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Come Away With Me'
Come Away With Me1. Don't Know Why
2. Seven Years
3. Cold Cold Heart
4. Feelin' The Same Way
5. Come Away With Me
6. Shoot The Moon
7. Turn Me On
9. I've Got To See You Again
10. Painter Song
11. One Flight Down
13. The Long Day Is Over
14. The Nearness of You$19.99Vinyl LP - Sealed Buy Now
Breakin' Away is a great follow-up of Soul crooner Al Jarreau to his previous album This Time. The album was released on in 1981 andbecame the standard bearer of the L.A. Pop and R&B sound. The album was certified Platinum by the RIAA.
Breakin' Away assumes its own identity with brilliant results. Closer To Your Love comes off as a tougher, more confident version of the songs from the previous album. Easy with its gorgeous and subtle Latin flourishes has Jarreau's purposeful delivery coming off oddly poignant in its joy and beauty. The hit We're in This Love Together is on the album, just as the bittersweet My Old Friend. Jarreau brings new life to Teach Me Tonight and it has a sweeping, dreamy arrangement. But the album of course contains the biggest hit of all, Roof Garden, with Al's inimitable vocal delivery.
The album was created with an amazing producer/artist chemistry, and top-level players like George Duke, David Foster, Dean Parks, and Steve Gadd can be heard on this record.1. Closer To Your Love
2. My Old Friend
3. We're In This Love Together
5. Our Love
6. Breakin' Away
7. Roof Garden
8. Blue Rondo A La Turk
9. Teach Me Tonight$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Day BreaksDay Breaks is Norah's sixth solo album and a kindred spirit to her breakout debut Come Away With Me. It finds her returning to the piano and her roots. The album features jazz luminaries including saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.1. Burn
4. It's A Wonderful Time For Love
5. And Then There Was You
6. Don't Be Denied
7. Day Breaks
9. Once I Had A Laugh
10. Sleeping Wild
11. Carry On
12. Fleurette Africane (African Flower)$22.99Vinyl LP - Sealed Buy Now
...Little Broken HeartsWhite Colored Vinyl
Little Broken Hearts is the stunning and musically diverse new break-up album from Norah Jones and fifth full-length of her storied career. The 12-song set was produced by Danger Mouse (aka Brian Burton) and features original tracks co-written by Jones and Burton. The album is preceded by the lead single Happy Pills which ushers in a parade of sunshiny hooks and surprised both Jones and Burton from the moment they wrote it: "We didn't know if it fit on the record. But I couldn't stop singing it, and neither could Brian. explains Jones. Eventually we decided it was too much fun, it had to be there."
In addition to Jones and Burton, the album includes contributions from Blake Mills, Gus Seyffert, Joey Waronker, Heather McIntosh, the Sonus Quartet, Dan Elkin, Jonathan Hischke, Todd Monfalcone and Kennie Takahashi. Little Broken Hearts' artwork draws inspiration from the vintage movie posters that adorn Burton's Los Angeles studio and is loosely based on the poster for the 1965 Russ Meyer film Mudhoney.
Little Broken Hearts' is the fascinating next step in the artistic evolution of one of the music world's most consistently intriguing singer/songwriters. Jones first emerged on the world stage 10 years ago with the 2002 release of Come Away With Me, her self-described "moody little record" that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Come Away With Me has just become the 10th best-selling album of the Soundscan era and has sold 25 million copies worldwide.
Since then, Jones has released three more critically acclaimed and commercially successful solo albums with Feels Like Home (2004), Not Too Late (2007) and The Fall (2009), as well as two albums with her country collective The Little Willies.
The 2010 compilation Featuring Norah Jones showed her to possess an incredibly versatile voice by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock and the Foo Fighters. Jones previously collaborated with Danger Mouse on his acclaimed 2011 album Rome, a valentine to classic Italian film score music that also featured Jack White.1. Good Morning
2. Say Goodbye
3. Little Broken Hearts
4. She's 22
5. Take It Back
6. After The Fall
7. 4 Broken Hearts
8. Travelin' On
9. Out On the Road
10. Happy Pills
12. All A Dream$18.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
...Little Broken HeartsMastered by Kevin Gray at Cohearant Audio from the original source recordings!
200-gram audiophile vinyl double-LP pressing by Quality Record Pressings. Gatefold, tip-on jackets on heavy cardboard stock, deluxe high quality!
Part of Analogue Productions' reissue of the Norah Jones' solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album will also be featured in an exclusive LP box set to come that will include Norah's Covers album!
Norah Jones' Little Broken Hearts was created in collaboration with producer Brian Danger Mouse Burton, best known as the producing ace for Gnarls Barkley with singer Cee Lo Green. Jones and Danger Mouse wrote all of the material for the album together at the producer's studio in Los Angeles, and the duo performed all of the instruments themselves. This is their second time working together - Jones previously appeared as a vocalist on Rome, Danger Mouse's collaboration with Italian composer Daniele Luppi. Though Little Broken Hearts is the result of a partnership between Jones and Danger Mouse, the record will be credited only to her.
The album's sound ranges from experimental chamber serenades to stark, electronic-embellished confessions. It's obviously very different than anything Norah's ever done, Burton says. I don't know what people will think - I hope they like it, and she doesn't lose a bunch of fans.
I'd never gone in with nothing and wrote songs from scratch, and I'd never played bass before on a record, Jones told Rolling Stone. I was out of my comfort zone - but I was comfortable because we're friends.
Adds Burton, The best thing was having just the two of us on those first sessions, not a whole band. Norah had as many, if not more, great ideas than I did.
One of the boldest departures is Take It Back, which features fuzzed-out guitars and spooky, distorted vocals. I never knew how to get weird sounds, Jones says. It was all about finding a balance between those effects and making sure my voice was clear and sounded like me.
In its own quiet way, Little Broken Hearts hews closer to heartbreak classics like Marvin Gaye's Here, My Dear than to anything in Jones' back catalog, Rolling Stone reports, This time, I've been way less concerned with self-editing, Jones says. I'm not sad, but there's a lot of hurt in there. And it felt great to say what I felt and put it down on tape. Doing that made me so happy! This album is all about saying things that needed to be said.
This title is not eligible for discount.1. Good Morning
2. Say Goodbye
3. Little Broken Hearts
4. She's 22
5. Take It Back
6. After The Fall
7. 4 Broken Hearts
8. Travelin' On
9. Out On The Road
10. Happy Pills
12. All A Dream$44.99200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The FallMastered by Kevin Gray at Cohearant Audio from the original source recordings!
200-gram audiophile vinyl pressing by Quality Record Pressings. Gatefold, tip-on jackets on heavy cardboard stock, deluxe high quality!
Part of Analogue Productions' reissue of the Norah Jones' solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album will also be featured in an exclusive LP box set to come that will include Norah's Covers album!
Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on 200-gram, super-silent vinyl from Analogue Productions, The Fall, Jones' fourth album, may surprise some of Jones' die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones' smoky voice and soulful veneer highlight the opening track and first single, Chasing Pirates.
Jones displays a slinky kind of ambience on Light As a Feather (co-written with Ryan Adams). The social commentary It's Gonna Be offers a garage-rock attitude, and You've Ruined Me has a rich Americana flavor. But Jones is still a little bit country (Tell Yer Mama) and a little bit rock'n'roll (Stuck). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.
For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River's Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).
This title is not eligible for discount.1. Chasing Pirates
2. Even Though
3. Light as a Feather
4. Young Blood
5. I Wouldn't Need You
7. It's Gonna Be
8. You've Ruined Me
9. Back to Manhattan
12. Tell Your Mama
13. Man of the Hour$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Parallax II: The Further Sequence (Awaiting Repress)Double gatefold marbled 2LP pressing with 2 x 4-color inserts from Metal Blade Records.
Between the Buried and Me have not made a name for themselves through playing it safe. Pushing the envelope of heavy music with each successive release, they have continually evolved in thrilling new directions while maintaining the honesty and integrity that has connected with so many listeners. With The Parallax II: Future Sequence, the first concept album of their career, the North Carolina based unit have delivered their most complex, ambitious, and accomplished work to date. "We're certainly not the average metal band, we write what we want to write, and we've never really tried to fit in anywhere," states guitarist Paul Waggoner. "With this record we held nothing back. We were excited to experiment and see where it took us, and working with a concept was a really interesting new challenge."
The concept was first introduced to the band's fans with 2011's The Parallax: Hypersleep Dialogues EP, which established the narrative's two characters, Prospect I and Prospect II, the story commencing with the events of Parallax II. Separated by millions of light years, the two men exist in ignorance of the other yet are intrinsically connected by a shared soul, which ultimately brings them together. "Both men exist in isolation, one because he runs away from the life that is his and the other when he leaves his dying planet in the hope of creating new life elsewhere, through the planting of souls," explains vocalist Tommy Rogers.
"As the story progresses you realize they are actually the same person, and at the end of the journey they're responsible for destroying all life as they know it, reinforcing the idea that humanity is a destructive species, and that there's some kind of innate flaw about us that causes us to destroy everything we touch." While the story is very much based in fiction and grounded in the imagination of Rogers, it was important that the vocalist was able to emotionally connect with it, and relate it to his own life, thereby making it relatable for listeners. "That was probably the hardest thing for me, making sure I could find that connection. The main thing that these characters go through is confusion and isolation, and I think that's something every person deals with in their lives at some point. As a musician you spend a lot of time with your own thoughts, so despite the science fiction of it all it is still a very personal record."
Produced by the band, which is rounded out by guitarist Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson, alongside longtime collaborator Jamie King, the recording process was smooth, though labor intensive, if for no other reason than the sheer amount of material that had to be tracked. Stepping back from it, the band are proud of everything they have achieved. "This whole process was a lot of work, and it's definitely the most rewarding piece of music we've ever written," states Rogers. "It's a very coherent record, and I think nowadays records are getting thrown out there without much thought put into them. I like that what we've done is kind of bring back the whole album feel, which was really important once but doesn't seem to be any more." With plans to play Parallax II in its entirety on forthcoming tours, the band hope this album introduces new fans to their music, yet they maintain the humble aspirations that have always driven them.
"I'm a firm believer that if you create something that's unique and different there's always going to be a niche market for that. Our mentality is to keep doing what we're doing, writing music that challenges both us and the listener, and to keep playing to everyone who wants to see us," Waggoner states. Rogers concurs with this, adding "I think what we do speaks loudly to people. We're a very genuine band, we do what we want because we love doing it, and I think that's what people want. They want honesty in their music, and they want music that comes from the heart rather than comes from a computer, or that is made by people motivated by making money. We're just going to keep writing the best songs we can and with that continue to grow, and hopefully through doing that more and more people will find us.1. Goodbye to Everything
2. Astral Body
3. Lay Your Ghosts to Rest
5. Extremophile Elite
7. The Black Box
10. Melting City
11. Silent Flight Parliament
12. Goodbye to Everything Reprise$29.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Non-BelieversSuperchunk frontman Mac McCaughan will release Non-Believers, his first solo album under his own name. McCaughan wanted to use the album to explore his attraction to that early-'80s era of music when punk evolved into something more introspective, focusing on themes of isolation and eventually turning into post-punk and new wave. As he puts it, he was thinking about a time when bands were "using keyboards and drum machines to relate through their music a disaffection or alienation" from society, school, whatever. The record is about a fascination with art that could only be made by someone far from where you are, but who maybe shares the frustrations and awkwardness of youth. It's about "the irony that comes with being 16 and having a car but not knowing where to go in it, or having a keyboard or a guitar and not knowing how to play it." McCaughan's songwriting isn't limited to sheer nostalgia; it's also about the more relatable theme of the point when people who grow up feeling isolated have to choose if and when they are going to join the mainstream, and about the emotional journey tied to weighing those options. "What appeals to me is songs that deal with the messiness and ambiguity that come with any transitional period," says McCaughan. Given that McCaughan comes from the indie and punk rock worlds, he's always shied away from the perceived hubris of putting out a record under his own name. "There's something about it that's way too 'look at me,'" the singer and songwriter admits. However, given the fact that Non-Believers explores a very personal set of influences, putting out an album as simply Mac McCaughan for the first time just makes sense.1. Your Hologram
2. Lost Again
3. Only Do
4. Mystery Flu
5. Our Way Free
6. Box Batteries
7. Real Darkness
8. Barely There
9. Wet Leaves
10. Come Upstairs$18.99Vinyl LP - Sealed Buy Now
Election SpecialRy Cooder's Election Special, due out from Nonesuch/Perro Verde Records on August 21, 2012, is a wake-up call as the United States heads into the fall election season.
Howdy there neighbor-let me ask you something. Do you really think Charlie and Davy sit around on the couch with family and friends watching re-runs of Dancing with the Stars?, asks Cooder. See, 'Wasting Away in Margaritaville' was a good song in its day, but we need a different kind of a song now if we're going to make headway against the likes of Charlie and Dave. Those type of guys are plenty swift, they're all deacons in the High Church of the Next Dollar. We need to get smarter, fast. The world is full of C and D students in high places and there's more coming up all the time. Don't be one.1. Mutt Romney Blues
2. Brother Is Gone
3. The Wall Street Part Of Town
5. Cold Cold Feeling
6. Going To Tampa
8. The 90 And The 9
9. Take Your Hands Off It$29.99140 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
Eyehategod (Awaiting Repress)Legendary New Orleans gods of sludge, excess and mayhem EYEHATEGOD release their new, self-titled album.
Mixed by Sanford Parker, Eyehategod will feature the final recordings of EYEHATEGOD drummer Joey LaCaze, who passed away last August of respiratory failure. He also suffered from severe long-term asthma. He has since been replaced by Aaron Hill, who comes by way of New Orleans' local acts MISSING MONUMENTS and MOUNTAIN OF WIZARD.
In a recent interview with NPR, EYEHATEGOD frontman Mike IX Williams stated about the band's forthcoming album: We started out the recording with Billy Anderson. He recorded the drums, bass and some guitar, but that was a mess. There was a documentary crew in there filming, and it was distracting away from our time recording. Jimmy [Bower, guitar] was having a couple problems at the time too, waiting for his kid to be born, so it was a weird time to be in the studio. We ended up using just Joey's drum tracks from Billy. He's awesome - I love him and there's no hard feelings, but we just wanted to finish it somewhere else. We got Steve Berrigan to come out to where I live two hours outside of NOLA, and redid the bass and the guitars. Phil Anselmo [PANTERA, DOWN] gave me some ideas for the vocals, like how we did the ARSON ANTHEM record; me and him work well together.
Asked if EYEHATEGOD ever considered giving up following Joey's passing, Mike said: It was never an option as far as I'm concerned. I don't think it was for anybody else either.
This all happened at the end of September, when we'd just gotten back from a six-week tour of Europe. He's had pretty bad asthma ever since I've known him, and in Europe he was having these weird sleep apnea things when he was sleeping. It was a breathing issue, a respiratory thing, but I don't know; I'm not a doctor. So when we got back, that's when he passed away, so there was a little bit of time in there when we had to think - 'We've got shows booked. What do we do?' We did have to cancel probably 50% of them, but we still just said, 'Let's keep going, that's what he would want us to do.' We'd even had conversations before, when Joey and I would talk, and he'd ask me, 'Who would you get to replace me?' Things like that, and just be honest with each other. He knew the band would keep going, and he wanted it to.
To me, it's just part of life; it's just the way things happen, what cards you're dealt, how life treats you.
We don't know how to give up. That's been the story of our entire career, our lives, even without the band. We just don't know when to quit. It's just a matter of moving forward.
- Blabbermouth1. Agitation! Propaganda!
2. Trying to Crack the Hard Dollar
3. Parish Motel Sickness
4. Quitter's Offensive
5. Nobody Told Me
6. Worthless Rescue
7. Framed to the Wall
8. Robitussin and Rejection
9. Flags and Cities Bound
10. Medicine Noose
11. The Age of Bootcamp$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ADAD-JOY-0167xJoan of Arc
He's Got The Whole This Land Is Your Land In His HandsTwenty years now there's been this thing, our band, Joan of Arc. Sometimes we forget about it
and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and
wake up surprised and exhausted every day for months on end, given walking tours of old
Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the
Pacific coast. We know how lucky we are.
The less we feel like a band-the more we can continue to be a band, but escape that feeling of
doing all those shitty, corny things expected of bands-the truer to ourselves we feel. And you
all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day:
the truer to ourselves we feel, the better everything gets.
We have shifted shapes and modified our approaches quite a number of times in the course of
twenty years. And we've done so always aiming to stay true to ourselves at that moment, by
instinct and with conscious intent. This time, it took us a long time to figure out how to start
back up. We threw away a lot of songs and started over, over and over.
But here's the thing: We are getting better at being ourselves. So many of the postures of
youth just fall away with time. Most bands break up by that point, or become caricatures of
their younger selves. Because money is tricky, or I should say, it comes to be that energy is
tricky to muster after all of it goes into the basics of sustaining yourself.
Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I
am now. But I got this community of weirdo collaborators to lean on that he never had.
We've never had an audience that gets any validation of its coolness through liking us. We've
mangled, juxtaposed, and collaged too many elements for that social contract. But we trust
This time, finally, we trusted each other enough to throw all the songs away, to even throw
away every preconceived idea about which one of us should take position at which instrument.
We hit Record and played, and our collective tastes emerged. And they, our tastes in the
moment, were the only standards in all the expanse of the stupefying and beautiful unknown
universe, that we regarded as relevant in the least.1. Smooshed That Cocoon
2. This Must Be The Placenta
3. Stranged That Egg Yolk
4. Full Moon and Rainbo Repair
5. Cha Cha Cha Chakra
6. Grange Hex Stream
7. Two-Toothed Troll
8. New Wave Hippies
9. Never Wintersbone You
10. F is for Fake
11. Ta-ta Terrordome$19.99Vinyl LP - Sealed Buy Now
The movie hit of 2014, Interstellar, chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage. While the film is directed by acclaimed Christopher Nolan (Inception, Batman Begins, The Dark Knight ), the epic soundtrack score was composed by Nolan's longtime collaborator, Oscar, Grammy, and Golden Globe Award-winning composer Hans Zimmer.
Zimmer and Nolan planned to move away from the Batman Trilogy's scores and to come up with a unique one. Before (re)writing a word of Interstellar, Nolan did something he had never done before, something that speaks to his desire for more emotionally potent work. He asked composer Hans Zimmer to write some music for the film, but without telling him about the genre, title, characters, or plot: I said, 'I am going to give you an envelope with a letter in it. One page. It's going to tell you the fable at the center of the story. You work for one day, then play me what you have written.' He was up for it. And it was perfect. He gave me the heart of the movie. Zimmer says he remembers this idea from Nolan's letter: Once we become parents, we can't help but look at ourselves through the eyes of our children.
Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. Interstellar's score has been nominated for the 2015 Oscars, BAFTA Awards, Golden Globes and the Hollywood Music in Media Awards.LP1
1. Dreaming Of The Crash
2. Cornfield Chase
4. Day One
5. Message From Home
7. The Wormhole
8. Afraid Of Time
9. A Place Among The Stars
10. No Time For Caution
3. Running Out
5. Where We're Going
6. Do Not Go Gentle Into That Good Night$48.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
"Let me open by saying I'M BLOWN AWAY ! Starting with Ballast I was hooked Christ Copyright kept me there and then this Mr. MTV track made me think that Gavin Rossdale (Bush) and Geddy Lee (Rush) merged to become the singer. The sequence of this album is perfect although I'd move Jenny (#13) up to earlier as it kills as well. Gyre was stunning / acoustic and really was perfectly placed as a track. Also loved The Matthew Effect and Here's To The Heartache, especially #10, If I Were. In summary no filler and from the second I heard the words (Holding each other like ransom notes) I was lyrically hooked as well." - Randy Lennox - CEO, Universal Music (Canada)
With soaring vocal melodies, meticulous atypical rhythmic structures, huge anthemia choruses and lyrical content that restores the art of storytelling, NOTHING MORE is set to take over the airwaves with the upcoming, self-titled Eleven Seven Music debut album. With tracks like "This Is The Time (Ballast)" - they are ready to raise the standard for contemporary rock music.
The hotly pursued band was thrilled to sign their deal with Eleven Seven Music Group "The day has finally come that we are partnering with a label that feels as passionately as we do about conquering the world through music;" says vocalist Jonny Hawkins. "We couldn't be prouder to be working with the amazing people at Eleven Seven!" Danny Wimmer from Armsdivsion Management adds "While most labels in todays new music business are chasing pop culture and radio trends, Eleven Seven music has stayed true to the rock genre and continues to double down on expanding their reach in the genre. I couldn't be more excited to have Nothing More join the Eleven Seven Music family."
This is the Time (ballast)Eleven Seven Music Group CEO, Allen Kovac adds "Every 10 years or so there is a band that sonically and lyrically shakes things up and cuts through the clutter. For true rock fans that moment has arrived with Nothing More. That is why we signed them to a 5 album guaranteed contract," he says. The whole world is buzzing about this band, with everyone from radio programmers to promoters to music magazines agreeing that a special band has arrived.1. Ocean Floor
3. Christ Copyright
4. Mr. MTV
5. First Punch
7. I'll Be Ok
8. Sex & Lies
9. Surface Flames
10. Take A Bullet
12. God Went North
13. Pyre$18.99Vinyl LP - Sealed Buy Now
In TimeWith a Cuban-American lead singer, garage-band ferocity, an intense live show and a deep love of both romance and pure country to go with the polyrhythmic beats they were raised on, the Mavericks were unlikely superstars. And yet, they distilled country's essences, bulked them up with big, raucous sound, then broke ground for the format that saw people from all walks of life, many cultures and some surprising places lining up for hits like Here Comes The Rain, Crying Shame, Dance The Night Away and All You Ever Do Is Bring Me Down.
Twenty years later, the little-band-that-could returns, more soulful and innovative than ever. For their first sessions in almost a decade, it was spontaneous combustion; literally, the band falling into step with the euphoria they were known for. And they built quite an album from there. It took life for us to get to this point - everybody was so free. From the first notes, it sounded like an explosion of sound; we went wehere the songs took us with a singularity of purpose. We came into make music as grown-ups, to make music as men, says lead singer Raul Malo.1. Back In Your Arms Again
3. Born To Be Blue
4. Come Unto Me
5. In Another's Arms
6. Fall Apart
7. All Over Again
8. Forgive Me
9. Amsterdam Moon
10. That's Not My Name
11. As Long As There's Loving Tonight
12. Dance in the Moonlight
13. Call Me When You Get To Heaven$17.99Vinyl LP - 2 LPs Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
Ricky Sings AgainRicky Nelson Ricky Sings Again on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Foundation-Establishing Rock n' Roll Album Includes Eternal Hit Lonesome Town
A Late 1950s Vocal and Instrumental Touchstone: Nelson Comes Into His Own, Moving Away from Teen Pop and Towards Serious Rockabilly
Stellar Backing Band Includes Elvis Presley Sideman/Guitarist James Burton and Backing Vocalists the Jordanaires
Also Includes Top 10 Singles Believe What You Say, It's Late, and Never Be Anyone Else But You;
Superb Sound: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Ricky Nelson will forever be identified with the ageless single Lonesome Town. The career-defining smash is included here, on a record that arguably remains the picturesque idol's peak moment, a 1959 set on which the singer moves away from teen pop and towards serious rock nl' roll and rockabilly on par with the likes of Elvis Presley and Buddy Holly. Loaded with material expressly written for Nelson as well as tunes penned by Hank Williams and Johnny Cash, and featuring an all-star session musician band, Ricky Sings Again is a foundation-building 1950s album.
Exceeding the fidelity of any prior analog pressing and affording a warmth missing from Capitol's out-of-print digital reissues, this Silver Label LP, pressed at RTI and mastered on Mobile Fidelity's internationally acclaimed mastering system, teems with detail, presence, dynamics, and authority. With help from his legendary father, Ozzie, Nelson enjoyed superb studio production, heard here in the form of balanced instrumentation, natural tonalities, wide and deep soundstages, and you-are-there vocals. Studio dimensions, too, come across with palpable body and precision. Since the record is a collection, some of the tracks are in mono, others in early stereo.
Backed by a stellar band that includes Elvis Presley guitarist James Burton and in-demand studio bassist James Kirkland, Nelson delivers what remains a 1950s classic that stands up to everything recorded by his famous contemporaries. Burton mimics the sound of a train on One Of These Mornings, just one of the myriad tunes here on which the Rock and Roll Hall of Fame member lays down fabulous lines and rockabilly licks that both shade and support the concise melodies. While largely recognized for the melancholy ballad Lonesome Town, one of four Top 10 singles on the set, Ricky Sings Again is as much about early rock n' roll and extraordinary singing. About that voice.
Simultaneously tender and rollicking, innocent and mature, Nelson conveys a rainbow of emotions, pouring over country-flavored weepers and beat-driven rockabilly numbers with equal parts sensitivity, smoothness, and sincerity. A surfeit of heavenly background harmonies and innovative guitar-led breaks make masterpieces out of upbeat offerings such as You Tear Me Up as well as slow-dance invitations like Old Enough to Love. Add the Jordanaires on back-up vocals, and there's something for everyone here.
No matter the performance, Nelson demonstrates time and again on Ricky Sings Again why he was inducted into the Rock and Roll Hall of Fame in the institution's second year of existence, and why, even more so than Elvis during 1958-59, he was the period's leading singles artist.
This title is not eligible for discount.1. It's Late
2. One of These Mornings
3. Believe What You Say
4. Lonesome Town
5. Trying to Get to You
6. Be True to Me
7. Old Enough to Love
8. Never Be Anyone Else But You
9. I Can't Help It (If I'm Still In Love With You)
10. You Tear Me Up
11. It's All in the Game
12. Restless Kid$14.99Vinyl LP - Sealed Buy Now
Never TwiceBrisk, self-contained, a little mysterious, and catchy enough to revisit again and again
His style is all his own
The second coming of soul, infusing a distinctly California surf-rock spin to the genre
Many moons ago Primo Pitino, the DJ of San Francisco's legendary Oldies Night, passed me a copy of his friend Nick Waterhouse's "Some Place." Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo's Records. Though he didn't have a band at the time, Waterhouse assembled some local musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw "Some Place" on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers' feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after a single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay.
The immediate and unprecedented underground dance party success of Nick's DIY record resulted in a full band, gigs, and, after a number of obstacles, the widely acclaimed 2012 LP Time's All Gone. Nick's music, vision, and fully formed aesthetic caught on globally and he was instantly a fixture at nearly every major nightclub and festival on both sides of the Atlantic, Australia, Japan, and Russia - hitting stages everywhere from Primavera to Montreux Jazz Festival and charting on college, public, and commercial radio.
Only a year after self-releasing his first single, Nick Waterhouse was thrust into the chaos of leading a band, touring, and recording in the big leagues! Pummeling high speed down a bumpy hill of lineup changes, economic problems, and general chaos without any breaks, Nick made it through and the challenges made him more focused. 2014's Holly captured a more experienced artist upping the ante in writing, performance, recording, and production, inspiring a new level of critical and commercial success.
In addition to a jam-packed five years on the road, in the studio, and in the practice space, Waterhouse also produced septuagenarian soul legend Ural Thomas, Los Angeles Latin stars the Boogaloo Assassins, and garage rockers the Allah-las. He's currently collaborating with the likes of young Grammy-nominee Leon Bridges and Steven Colbert bandleader Jon Batiste. The Rolling Stones blast Nick's version of "I Can Only Give You Everything" at stadiums before they go onstage. Vogue hired him to pose with Kendall Jenner. He hipped her to Little Willie John while Anna Wintour complimented his shoes. While a lesser artist would get lost in these distractions, Nick Waterhouse's acclaim only seems to energize him and make him work harder and push his music to the next level.
Nick's latest Never Twice is a culmination, intensification, and realization of everything he's been developing throughout this prolific frenzy. Catchier and loaded with more hits than its predecessors, Nick's new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than any of the excellent work that already separated him from the pack. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, Never Twice finds the artist taking his time, refining his vision, and speaking with new authority. In five short years Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece.
- Jonathan Toubin1. It's Time
2. I Had Some Money (But I Spent It)
3. Straight Love Affair
4. Stanyan Street
5. The Old Place
6. Katchi (feat. Leon Bridges)
7. Baby, I'm In The Mood For You
9. Lucky Once
10. LA Turnaround$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Home AgainFew records make such an instant impression as Home Again, the debut album by Michael Kiwanuka, winner of the prestigious BBC Sound of 2012 prize. Immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. For Kiwanuka, key musical touchstones include Marvin Gaye, Otis Redding, Bob Dylan, Paul Simon, Shuggie Otis, Roberta Flack's First Take, Bill Withers' Live At Carnegie Hall and D'Angelo's modern soul landmark Voodoo.
Born in Muswell Hill to Ugandan ÉmigrÉ parents, Kiwanuka was brought up in a home from which music was largely absent, with his first introduction to rock (Nirvana, Radiohead) arriving at the same time as he began to hang with the skater kids in the north London suburb during his early teenage years. Later coming across a soul compilation album given away with a music monthly, he was enthralled by the sound of Otis Redding's studio talkback discussions with his engineer while recording an outtake version of (Sittin' On) The Dock Of The Bay. From this point on, he resolved to make music that sounded raw and authentic.
Though deeply into soul and jazz, he found real inspiration in the cross-pollination of the two styles with folk in the music of Bill Withers. "Bill Withers was very rootsy and earthy," he points out, "but people branded him as a soul singer. To me, he was a folk artist. So that encouraged me to keep going, 'cause I didn't know where I would fit in as a black guy with an acoustic guitar."
While performing on the acoustic circuit around London, Kiwanuka quickly attracted interest and made connections, not least with his current manager who in turn garnered the attention of Communion Records, the label that in 2011 released the singer's first two acclaimed EPs, Tell Me A Tale and I'm Getting Ready. Both of these EPs, as with Home Again, were produced by Paul Butler (The Bees) in his vintage equipment-stuffed basement studio at his house in Ventnor on the Isle Of Wight. Together the pair played almost every instrument to be heard on the album, with Butler's remarkably intimate, detailed productions adorned with everything from flute to brass to sitar to aching strings, perfectly matching Kiwanuka's visions for his songs.
"The way we made the record was very modern," the singer points out. "There was loads of editing. We manipulated it to get exactly what we wanted." From the opening bars of the stirring Tell Me A Tale, it is instantly clear that Home Again is a very special album. While its more upbeat characteristics are embodied in the Prince Buster-like loping of the lovelorn but irresistibly catchy Bones and the rolling soul groove of I'll Get Along, elsewhere it proves itself to be a record of real stripped-down beauty.
In I Won't Lie, with its gospel-infused echoes of The Staples Singers, Kiwanuka offers something akin to a modern spiritual, while in Rest he turns in a tender love lullaby and in Always Waiting, he blends classical elements with the confessional intimacy of Roberta Flack. It is with the title track of Home Again, however, that Michael Kiwanuka feels the record's sounds and themes are ultimately encapsulated. "That's the song that really for me ties everything together," he says. "It's one of the earliest songs I wrote for the album and even though I progressed and changed stuff in the studio, it was the one I could never throw away. Like a lot of them, it's a hopeful song. I use home as the metaphor for contentment and peace within."
Other parts of the record, on the other hand, find Kiwanuka struggling for peace of mind and using his songs as a form of self-empowerment, not least in the soulful I'm Getting Ready, the darker, unburdening Any Day Will Do Fine and the self-explanatory Worry Walks Beside Me. "It can really paralyze you, if you worry too much," the singer admits. "I do tend to overthink things. All of these songs are me talking to myself, really. Trying to encourage myself to believe."1. Tell Me A Tale
3. I'll Get Along
4. Home Again
5. I'm Getting Ready
7. Always Waiting
8. I Won't Be Long
9. Any Day Will Do Fine
10. Worry Walks Beside Me
11. Lasan$19.99Vinyl LP - Sealed Buy Now
Let Them Fall In LoveThe best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.
Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'
While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.
"Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."
Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.
"It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."
Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.
"Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."
Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.
"I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."
On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.
"That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."1. He's Never Failed Me Yet
2. Run To Him
3. Hey Devil! (feat. The Clark Sisters)
4. Peace From God
5. Why Me
7. Never Have To Be Alone
8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
10. Let Them Fall In Love$19.99Vinyl LP - Sealed Buy Now
...Ya Know? (Awaiting Repress)BMG Rights Management presents Joey Ramone's second solo album, "...Ya Know?", eleven years after his life was cruelly cut short by lymphoma. The tracks were drawn from a cache of demos and unreleased recordings that Joey had cut at various times during the last decade and a half of his life.
His brother, musician Mickey Leigh, executive produced the project. It was of the utmost importance to me that these remaining songs of Joey's be finished properly, and made available for the world to hear, Leigh says of "...Ya Know?", which is comprised primarily of never-before-heard songs written and sung by his brother.
But this is no half-baked grab-bag of odds and ends. Rather, it's a riveting collection of first-rate songs that embody Joey's trademark intensity and wit, and that can stand proudly alongside his most beloved Ramones compositions. It's also a fitting, if belated, follow-up to Joey's first solo album Don't Worry About Me, which was recorded just prior to his death and released the following year.
"...Ya Know?", whose title refers to the phrase that was a ubiquitous staple of Joey's conversation, adds a significant new chapter to the seminal punk icon's hugely influential body of work. Among the many talented people Mickey Leigh and Joey's manager Dave Frey reached out to in bringing "...Ya Know?" to fruition was veteran producer Ed Stasium, who was behind the board for many of the Ramones' greatest albums, including their early classics Leave Home, Rocket to Russia and Road to Ruin.
In addition to producing ten of the album's fifteen tracks, Stasium also contributed instrumentation and vocals to each. The swaggering album-opener Rock 'n' Roll Is the Answer (co-written with Plasmatics guitarist Richie Stotts) will be released as a limited-edition 7" single for Record Store Day on April 21, 2012.
That song and the hometown shout-out New York City demonstrate Joey's knack for channeling his personal passions into bracing anthems. The playfully breezy Make Me Tremble (which Joey wrote and recorded with Dictators founder Andy Shernoff) and the bittersweet acoustic ballad Waiting for That Railroad find him exploring some of the more introspective territory that he'd been unable to visit within the format of his former band.
Elsewhere on "...Ya Know?", I Couldn't Sleep is a collaboration between brothers Joey and Mickey, who also teamed up to record a romantic alternate version of the Ramones' holiday classic Merry Christmas (I Don't Want to Fight Tonight) in Joey's apartment. Meanwhile, a previously unreleased reprise of Joey's late-period Ramones tune Life's A Gas ends the album on an appropriately uplifting note.
Also contributing to "...Ya Know?" is an assortment of musicians and producers whose prior relationships with Joey help to give the album an organic vibe that enhances its power and character. The cast of players includes Joan Jett, and Little Steven Van Zandt, who plays guitar on Party Line and wrote the album's poignant liner notes, along with such notables as former Ramones drummer Richie Ramone, Bun E. Carlos of Cheap Trick, Dennis Diken of the Smithereens, Richie Stotts, Patti Smith Group guitarist Lenny Kaye, punk survivor Holly Beth Vincent, members of the Ramones' punk-era contemporaries The Dictators, and producers Jean Beauvoir and Joe Blaney.
The resulting album is a brilliant encapsulation of the qualities that made Joey Ramone one of rock's most unlikely, yet most beloved, heroes. Leigh reflects "Over the past eight years I've been getting barrages of emails and Facebook messages from Joey's fans, wanting to know when this album would be coming out. So having it finally become a reality gives me a feeling of triumph, not for me, but for my brother, and for his fans. And there's not the slightest doubt in my mind that people are gonna be blown away by it.1. Rock 'n' Roll Is The Answer
2. Going Nowhere Fast
3. New York City
4. Waiting For That Railroad
5. I Couldn't Sleep
6. What Did I Do To Deserve You?
7. Seven Days of Gloom
8. Eyes of Green
9. Party Line
10. Merry Christmas (I Don't Want To Fight Tonight)
11. 21st Century Girl
12. There's Got To Be More To Life
13. Make Me Tremble
14. Cabin Fever
15. Life's A Gas$20.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Back For A Taste Of Your LoveA rollicking vocalist and gifted harmonica player, Syl Johnson has forged a career in both blues and soul. The brother of bassist Mac Thompson and guitarist/vocalist Jimmy Johnson, Syl Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, and Junior Wells in the '50s before recording with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal. Johnson toured with Howlin' Wolf from late 1959 until 1962, when Willie Mitchell signed him to Hi Records.
Johnson recorded for both Twilight and Hi in the late '60s and early '70s, clicking with the dance/novelty cut Come on Sock It to Me and crackling message track Is It Because I'm Black? He had his biggest hit with Take Me to the River in 1975, reaching number seven on the R&B charts. Johnson later recorded for Shama and Boardwalk. He reappeared on a collaboration with his brother Jimmy in the summer of 2002, humorously titled Two Johnsons Are Better Than One.
[Back For A Taste Of Your Love] ...moves his hard Chicago soul groove over to Willie Mitchell's production style, which has a bit more of a mellow tip to it. Syl wrote a number of the tracks, and the titles include I'm Yours, Feelin' Frisky, I Hate I Walked Away, and The Love You Left Behind.
- Zero G Sound1. I'm Yours
2. I Let a Good Girl Go
3. Anyway the Wind Blows
4. You Don't Know Me
5. Feelin' Frisky
6. We Did It
7. Wind, Blow Her Back My Way
8. I Hate I Walked Away
9. The Love You Left Behind$16.99Vinyl LP - Sealed Buy Now
REDD-FIV-5214xThe Dirty Heads
Swim TeamMusic thrives on freedom. Without boundaries or blueprints, songs not only come to life, but last for a very long time to come.
Dirty Heads' sixth full-length offering, SWIM TEAM [Five Seven Music], finds the group at its most free. The Orange County, CA quintet-Jared "Dirty J" Watson [co-lead vocals], Dustin "Duddy B" Bushnell [co-lead vocals, guitar], Jon Olazabal [percussion], Matt Ochoa [drums], and David Foral [bass]-traffic between alternative, hip-hop, reggae, and rock with the same spirit and spark that's powered them since the beginning.
As a result, the hooks naturally became bigger, the experimentation got bolder, and the smoke blazed brighter
"We've put in so much hard work over the years that we have the freedom to do whatever we want now," affirms Jared. "Making the new record, I re-fell in love with everything about being in this band: writing music, playing shows, having fun, and where we're at. We spent every day not only working on songs, but laughing our asses off. What other people said didn't matter. The rules of being a proper songwriter and all of that bullshit didn't matter. If something felt good, we left it in there. It was so cool to get back to that feeling. Creating music was completely free. It was just fucking fun!"
For the better part of 15 years, Dirty Heads have quietly worked towards this point. In 2008, they emerged with the fan favorite full-length debut, Any Point In A Storm. Signature single "Lay Me Down" achieved an RIAA gold certification and clinched #1 on the Billboard Alternative Chart for 11 weeks-a record run for that year. 2014 saw Sound of Change debut at #8 on the Billboard Top 200, garner acclaim from the likes of Esquire, and vault "My Sweet Summer" to the top of Alternative Radio. Most recently, 2016's self-titled Dirty Heads went Top 15 on the Top 200 and spawned the smash "That's All I Need," which racked up over 10.5 million Spotify streams and counting. Noisey summed up the album best as, "Killer." Simultaneously, they remain one of the world's most engaging and exhilarating live acts, selling out sheds coast to coast.
During early 2017, the group started writing songs with no expectations or plans and soon found themselves working on what would become SWIM TEAM. That boundless environment immediately fostered inspiration.
"We had some time off, and we were like, 'We might as well get in the studio and see what happens'," recalls Duddy. "In doing that, we were able to come up with some really good ideas. We didn't have any pressure to put out new music. It's a lot more ambient and simple. We went heavier on the hip-hop, which I love. After the first song, we agreed to just finish a record. We were all inspired."
In order to capture those moments, Dirty Heads handpicked a team of collaborators-Jonas Jeberg [Demi Lovato, Juicy J, Jason Derulo], "Lay Me Down" partner-in-crime Rome [Enrique Iglesias] of Sublime with Rome, Blueprint [Jay-Z, Kanye West, Timbaland, Eminem, Nas, Prodigy], Oren Yoel [Miley Cyrus, Kanye West], HEAVY [Andrew McMahon], and The Score-and recorded between Los Angeles and Orange County.
"On the last album, it was like a mad speed dating rush with a bunch of producers to see who worked best," says Jared. "We had never done that before, and it was cool. It was a different vibe, studio, and guy every day. There are only a few producers on SWIM TEAM. The only new guys were HEAVY, and we hit it off immediately. We were molding and mutating what Dirty Heads are but with something new. We wanted to create songs we hadn't heard before."
That brings us to the first single "Vacation." Produced by Jeberg, "Vacation" sways from bright sun-soaked piano and booming horns into an unshakable and hashtaggable chant, "Hey, I'm on vacation every single day cuz I love my occupation. Hey, I'm on vacation, if you don't like your life then you should go and change it."
"We spent eight years in a van, worked hard, and now we're here," says Duddy. "It's almost like a vacation now."
"I want 'Vacation' to speak to people out there who have paid their dues and love their jobs," adds Jared. "For those who don't enjoy what they do every day, it sends a message that, 'It's not too late to do something else.' If you're not happy, life is way too fucking short to hang around and do things you don't love. We're blessed to do something we're passionate about. We hope you feel the same!"
Working with HEAVY, the emotional "Celebrate" volleys from vulnerable verses into confessional raps and a heart-wrenching refrain about being away from home. It's a classic pop ballad Dirty Heads-style with the power to resonate amongst listeners everywhere.
"It strikes a chord for those of us who travel a lot and leave friends and families at home," explains Duddy. "We miss so much on the road. We're humans. We have wives. We have kids. We're happy to do what we love, but at the same time we miss our loved ones."
Then there's "High Tea," which tows the line between 1940s-inspired crooning and grimy East Coast rhyme gymnastics like The Ink Spots guesting on Paul's Boutique.
"That's my favorite song we've ever written," beams Jared. "The melody was super catchy, and there's an old school guitar part. We juxtapose those mellow, airy, and ethereal elements with hard-hitting hip-hop. We were drinking these weed kombuchas at the time," he laughs.
In the end, SWIM TEAM represents Dirty Heads at their most dynamic, diverse, and definitive.
"When you hear it, I just want you to walk away thinking, 'Damn, that sounds like Dirty Heads'," concludes Duddy.
Jared leaves off, "I want you to feel the same way I did making it. Join this weird, odd, and wonderful secret society we've created over the past fifteen years. You're part of it now. Welcome to the team."1. Staloney
2. High Tea
3. Mad At It
6. Diamonds And Pearls
7. Get Somewhere
8. So Glad You Made It
9. God Damn Liar
11. West Coast$19.99Vinyl 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
BeulahBeulah. It's a small, complicated word with a tangle of meanings.
It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.
Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."
Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."
And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."
Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.
"Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."
Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."
White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.
One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.
At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.
The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."
Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."
Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."1. Black Leaf
2. What's So
3. The Once And Future Queen
4. Make You Cry
5. Fight For You
6. Hope I Die
7. I've Been Over This Before (Feat. The Secret Sisters)
8. The Martyr
9. Hate The Way You Love Me
10. I'll Get Even$15.99Vinyl LP - Sealed Buy Now