the auspicious return of the black female singer-songwriter, in the vein of Me'Shell Ndegeocello, Tracy Chapman, and Dionne Farris. If you like their music, with thoughtful lyrics and layers of instrumentation, you'll love this album. Video is fabulous, but other high points include Ready for Love, a lament that smolders before slowly building to a crescendo, with tinkling piano, guitar, and cello swelling beneath the vocal. Strength, Courage, and Wisdom is an optimistic anthem that'll have you clapping your hands and swaying from side to side, and the best track on the album, Simple, is a straightforward love song with a pulsating beat. Acoustic Soul may not be full of radio-friendly tracks, but every track is strong, and the disc improves each time you press play. --Courtney Kemp1. Intro
4. Brown Skin
5. Strength, Courage and Wisdom
7. Back to the Middle
8. Ready for Love
10. Always in My Head
11. I See God in You
13. Part of My Life
16. Wonderful$24.99Vinyl LP - 2 LPs Sealed Buy Now
Mellow DramaIt's hard to ignore the sound of well placed hand claps, the echoing ring of a tambourine, chiming guitar and luscious vocals. That sound was fantastic sixty years ago, and those that follow the recipe with the required chops can make it sound great today. Louise Burns' debut album is full of dreamy numbers like opener Chinook (Sing From the Valley of Doubt) and the playful Buddy Holly-esque first single, What Do You Wanna Do. Citing Mazzy Star, Patsy Cline, '60s girls groups and Johnny Marr as inspiration, Burns holds up to her heroes. She dazzles in the vocal department throughout the album, but it's on the dangerously stripped-down Island Vacation that listeners will fully surrender to her charms.1. Chinook (Sing from the Valley of Doubt)
2. Burning Bridges
3. Teen Angst
4. What Do You Wanna Do
5. Drop Names Not Bombs
6. Island Vacation
7. Sea Song
9. Paper Cup
10. Street Walking
11. Gypsys Wife
12. Ocean Grey$18.99Vinyl LP - Sealed Buy Now
Nobody's Watching (Pre-Order)Steady Holiday is an appropriate name for an artist whose music feels like the soundtrack to your fondest memory. Or your deepest heartbreak. Or the dream sequence from a David Lynch film. There's a nostalgia present in Dre Babinski's songwriting that leaves you longing for the familiarity of a bygone era - just not one you can necessarily pin down.
After years growing up playing in bands around Los Angeles, Dre recently began writing and recording for herself - on her own, in secret, developing a body of work about hidden desire itself. Establishing a sound defined by her featherlight voice floating above sweeping strings, her 2016 debut Under the Influence led to opening for artists like Mitski, Unknown Mortal Orchestra and Clap Your Hands Say Yeah.
Whereas the first record took us on a trip through the deeply personal, Dre's sophomore album Nobody's Watching zooms way out. What began as a concept record about two archetypal crooks developed into an exploration of universal themes like greed, fear and self-interest; the ugly and troubling edges of human nature. It's a good time for that.
Dre worked with producer Gus Seyffert (Roger Waters, Beck) to create a sound that echoes the narrative told on Nobody's Watching. From the sunny and observant to the dark and critical, the tone ranges from levity to paranoia through layers of analog synths and chilling strings played by Dre herself. There are moments of cinematic intensity reminiscent of a James Bond score, yet the subtle tape hiss and creaking chairs remind us that this is an album made by people. It is warm, and it breathes, the same way the human touch can both soothe and suffocate.
Nobody's Watching is the natural next step for Dre and Steady Holiday, a project that builds worlds we wish to escape to or from. It's an examination of the inner narratives we all share but keep in the shadows, where the characters may not always be likable, but they do what they can to survive - like we all do.1. Flying Colors
3. Who's Gonna Stop Us
4. Nobody's Watching
5. All Aboard
6. Love and Pressure
7. Eastern Comfort
8. Trapping Season
9. Exit Song
10. Desperate Times$18.99Vinyl LP - Sealed PRE-ORDER Buy Now
Carolina Chocolate Drops/Luminescent Orch. EPOn The Carolina Chocolate Drops' Nonesuch debut, Genuine Negro Jig, this youthful trio explored what Sing Out! magazine called the virtually hidden tradition of black string band music, reaching far back into the last century to trace its lineage from the Piedmont region of North Carolina to the British isles and Africa. Multi-instrumentalists and singers Dom Flemons, Rhiannon Giddens, and Justin Robinson transformed their findings into lively tracks that deftly blended the timeless with the modern. Near-forgotten musical history came resoundingly back to life.
On this new four-song EP, the Drops find an instant connection to the Romanian gypsy punk music of their recent tour-mates, the Brooklyn-based Luminescent Orchestrii, a five-piece group about whom the Scotsman says The balancing of frenzy and finesse is evidently a trademark displayed to its utmost in the insanely frenetic dance tunes. Human beatboxer Adam Matta also joined the two bands for this short collection: a brilliant and absolutely live-in-the-studio, no overdubs, mashup of sounds, cultures and repertoire.
These nine kindred souls seamlessly combine material already popularized by the Drops (their ingenious reworking of Blu Cantrell's brazen R&B anthem, Hit 'Em Up Style) with original material from the Orchestrii (Knockin'). They split their session time between Brooklyn and Winston-Salem, NC, but make everything sound like part of one thrillingly virtuosic jam. Instrumentation includes fiddles, banjo, harmonica and bass, plus lots of hand-clapping, free-style rapping and human beat-boxing. These tracks were recorded with such immediacy and clarity, and with such a palpable sense of fun and friendship, that listening is almost like being there, hootin' and hollerin' along with them on a makeshift dance floor. And, as with any great party, the disc feels like it's over much too soon.1. Short Dress Gal
2. Escoutas (Diga Diga Diga)
3. Hit 'Em Up Style
4. Knockin'$11.99Vinyl 10 LP - Sealed Buy Now
UNIM-ATO-4919xKopecky Family Band
Kids Raising KidsNashville based indie rock sextet Kopecky Family Band's highly anticipated full length debut Kids Raising Kids is an adventurous, self-released project. It's the culmination of five years progress for the band, both creatively and in terms of the chemistry that makes these six individuals a family. "It's a time capsule of all the experiences we've had since we started playing together" says co-founder Kelsey Kopecky (vocals/keys). Gabe Simon (vocals/guitar), whom Kelsey founded the band with adds that this is the record where Kopecky Family Band has "finally found its voice". The band feel that this record will allow fans to "take home the live experience" they are so widely revered for.
Thee band's first single, "Heartbeat", with its ethereal instrumentation, hand claps and percussive piano exemplifies the laid back, yet progressive nature of Kids Raising Kids. It showcases the lack of fear the band has trying different routes in their pursuit to find the best way to finish a song, taking advantage of their technical prowess while embracing simpler options when the song calls for it.
If pressed to classify the band's sound, Gabe will describe it as a "modern, more aggressive Fleetwood Mac. The thoughtfulness and originality that comes with such an answer can be found throughout Kids Raising Kids. The record works in much the same way as a book, with each song a unique chapter. The tracks all have their own personality and voice, but there is without a doubt still something inherently 'Kopecky Family Band' about each one. Kelsey will tell you the album is about "Discovering Life" and the fact that while we are born basically the same, our paths through life and the people we meet along the way are what make us the individuals we are. This concept is evident on the album, not just lyrically, but in the way each track explores new musical territory.1. Wandering Eyes
3. My Way
4. Are You Listening
5. The Glow
6. Change Hope
7. She Is The One
8. Waves Angry Eyes
9. Ella$19.99Vinyl LP - Sealed Buy Now
Private EyesPrivate Eyes on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1981 Album Established Parameters for Decade's Celebrated Pop Sounds
Includes Private Eyes, I Can't Go For That (No Can Do), Did It in a Minute
Meticulous Merger of Pop, Soul, Rock, and R&B Crossed Over Into all Fields
Stylish, Sophisticated Production Comes to Fore on Mobile Fidelity Reissue, Mastered from the Original Master Tapes
Hall and Oates could've easily followed the protocol established on their breakthrough Voices, done nothing else, and watched 1981's follow-up Private Eyes scale the charts. Yet the duo continues to press forward, further refining the era-defining stylistic mÉlange that propelled them to mass stardom a year prior. The creative and artistic peak of the all-time best-selling male duo's output, Private Eyes delivers relentless pop bliss and functions as an instruction manual that, as Rolling Stone opined, still teaches "the way to make rock girls, disco girls, and new-wave girls scream together."
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the Top 5 album's sharp, widescreen production values with awe-inspiring detail and palpable realism. For the first time, listeners can get inside the songs' internal mechanisms by experiencing first-hand the vast surfeit understated sonic effects. Well-appointed tones now grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing also claims enhanced intimacy and balance. Offering tremendous insight, Mobile Fidelity's LP doubles as a lesson in the construction and sustain of big, bold grooves.
Advancing their rhythmic support and melodic symmetry, Hall and Oates give extra space to their still-underrated backing band, affording the material a muscular punch and organic warmth crucial to their success and ability to transcend the largely artificial era. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard noises, Hall and Oates wisely merge the period's savvy sounds with tried-and-true soulful instrumentation.
Reflecting the album's infallible level of quality control, no song disappoints. The three Top 40 singles-the title track, "I Can't Go For That (No Can Do)," and "Your Imagination"-feature clever elements such as hand-clapped choruses and staccato piano lines. The distinctive traits complement the duo's hallmark harmony vocals and add R&B flavors to already-scintillating pop concoctions. Yet Private Eyes' pleasures advance well beyond the radio singles.
Whether witnessed via the taut tension of "Some Men," reggae-splashed "Tell Me What You Want," or Motown homage "Looking for a Good Sign," the group's blend of dance vibes, electrifying hooks, keyboard loops, and sleek beats epitomizes seduction, style, and swagger. Private Eyes is an 80s juggernaut that hasn't lost a step. Utterly classic.
This title is not eligible for discount.1. Private Eyes
2. Looking for a Good Sign
3. I Can't Go For That (No Can Do)
4. Mano a Mano
5. Did It in a Minute
6. Head Above Water
7. Tell Me What You Want
8. Friday Let Me Down
9. Unguarded Minute
10. Your Imagination
11. Some Men$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Heart On My SleeveBefore Mary Lambert achieved "quasi-stardom" (as she puts it in her typical self-deprecating way) for writing and singing the hook on Macklemore & Ryan
Lewis' marriage equality anthem "Same Love," the Seattle native was an aspiring singer-songwriter who also worked as a brunch waitress and bartender.
After years of struggling both financially and personally, Lambert suddenly found herself signed to Capitol Records, releasing an EP (Welcome To The
Age of My Body), nominated for two Grammy Awards (for "Song of the Year" and "Album of The Year"), and making history performing on the Grammy
telecast with Macklemore, Lewis, and Madonna, while Queen Latifah memorably married 33 couples. "I like to describe Heart On My Sleeve as a pop
album with a conscience," Lambert says about her debut full-length album. "So I made a list of goals" to: 1. Have fun. 2. Create something catchy. 3.
Create something that positively impacts the world. 4. Stay true to yourself. 5. Make money. "Is that okay to say?" she asks.
Written within the past year (with lyrics by Lambert and music co-written by Lambert, co-producers Eric Rosse and Benny Cassette, and songwriter
MoZella), Heart On My Sleeve is an honest depiction of where Lambert is now. "I can only write about the experiences I've had. I signed to a major label. I
went through a break-up. I figured out how to be an independent person. I have been terrifyingly honest to the public about traumatic events in my life. I
met the woman of my dreams. I have been on the road nonstop, away from those I love, but with the opportunity to sing about gay rights to hundreds of
thousands of people. This album is inspired by the depth of all of that love, and the journey that it takes to get there." "Heart On My Sleeve" is a dusky
love song that Lambert chose as the title track because she felt it summed up how she approached writing the lyrics on the album. "I've always lived my
life completely open, both to getting hurt, but also to love," she says. Lambert also spells out her mission on the album's first single, "Secrets," which - set
to a buoyant pop melody and hand-claps - is meant to encourage vulnerability.1. Secrets
2. So Far Away
3. Rib Cage ft. K Flay, Angel Haze
4. Dear One
5. When You Sleep
6. Chasing the Moon
7. Jessie's Girl
9. Heart on My Sleeve
10. Wounded Animal
11. Sum of Our Parts$19.99Vinyl LP - Sealed Buy Now
Liquid SpiritLiquid Spirit is the remarkable major label debut from GRAMMY-nominated jazz and soul singer Gregory Porter. The 14-track album is further justification for Porter's quick ascent into the top ranks of jazz and R&B singers today, and it also features 10 new originals which showcase Porter's innate gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy. Also included is a stirring rendition of the jazz standard "I Fall In Love Too Easily," as well as covers of Abbey Lincoln's "Lonesome Lover" and Ramsey Lewis' hit "The 'In' Crowd."
"I firmly consider myself a jazz singer but I enjoy blues, southern soul, and gospel," says Porter. "Those elements make their way inside my music. And I've always heard them in jazz." Indeed, Porter wields one of the most captivating baritone voices in music today. It emits enormous soul that conveys both the emotions and intellect of any given song without relying on vocal histrionics. In The New York Times, Nate Chinen wrote: "Gregory Porter has most of what you want in a male jazz singer, and maybe a thing or two you didn't know you wanted." Jazz singer Dee Dee Bridgewater praised Porter in the pages of JazzTimes by saying, "We haven't had a male singer like him in a long time. He's such a wonderful writer. He's a story teller."
On Liquid Spirit, Porter retains the same core musicians that accompanied him on his previous two albums - pianist and music director, Chip Crawford, drummer Emanuel Harrold, bassist Aaron James, alto saxophonist Yosuke Sato, and tenor saxophonist Tivon Pennicott. On a few selections, Porter complements that ensemble with trumpeter Curtis Taylor, and organist Glenn Patscha. Producer Brian Bacchus also returns, as well as arranger and associate producer Kamau Kenyatta.
Porter sees Liquid Spirit as a logical progression in his burgeoning discography as it touches on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations. More pointedly, he views the title-track, a rousing, hand-clapping gospel-jazz romp, dealing with replenishing "thirsty" listeners with more substantial music, as the flipside to last year's "Bling Bling," a blistering song on his previous album Be Good on which the protagonist had so many artistic gifts to give but no one to give them to. Similar sentiments occur on "Musical Genocide," on which Crawford hammers a dark rhythmic figure against James' bluesy bass accompaniment as Porter declares his refusal of accepting the insistent squashing of quality, diverse music and culture by a mainstream in favor of disposable, homogenized pap.
In part, these songs are based upon Porter's reflections on new fans, worldwide, who come to him saying, "Where have you been?" or "How come I've never heard you before." "Not saying that I am 'what is,' Porter says, "But I think maybe what I'm doing is what people actually want to hear. There are some people who want that liquid spirit - a soulful, thoughtful sound - and they haven't been getting it."1. No Love Dying
2. Liquid Spirit
3. Lonesome Lover
4. Water Under Bridges
5. Hey Laura
6. Musical Genocide
9. Brown Grass
10. Wind Song
11. The 'In' Crowd
13. When Love Was King
14. I Fall in Love Too Easily$24.99Vinyl LP - 2 LPs Sealed Buy Now
Being ThereIncludes Full Length CD
LP Cut from Original Masters and Pressed at Pallas in Germany!
Outtasite! Stunning 1996 Double Album Has Been Long Out-of-Print with Originals Fetching Hundreds of Dollars on eBay! Do Not Miss Out This Time!
Also Available: 180-gram LP Versions of Wilco's A.M. and Summerteeth CUT FROM ORIGINAL MASTER TAPES and Pressed at Pallas! Unbelievable Sound!
Motivated by leader Jeff Tweedys desire to improve on his bands debut A.M. and informed by numerous life circumstancesthe birth of his first child, a recent marriage, a new mortgage, and a decision to quit smoking potBeing There begins a cycle of creativity and ambition in Wilcos career that has yet to let up. Far more mature and advanced than anything Tweedy and Co. had done before, the eclectic double album finds the group moving beyond straightforward country-rock and embracing a gambit of styles that encompass power-pop, romantic balladry, barroom-brawling rock, and immersive psychedelia. A journey that is ultimately about finding solace in rock n roll, Being There is a seminal record in every sense. The album has only bettered with the passage of time.
Jay Bennett, a guitarist and multi-instrumentalist who joined the band before the recording sessions, is also largely responsible for the artistic growth. His keen pop sensibilities and keyboard playing expand Wilcos core rootsy sound, while Tweedy pushes himself as a songwriter. Introspective, surreal, and personal, tunes such as the explosive Misunderstood and meditative Hotel Arizona signal the arrival of a singular talent coming to terms with his own anxiety, restlessness, and dreams. And the band is up to the challenge. In addition to blending myriad sounds, Wilco gets more comfortable with the studio and adorns several arrangements with horns, strings, and hand claps.
To preserve the musics spontaneous feel and accentuate the dynamic contrasts, Wilco practiced, rehearsed, and recorded one song a day. Nothing is overthought or overly polished. The production reflects these decisions. Sonics are warm, organic, loose, and noticeably real. Its no wonder that Tweedy successfully convinced Reprise to release Being There as a double album and sell it for the price of a single disc. To help make it happen, he personally volunteered to take a decreased royalty rate in exchange for the unconventional pricing and resultant revenue losses. Tweedys gamble paid off. And how.
Now, hear this absorbing double album in the highest-possible fidelity for the first time ever! Mastered from the original tapes and pressed at Germanys legendary Pallas facilities, this 180-gram 2-LP version of Being Here is guaranteed to beat every other available version. (Plus, it comes with a CD of the complete album: You can't lose.) But dont delay! Wilcos Reprise LPs have been fetching hundreds of dollars on EBay for years. Get yours from Music Direct today!
Wilco have not made your standard rock & roll road album. Tweedy's songs use the one-nighter clichÉs of Grand Funk Railroad's We're an American Band as a means of exploring deeper issues, particularly faith and commitment and how those qualities are tested by geographical and emotional distances. Being There is an album of parallel journeys that frequently overlap, a tour of the heart that becomes a search for renewal. -Greg Kot, Rolling Stone, October 19961. Misunderstood
2. Far, Far Away
4. Outtasite (Outta Mind)
5. Forget The Flowers
6. Red-Eyed And Blue
7. I Got You (At The End Of The Century)
8. What's The World Got In Store (LP Version)
9. Hotel Arizona
10. Say You Miss Me
11. Sunken Treasure
12. Someday Soon
13. Outta Mind (Outta Sight)
14. Someone Else's Song
16. (Was I) In Your Dreams
17. Why Would You Wanna Live
18. The Lonely 1
19. Dreamer In My Dreams$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
American V: A Hundred HighwaysThe ethical questions surrounding this final album in the American Recordings series are as unavoidable as they are, ultimately, peripheral. While the
vocal tracks were recorded in the months just prior to Johnny Cash's passing in September 2003, the arrangements weren't undertaken until two years
later. And though producer Rick Rubin had become a trusted friend, the Man in Black wasn't around to approve or disapprove, let alone guide, the final
sessions. However, if the pure power of these recordings doesn't quiet the skeptics, nothing will. With Heartbreakers Mike Campbell and Benmont Tench
and slide guitar session pro Smokey Hormel on board (all three of whom appear on earlier Cash albums), along with guitarists Matt Sweeney and Johnny
Polansky, the sound is stately and acoustic, but rarely staid, even as the dynamics of earlier recordings in the series are absent. Instead, the songs have
a measured, elegiac intensity, the sound of musicians choosing their notes carefully and making just the right choices.
The songs Cash sings are, unsurprisingly, confessional and reflective: his mortality and his mistakes, his maker and his salvation, and the loss of his wife
June and the end of his career may have weighed on his mind, but in these songs he both embodies and transcends his personal history. On God's
Gonna Cut You Down, as the musicians clap and stomp behind him, his voice cuts through the air like that same avenging hand. On the new original
Like the 309--the last song Cash ever wrote--he cops to being short of breath, and that voice becomes a metaphor for what each of us will one day face.
On Gordon Lightfoot's If You Read My Mind, Rubin flirts with overwhelming the damp bittersweetness of Cash's phrasing in tasteful atmospherics, but
the voice is implacable, hitting and finding notes one never expected he'd have the will to find. Likewise, it's hard to believe this is his first recording of Ian
Tyson's Four Strong Winds; the elemental narrative seems to have been written for him. Two songs, however, Cash has recorded before: the bornagain
hymn I Came to Believe and the final spiritual, I'm Free from the Chain Gang Now. The latter especially is a definitive testament, as is his version
of Bruce Springsteen's Further On (Up the Road). One sunny morning we'll rise, I know / And I'll meet you further on up the road, he sings. If only,
John, if only. --Roy Kasten1. Help Me (Album Version)
2. God's Gonna Cut You Down (Album Version)
3. Like The 309 (Album Version)
4. If You Could Read My Mind (Album Version)
5. Further On Up The Road (Album Version)
6. On The Evening Train (Album Version)
7. I Came To Believe (Album Version)
8. Love's Been Good To Me (Album Version)
9. A Legend In My Time (Album Version)
10. Rose Of My Heart (Album Version)
11. Four Strong Winds (Album Version)
12. I'm Free From The Chain Gang Now (Album Version)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Infinite WorldsWithin the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.
"I feel so small / my feet can barely touch the floor / on the bus where everybody is tall," she sings softly and with caution, as she begin the album with "The Embers." Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. "I'm just a small fish / and you're a shark that hates everything," she sings, repeating that line and over and over with strength and power. "I've been hiding in the smallest space / I am dying to go / this is not my home," Tamko starts carefully on "Fear & Force," before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. "Mal a L'aise" is one of the album's focal points, a five-minute meditation of ambient dream pop, featuring Tamko's usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. "Mal a L'aise" means "discomfort" in French, Tamko's first language, and throughout the song she works through different meanings of that word: social, cultural, physical.
Infinite Worlds builds upon Tamko's stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that's pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit side-by-side cohesively, all tied together by Tamko's soaring voice.
"I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in" she says. "Archiving different moments that I've been thinking about, have gone through. It's not always autobiographical though. It could be about different situations I've seen people I love in. Or people I don't know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where I'm from."
Tamko's songs are embedded with her own story and personal history: growing up in Cameroon, her family's move to New York and adjusting to culture shock. Her family left Cameroon just in time for her to begin high school in the states. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. "When I was in Cameroon, my mom would have these 'reunions' which was just her friends coming over on Sundays," she says. "There was a lot of music around me. Traditional West-African songs sung as group chants, hand drums and percussive instruments being played, etc." To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.
Infinite Worlds was recorded at Salvation Recording Co. in New Paltz, NY with engineer and co-producer Chris Daly. Tamko and Daly worked closely and tirelessly in his upstate NY studio through the winter into the spring of 2016. The album's title references a book of poetry by Dana Ward called The Crisis of Infinite Worlds, a book Tamko found particularly inspiring during her recording process, but also very challenging to read: "I had to think critically while reading Dana Ward, it was exciting to be challenged in that way. While I was writing the album, it was a lot of me thinking critically about how to actualize my ideas, and the challenge of reaching proficiency in new instruments. It sort of mirrored my experience reading Dana Ward's book. I found myself combing his writing over and over and over until I grabbed something from it."
And as she sat with her songs, she found more and more. "A lot of it is about finding a space for myself, whether it is physical, emotional, social" Tamko says. "It's about finding that place where I feel most comfortable. And also finding that the confidence within myself can continue to grow. And finding what it takes for me to feel whole through making music."1. The Embers
2. Fear & Force
4. Mal à L'aise
5. 100 Years
6. Cleaning House
7. Cold Apartment
8. Alive and A Well$15.99Vinyl LP - Sealed Buy Now
Live At Carnegie HallStupendous 1973 Concert Set Ranks Alongside James Brown's Live At The Apollo And B.B. King's Live At The Regal
Easygoing Portrait Of Down-home Soul Singer Coming Into His Own And Establishing An Indelible Bond Between Performer And Audience
Mastered From The Original Master Tapes: Mobile Fidelity Takes You Inside The Famed Venue And Lets You Be A Part Of The Event
On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall< is a forgotten classic--an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.
Mastered from the original master tapes and pressed on 180g 2LP at RTI, Mobile Fidelity's 180g 2LP set of this extraordinary 1973 record provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.
Moreover, aspects that really make this concert document unique--the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans--are brought into fuller relief. While most live albums give you the sense of what transpired, Mobile Fidelity's reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.
The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply on.
One more time? Withers asks in response to a request for another stanza during Use Me, and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar Ain't No Sunshine, poignant Grandma's Hands, and all-time favorite Lean On Me are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there. Mobile Fidelity makes it happen.
This title is not eligible for discount.1. Use Me
2. Friend of Mine
3. Ain't No Sunshine
4. Grandma's Hands
5. World Keeps Going Around
6. Let Me In Your Life
7. Better Off Dead
8. For My Friend
9. I Can't Write Left Handed
10. Lean on Me
11. Lonely Town, Lonely Street
12. Hope She'll Be Happier
13. Let Us Love
14. Harlem/Cold Baloney$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Universal Music Enterprises Continues Its "Respect The Classics" Tribute To Many Of Hip-hop's Finest With The Vinyl Reissue Of Rap Icon Talib Kweli's
Historic Rawkus Records Catalog
After releasing a handful of essential 12s on various Rawkus Records projects in the late '90s, Talib Kweli and DJ Hi-Tek were on the verge of becoming one of hip-hop's best-kept secrets. Yet their original incarnation as a duo expanded into a triumvirate with the inclusion of Mos Def and transformed their eventual manifestation into Black Star, thwarting their initial bid for acclaim. While Kweli's stardom may have been initially eclipsed by his more charismatic cohort, Mos Def, Reflection Eternal houses enough merit to establish Talib as one of this generation's most poetic MCs. Kweli is a rare MC, as his lyricism resounds with a knowledge that transcends his still tender age. He does not aspire to reprogram the masses with this album, just rehabilitate them, as he laments on The Blast: They ask me what I'm writing for/I'm writing to show you what we fighting for. In an effort to celebrate life, Kweli breaks down hip-hop's obsession with death on Good Mourning and Too Late. But it is his varied lyrical content that is most inspiring, effortlessly transitioning from the poignant circle-of-life epic For Women to the rugged Some Kind of Wonderful and Down for the Count, featuring Rah Digga and Xzibit. While the unassuming, largely minimalist grooves that Hi-Tek supplied on Black Star's debut longed for a dramatic flair, he displays a remarkable maturation on Reflection Eternal. In fact, Tek's loping keyboard wails, soulful staccato claps, and shimmering piano loops are often sublime in their arrangement and outcome. Though Kweli and Hi-Tek's debut harbors over-ambitious tendencies, clocking in at over 70 minutes in length, they are a duo that will undoubtedly stain their memory into hip-hop's collective memory with this noteworthy debut. Welcome to the new generation of Native Tongue speaking.
- Matt Conaway (All Music Guide)1. Experience Dedication
2. Move Somethin'
3. Some Kind Of Wonderful
4. The Blast
5. This Means You
6. Too Late
7. Memories Live
8. Africa Dream
9. Down For The Count
10. Name Of The Game
11. Ghetto Afterlife
12. On My Way
13. Love Language
14. Love Speakeasy
15. Soul Rebels
17. Big Del From Da Natti
18. Touch You
19. Good Mourning
20. Expansion Outro
$34.99Vinyl LP - 2 LPs Sealed Buy Now