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Come Tomorrow (Pre-Order) (On Sale)Release Date: June 29, 2018*
RCA Records will release Dave Matthews Band's long-awaited new album Come Tomorrow. Come Tomorrow is the band's ninth studio release and its first since 2012's Away From The World, which debuted at No. 1 on Billboard 200.
Working between tours at studios in Seattle, Los Angeles and Charlottesville, Dave Matthews Band chose to record with several different producers, including John Alagia, Mark Batson, Rob Cavallo and Rob Evans.
The cover art for Come Tomorrow is by BÉatrice Coron, who creates narrative allegories in silhouette to render archetypal stories.
This title is not eligible for further discount.
*Please note that release dates are subject to change.$24.99 $21.24 Save $3.75 (15%)Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Tomorrow's HitsAfter spending much of 2011 and 2012 on the road, including a trip upstate to
write and record New Moon, their fourth full-length in as many years, The Men
needed a break. They decided to take the winter of 2012 off to work on new
material in Brooklyn. The converted founding member Mark Perro's bedroom
in Bushwick into a practice space and rehearsed there nearly every day for three
months, cutting more than 40 demos. By the end of that winter, the Men had
pared that crop of songs down to 13. With their plans to take a break foiled by
their own work ethic, they decided to record those songs before New Moon came
out. They booked two days at Brooklyn's Strange Weather studios, clocked in,
and tracked all 13 songs entirely live, even including a horn section.
Eight songs from those sessions made the final cut for The Men's new LP,
Tomorrow's Hits. This is their first album recorded in a high-end studio and,
appropriately, the result is their most high fidelity album to date. That being said,
it is still an incredibly straightforward record. Tomorrow's Hits is a concise
collection of songs that nonetheless expands the band's ever-evolving musical
palette. It's full of genre-bending risks, but it reinforces the overarching theme
that has come to define its makers: The Men are a great rock band.1. Dark Waltz
2. Get What You Give
3. Another Night
4. Different Days
6. Pearly Gates
7. Settle Me Down
8. Going Down$18.99Vinyl LP - Sealed Buy Now
Tomorrow's Daughter (Pre-Order)Release Date: June 15, 2018*
"When I was young, the artists that I really admired were the ones who always found a way to keep making music and expressing themselves," Matthew Sweet says on the occasion of the release of his 13th solo album Tomorrow's Daughter. "To me, those guys were the real artists, and I've tried to hold on to that attitude in my own work."
The seasoned singer/songwriter/producer/multi-instrumentalist is currently in the midst of a personal musical renaissance that's seen him produce some of the most compelling and ambitious music of his three-decade career.
That description applies to Tomorrow's Daughter, on which such instantly memorable new tunes as "Belong," "Run Away," "Lady Frankenstein" and "Out of My Misery" demonstrate his uncanny ability to tap into a bottomless well of pop history to craft music that's effortlessly catchy yet deeply personal.
Tomorrow's Daughter-the follow-up to the artist's acclaimed 2017 set Tomorrow Forever-is a persuasive testament to the enduring qualities of Sweet's adventurous, emotion-charged songcraft. The new album's 12 songs abound with the punchy melodic sensibility, playful sonic experimentalism and introspective lyrical insight that have been constants in his expansive catalog.
Tomorrow's Daughter is the product of a burst of creative inspiration that followed Sweet's 2013 return to his native Nebraska, where he reestablished his Black Squirrel Submarine home studio. This period yielded 38 brilliant new songs, 17 of which appeared on Tomorrow Forever. It instantly became clear that this potent body of work merited a follow-up release, hence Tomorrow's Daughter.
"It just sort of became my next record," Sweet says of Tomorrow's Daughter, which like its predecessor is released via his own Honeycomb Hideout imprint but this time distributed by MRI / Sony. Both albums feature Sweet's current touring band, comprised of guitarist Jason Victor (also a member of the recently-reformed Dream Syndicate) and his longtime rhythm section of bassist Paul Chastain and drummer Ric Menck (also known for their own acclaimed work with Velvet Crush).
"When I put together Tomorrow's Daughter out of what I'd recorded, the 12 songs totally made sense to me in sequence," Sweet explains. "I enlisted some of the people around me, friends and family, to listen to everything I'd recorded and pick their favorites, and everyone pretty much agreed on what was the top stuff. I think it stands up as a separate record, and as a time capsule of the time that we made it."
The distinctive musical and lyrical qualities that illuminate Tomorrow's Daughter have been hallmarks of Matthew Sweet's work since he began making music as a high school student in his native Lincoln, Nebraska. While attending the University of Georgia in Athens, Georgia, he became active in that town's burgeoning underground music scene, as a member of the now-legendary indie combos Oh-OK and Buzz of Delight, and in collaborations with R.E.M.'s Michael Stipe and Chris Stamey of The dB's.
A demo recorded with producer Don Dixon led to solo deals with Columbia (which released Sweet's debut album Inside in 1986), A&M (1989's Earth) and finally Zoo, which issued his commercial and creative breakthrough Girlfriend in 1991. Girlfriend won raves from critics and established him with a wide international fan base that continues to support him today.
Sweet continued to reveal new layers of songwriting depth and sonic creativity on his subsequent efforts Altered Beast, the spin-off EP Son of Altered Beast, 100% Fun, Blue Sky on Mars and In Reverse. His musical gifts continued to shine into the new century with Kimi Ga Suki, Living Things, Sunshine Lies, Modern Art and the Under the Covers series, a three-volume collaboration with Susanna Hoffs of the Bangles (Sweet also served as producer of the Bangles' 2011 album Sweetheart of the Sun).
"I can barely even fathom it," Sweet says of his massive body of recorded work. "But here I am, so I try to live up to whatever it is I've established so far. To do the work is the really important thing to me, but knowing that I'm connecting with people makes me happy. I've continued touring pretty consistently, and it's nice to see that people still care enough to come out to the shows. There seems to be a real emotional attachment for them, which means a lot to me."
Sweet is in the midst of an especially productive period that's seen him continue to generate new material at a prolific pace. He's already recorded
Wicked System of Things, a collection of new original songs to be released as a limited-edition vinyl LP in November 2018 for Black Friday Record Store Day, and is planning his next general-release album.
"I feel like I'm gonna be pretty active for awhile, and it's fun to be releasing a lot of music," he says. "I thought that there might be some resistance to putting out so much stuff, but that hasn't been the case, and that's encouraged me to keep going."
Now firmly ensconced, along with his wife, cats and vintage recording gear, in Nebraska after a two-decade-plus stretch in Los Angeles, Sweet works out of his home studio, which allows him to indulge his bottomless musical imagination, and to engage in long-distance collaborations with musicians in other locations-a method that he employed on both Tomorrow Forever and Tomorrow's Daughter.
"In some ways I think that moving has had a positive effect musically," he reflects. "I think it reconnected me a little bit to what it felt like when I was really young and music was new to me, and maybe that's reflected in the music. But it's hard to say, because making music is so internal for me that it's mostly in my head rather than my surroundings."
Meanwhile, Sweet's catalog continues to be a source of inspiration for longtime fans and new converts. For instance, the Intervention label is planning deluxe two-LP vinyl editions of Girlfriend, Altered Beast, Son of Altered Beast and 100% Fun, which will feature a wealth of rare and unreleased material. But it's creating new music that remains Matthew Sweet's main concern, and he continues to do so with renewed intensity.
"This feels like a really good time for me, and I feel lucky and grateful to still be doing what I love to do," Sweet asserts. "I feel like I'm in a totally positive place, and maybe moving has been a catalyst for that.
"When I meet young people and they ask for advice about a career in music, I always say, 'Do music because it's what you love to do, and because you'd do it no matter what happens,'" he concludes. "I've tried to keep that attitude about it, because that's always worked for me. I just try to keep doing my thing and keep believing."
*Please note that release dates are subject to change.1. I Belong To You
2. Run Away
3. Lady Frankenstein
5. Out Of My Misery
6. Something Someone
7. Girl With Cat
8. Now Was The Future
9. Ever After
10. Show Me
11. Can't Pretend
12. Passerby$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
REDI-SUN-5452xManfred Mann's Earth Band
The Five Faces Of Manfred MannManfred Mann's second American LP The Five Faces of Manfred Mann is a worthy follow-up, boasting a dozen notable tunes including the hits Sha La La and Come Tomorrow, plus some impressive originals and a distinctive version of the Herbie Hancock/Mongo Santamaria standard Watermelon Man that give the musicians a chance to demonstrate their considerable jazz chops.1. Sha La La
2. Come Tomorrow
4. Can't Believe It
5. John Hardy
6. Did You Have To Do That
7. Watermelon Man
8. I'm Your Kingpin
9. Hubble Bubble
10. You've Got To Take It
12. Dashing Away With The Smoothing Iron$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
By The Time I Get To PhoenixGlen Campbell's commercial breakthrough came by way of the title track, which was the direct precursor in production terms to Wichita Lineman, and by the same writer. The cover of Paul Simon's Homeward Bound is sincere if a little perfunctory, but Campbell's rendition of Ernest Tubb's Tomorrow Never Comes is a bravura performance, rich and soulful, as well as recalling Rodgers & Hammerstein's You'll Never Walk Alone as done by Gerry & the Pacemakers. Cold December in Your Heart harks back to Campbell's country-folk material, a piece of midtempo country-pop. Material like that and the similar Back in the Race, Dorsey Burnette's Hey Little One, Jerry Reed's You're Young and You'll Forget, and Bill Anderson's Bad Seed hold up better than more pop-focused numbers like My Baby's Gone, though the string backings on most of these very much date them. The final number here, the touching Love Is a Lonesome River, makes a brilliant coda.
-AllMusic1. By The Time I Get To Phoenix
2. Homeward Bound
3. Tomorrow Never Comes
4. Cold December (In Your Heart)
5. My Baby's Gone
6. Back In The Race
7. Hey Little One
8. Bad Seed
9. I'll Be Lucky Someday
10. You're Young And You'll Forget
11. Love Is A Lonesome River$24.99Vinyl LP - Sealed Buy Now
Try! Live In ConcertImport
Back in 2005, longtime listeners could have seen it coming: it was only a matter of time before John Mayer dropped the pop star burden and proved he could really bring it on the six-string! Chalk it up to one too many Dave Matthews comparisons, or his image after the success of Your Body Is a Wonderland, but something convinced Mayer it was time to take it to the next level.
With help from studio pros Steve Jordan and Pino Palladino, he succeeds on Try!
His covers of Jimi Hendrix's Wait Until Tomorrow and Ray Charles' I Got a Woman should convince even the most purist Guitar Player magazine subscibers. Or else, the blues-rock opener Who Do You Think I Was will do for sure.
Mixed in with the Stevie Ray Vaughan and Eric Clapton-esque stuff are a few mellow numbers (Daughters most notably), but even those songs seem juiced up with rock-God hormones.
Play on, John!LP 1
1. Who Did You Think I Was
2. Good Love Is On The Way
3. Wait Until Tomorrow
6. Out Of My Mind
1. Another Kind of Green
2. I Got A Woman
3. Somethings Missing
5. Try$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
HypnotizedDream Police is an American musical production by Nick Chiericozzi and Mark
Perro. The project began in 2010 as a reservoir for ideas which had overflowed
from The Men's drainpipe. In that same year, a two-song cassette single was self-released, with a follow-up live document in 2011.
In the summer of 2013, The Men had just come home from five straight months
of touring. For Perro and Chiericozzi, the desire to create was still strong, so they
did what they used to do when they first started the band - they started jamming.
Although the production began using the most conservative rock n' roll devices,
Chiericozzi suggested adding drum machine to the song "Pouring Rain," and everything changed. Over the next six months, the two Men and their collaborator
Kyle Keays-Hagerman spent countless hours reshaping every song, constructing
them from nothing. They obsessed over every tone, every part. They'd spend an
entire day on one snare crack.
The album slowly plumed into a cloud of future primitive psychedelia bursting with glimmering electronics and cinematic, vibrato storytelling. The result
of that process is Hypnotized: something borne from The Men, but free of it. It
was mixed the weekend after Tomorrow's Hits was released, and then Perro and
Chiericozzi were off again.1. Hypnotized
2. My Mama's Dead
4. Pouring Rain
5. All We Are
7. Let It Be
8. Sandy$19.99Vinyl LP - Sealed Buy Now
The PassageMuch had changed in the Iron Man camp during the short year separating their sophomore album, 1994's The Passage, from its rightfully acclaimed predecessor, Black Knight. On the personnel front, drummer Ron Kalimon had been replaced by Gary Isom (later of Unorthodox, Spirit Caravan, and Pentagram) and first album vocalist Rob Levey deposed (on the Hellhound label's insistence!) for the technically more accomplished Dan Michalak, but the latter's histrionic vibrato (think a junior Messiah Marcolin) could come off a little comically forced at times, ironically making him an acquired taste, just like his precursor. At least on the musical front, however, the band's guitarist and creative mastermind Alfred Morris III could still be counted upon to guide Iron Man (rounded out by returning bass player Larry Brown) down the (mostly) straight and narrow doom path without commercial dilution or unnecessary distractions. Resulting highlights included the LP's emphatic opener The Fury (an homage to Black Sabbath's Neon Knights in more ways than one), the short, sweet, and savage Iron Warrior, and the memorable instrumental Tony Stark (which of course borrows the alias for that iron-plated Marvel Comics superhero; get it?). Meanwhile, the discreet synthesizers fleshing out Waiting for Tomorrow's intro showed that Iron Man weren't entirely averse to modernization, either, but they sure as hell weren't leaping to embrace it. Also, The Passage put a little more emphasis on slower doom numbers -- see Unjust Reform, Harvest of Earth, and the rather toothless Time of Indecision -- which, while more authentically traditional in nature, didn't pack nearly as much of a punch as the band's speedier efforts. Nevertheless, The Passage helped establish Iron Man's mighty reputation far and wide to doom-loving hordes across the globe, and it was indeed a shame that the group would wait half-a-decade before capitalizing on this with a third album, 1999's Generation Void.
- Eduardo Rivadavia (All Music Guide)1. The Fury
2. Unjust Reform
3. The Gargoyle
4. Harvest of Earth
5. The Passage
6. Iron Warrior
7. Freedom Fighters
8. Waiting for Tomorrow
9. Time of Indecision
10. Tony Stark
11. End of the World$23.99Vinyl LP - Sealed Buy Now
$4,499.00$3,999.00Save $500.00 (11%)
Audio Desk Systeme's Vinyl Cleaning Machine Pro (On Sale)
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
...The most effective, easy-to-use record-cleaning machine I've ever tried.
- Michael Fremer, Stereophile, June 2012
Cleaning Time: 5 minutes
Size: 13w x 8 d x 10.7 h (33cm w x 20cm d x 27cm h)
Weight: 12lbs (5.5kg)
Cleaning Solution: 4.5 liters (1.2 gal) of distilled water added to 20ml of cleaning concentrate.
The Vinyl Cleaner PRO is the next generation, upgraded version of the award-winning ultrasonic LP cleaning system. Incorporating five years of evolutionary enhancements in addition to important upgrades to internal component parts, the Vinyl Cleaner PRO offers better features and performance, and also promises better reliability.
Features of the new Vinyl Cleaner PRO include better, quieter drying, a new premium motor, an upgraded pump with ceramic bearings, and improvements to the electronic control system including a dry-only option.
The Audio Desk Systeme Vinyl Cleaner Pro is the latest version of the first and only record cleaning machine that incorporates an ultrasonic cleaning cycle in addition to a more conventional mechanical cleaning via bi-directional rotating microfiber cleaning drums, and the result is the cleanest LP's ever. Unlike other record cleaners the ultrasonic Vinyl Cleaner bursts millions of microscopic bubbles off the surface of the record all the way to the bottom of the groove, where no fiber is fine enough to reach. And among LP cleaners the Audio Desk System Vinyl Cleaner is unique in using filtered air for drying, rather than one of the static-inducing suction systems employed by other record cleaning machines.
This vinyl record cleaner is fully automatic - just put the LP in the slot, push the button, and come back in 6 minutes (or tomorrow!) for a thoroughly cleaned and dried LP (both sides). Whole new layers of inner detail and air are revealed in the recordings, and of course most surface noise is eliminated.
Comes with 2 vials of a proprietary cleaning fluid developed specifically for this machine. A container of the fluid concentrate plus a gallon of distilled water cleans 150 new LP's, or 100 used LP's.
Records are precious. Not only are they arguably the best-sounding medium for reproduced music, but they often constitute irreplaceable collections. Even with careful handling contamination cannot be avoided in the long term. It is also well known that residual compounds from the LP pressing process obscure inner detail unless removed by cleaning even new records.
Reiner Glass of Audiodesksysteme has developed a professional quality, easy to use record washing machine he call the Vinyl Cleaner. The Vinyl Cleaner is fully automatic. The record is placed perpendicularly from above into the equipment opening and the red activation button is pressed. When the green LED shines, the clean LP can be removed. During the cleaning process rotary cleaning barrels made from a microfiber material move in opposite directions while a unique ultrasonic system carefully and thoroughly removes even the finest contaminants from the grooves. In use the cleaning solution is thoroughly filtered to avoid recontamination of the LP. Two high performance fans guarantee effective drying with quiet operation.
Technical: How can sound clean?
Ultrasonic is sound generated above the human audible level.
A physical effect called cavitation results from the generation of ultrasonic frequencies in a liquid. In this cavitation process ultrasonic compression waves are created by an ultrasonic transducer. When the amplitude of this soundwave increases to a level where the surface tension of the liquid is broken, the fluid will tear apart leaving behind millions of microscopic vacuum bubbles. These vacuum bubbles then rapidly compress or implode creating millions of tiny liquid jets small enough to clean inside the smallest grooves of an LP. This process, also called microagitation, displaces any contaminants on the surface of the LP.$4,499.00 $3,999.00 Save $500.00 (11%)Cleaning Machine - 4 Colors Available Buy Now
Cheap Xmas: Donald Fagen CompleteDonald Fagen, the Grammy award wining voice of Steely Dan, since the 80's has continued to make an impact. His innovative 1981 release, The Nightfly, an instant classic was one of the first major pop releases to use the new digital recording technology, also draws an Album of the Year nomination at the Grammy awards and wins France's Grand Prix du Disques.
During the eighties, Donald takes on various projects including composing music for films (Heavy Metal, The King of Comedy, Bright Lights Big City), for other artists (Diana Ross, Yellowjackets, Jennifer Warnes, Manhattan Transfer) and co-production (The Gospel at Colonus soundtrack), as well as writing the occasional column on film music for Premiere Magazine.
As the nineties begin, Donald collaborates with producer and wife-to-be Libby Titus on a series of legendary club-concerts exploring the work of specific songwriters such as Bert Berns and Jerry Ragovoy. This culminates in several national tours and the recording, The New York Rock and Soul Revue - Live at the Beacon Theater, which features Michael Macdonald, Phoebe Snow, Boz Scaggs, Charles Brown, the Brigati Brothers and others. Walter, back in NYC to produce Donald's solo album, Kamakiriad, joins the revue for the '92 season. 1993 - 2004: Kamakiriad, an account of a dangerous journey in the sedan of tomorrow is released to widespread acclaim in '93. Meanwhile, encouraged by the response to their performances in the Rock and Soul Revue, Donald and Walter, now under the management of Craig Fruin, debut the All New Steely Dan Orchestra that summer.
At the conclusion of the Art Crimes Tour in '96, Donald and Walter begin writing for a new Steely Dan CD, the first album of all new songs in twenty years. Two Against Nature finally comes out in 2000, supported by a tour, a PBS Television concert and several other TV appearances. The album wins four Grammy awards, including Album of the Year. A few months later, Steely Dan is inducted into the Rock and Roll Hall of Fame. In addition, the two songwriters become the recipients of ASCAP's Founder's Award and honorary Doctorates from the Berklee College of Music.
2003 sees the release of Everything Must Go, yet another instant classic. In 2006, Donald releases the album Morph the Cat. The three solo albums, The Nightfly, Kamakiriad and Morph the Cat were released as The Nightfly Trilogy the following year. The Steely Dan band continues to tour through the summer of 2011.
Donald is also one of the three Dukes of September, the others being Michael McDonald and Boz Scaggs.$119.99180 Gram Audiophile Virgin Vinyl LP Box Set - 7 LPs Sealed Buy Now
Silk Degrees (Pure Pleasure)Boz Scaggs is a unique and marvellous singer. His soulful voice can be, in turn, silky-smooth and sensual or funky and upbeat, depending on the material, but it is always compelling. This voice comes through superbly on the ten great tunes featured on Silk Degrees.
Scaggs, a solid composer in its own right, wrote three tracks on his own, co-wrote five more with David Paich. Paich contributed the delightful Love Me Tomorrow by himself while the remaining tune is a cover of Allen Toussaint's excellent What Do You Want the Girl To Do.
Stylistically, the compositions are a nice blend of Philly soul influenced pop and rock. The production is very slick and sophisticated thanks to the arrangements by future Toto's keyboardist David Paich, to the orchestral direction (strings and brass) by Sid Sharp, to the soulful back-up vocals and to the sheer artistry of all the musicians involved. A classic of elegant, well crafted music.
- Boz Scaggs (guitar, voalc)
- David Paich (arranger, keyboards)
- Les Dudek (guitar)
- Plas Johnson (saxophone)
- David Hungate (bass)
- Jeff Porcaro (drums, percussion)
Recording: At Davlen Sound Studios & Hollywood Sound, Los Angeles, by Tom Perry
Production: Joe Wissert
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. What Can I Say
3. Jump Street
4. What Do You Want The Girl To Do
5. Harbor Lights
7. It's Over
8. Love Me Tomorrow
9. Lido Shuffle
10. We're All Alone$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Up In Arms (Awaiting Repress)We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it.
- JOHN JOSEPH
At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As frontman of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly.
The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."
Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.
For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."
John Joseph (Cro-Mags) - Vocals
Todd Youth (ex-Murphy's Law, ex-Danzig) - Guitars
Nick Oliveri (ex-Queens of the Stone Age) - Bass
Joey Castillo (ex-Queens of the Stone Age, ex-Danzig) - Drums1. Father Of Lies
2. This Is Exile
4. To All That Are Dead
6. Somatically Incorrect
7. Death Becomes Him
9. Eternal Refuge
10. Of Legions
11. Messiahbolical$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
PunchbuzzWhen Husky returned to the familiar sites and sounds of Melbourne late in 2015, the singer-songwriter sought sanctuary at a creative hub called The Hotel - "an old mansion that serves as a home, way station, salon, oasis for artists, eccentrics, night owls and sojourners passing through or needing to hang up their skates for a while.
"Melbourne was new to me as it always is when I return from being away. But it was also full of ghosts - remnants of my past life, people who were no longer around, places that were at once familiar and foreign, memories that drifted through my dreams and waking thoughts, becoming fused and inseparable. I slept little but dreamt a lot. My dreams were of the past, they took me back over and over again when what I wanted was to start again, to find something brand new. Ghost was part of a process of coming to terms with this half asleep, half awake, somewhere between the haunted past and the sunlit possibility of tomorrow."
It was at The Hotel, readjusting to Melbourne life, that 'Ghost' and the album Punchbuzz were born. Shaped by the duo's recent experiences, Punchbuzz finds Husky tapping into something that hadn't previously come to the fore on their debut album Forever So or much-loved follow-up Ruckers Hill. It sees the band swapping their signature folk sound for streamlined indie rock that lopes ahead with widescreen atmosphere, dark lyrics, and newly muscled melodies. Sharp, lean, and driving, the album more than lives up to the dynamic imperative of its title.1. Ghost
2. Shark Fin
4. Late Night Store
5. Cut The Air
6. Splinters In The Fire
7. Walking In Your Sleep
8. Cracks In The Pavement
10. Flower Drum
11. Spaces Between Heartbeats$18.99Vinyl LP - Sealed Buy Now
Limits Of DesireLimits of Desire is SmallBlack's most accomplished album yet. It's a crystalline realization of a sound they've
been building toward since their self-titled EP in 2009. Now a full-time four piece, Josh Hayden Kolenik
(keys, vocals), Ryan Heyner (guitar, keys, vocals), Juan Pieczanski (bass, guitar) and Jeff Curtin (drums,
percussion), the band have moved way beyond the hazy home recorded sound of their previous releases
toward a full-fledged, but still self-produced, clear approach. Where 2010's New Chain was a lesson in
maximalist pop, Limits of Desirefindsthe band trimming theirsound to the essentials, yet hitting new and
unexpected heightswith the addition of live drums, electric guitar and trumpet to the existing Small Black
Tonally the songs sweep and glide over lush keys, bolstered by lyrics that illustrate the semi-abstract
moments of lost opportunities and misread signs, hinted at by the coverimage.The title trackwhirlssoftly,
and channels luminaries Tears for Fears and The Blue Nile, anchored by Pieczanski's punchy bass as
Kolenik sings: "Otherlives droned/ farfrom the grasswhere Ilay/ each eye stared out the oppositeway."As
much as the record is about looking for deeper connections, it's also about avoiding real life, if only for a
moment-getting out of your own head just long enough to calm down and find perspective.
"Free At Dawn" and "No Stranger" do what fans have come to love Small Black for, only better. They're
smart pop bangerstingedwith a specific brand of melancholy thatslowly build to night-affirming climaxes.
While Breathless" ups the tempo, over synth stabs, with lyrics that tackle apathy and uncertainty with
catchy grace: "I'm standing in tomorrow'sway/ future'sfine/least itseems okay." It paints a concise portrait
of a generation strugglingwith unlimited freedom and malaise.
The band builds on a rich history of synth pop by making a thoroughly modern album, on both the front
and back end. One that seeks out cohesion, connection and calm in a world that won't sit still. Limits of
Desire doesn't attempt to provide any solutions, but coming to terms with not finding the answers feels
infinitely more fruitful.Free At Dawn
Only A Shadow
Limits Of Desire
Outskirts$17.99Vinyl LP - Sealed Buy Now
The White Album (Remix Project)Hillsong UNITED: the white album [remix project] is a collection of well-known songs previously released from UNITED but remixed by various mix
engineers and musicians. The project includes "With Everything", "Search My Heart", "From The Inside Out", "Like An Avalanche" amongst others.
Completely remixed, these innovative expressions bring to light a new creative approach to songs that are already well loved.
Coming off the most successful album of their career, UNITED are more committed than ever to creating a musical expression that is almost
uncomfortable in its uniqueness. Continuing to create, experiment with and expand on those musical expressions is at the heart of the white album [remix
Beginning with a track list of their most popular worship songs, this eclectic group of mix engineers and musicians brings these songs into today's musical
soundscape and in some cases push them into tomorrow. Always pushing boundaries sonically, these remixes sound as groundbreaking and current as
anything on Zion while staying bound by the common goal of giving voice to a generation who is passionate about God.1. With Everything (Tim Yagolnikov Remix)
2. Scandal of Grace (Chad Howat Remix)
3. Like An Avalanche (Eric Owyoung Remix)
4. Aftermath (Chislett / Tennikoff Remix)
5. a : ft?r?ma : ? (Stacy King Remix)
6. Hosanna (Tim Yagolnikov Remix)
7. All I Need Is You / Came To My Rescue (Lark Remix)
8. From The Inside Out (Black Rodeo Remix)
9. Search My Heart (Solomon Olds Remix)
10. The Stand (Jeremy Edwardson Remix)
11. Oceans (Lark Remix)
12. Love Is War (Darren King Remix)
13. Where Feet May Fail (HXLY KXSS Remix)
14. Relentless (Young & Free Remix)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Bang Zoom Crazy... HelloCheap Trick is part of the very fiber of American music, inspiring and delighting generations with their unique union of massive melodies and razorblade riffs, their own special brand of mischievous wit and maximum rock 'n' roll. Frontlined since 1974 by Robin Zander (vocals, rhythm guitar), Rick Nielsen (lead guitar), and Tom Petersson (bass guitar), the Rockford, IL-born band is set to impact still another era with the spectacular new BANG ZOOM CRAZY HELLO, their 17th studio collection and first in more than five years.
Co-produced by Cheap Trick and GRAMMY® Award winner Julian Raymond (Glen Campbell, Fastball), songs like "Heart On The Line" and the turbulent first single, "When I Wake Up Tomorrow," are deeply connected to the band's own irrepressible history just as they accelerate their trademark sound and vision into the now. The glorious "Long Time No See Ya" marks another in a long line of salutations spanning "ELO Kiddies" and "Hello There" to "Goodnight" and "Say Goodbye," while the piledriving "Do You Believe Me" showcases dueling solos from Nielsen and six-string icon Wayne Kramer - a milestone meeting of the long established Midwestern mutual appreciation society between Cheap Trick and the mighty MC5. BANG ZOOM CRAZY HELLO prove Cheap Trick to be as energetic and idiosyncratically irresistible as ever before, a callback to their classic canon yet somehow as inventive and exciting as a bunch of crazy kids just coming out of the garage.1. Heart On The Line
2. No Direction Home
3. When I Wake Up Tomorrow
4. Do You Believe Me?
5. Blood Red Lips
6. Sing My Blues Away
7. Roll Me
8. The In Crowd
9. Long Time No See Ya
10. The Sun Never Sets
11. All Strung Out$19.99Vinyl LP - Sealed Buy Now
Saves The DaySaves the Day is dead. Long live Saves the Day.
Of course, with the departure of long-time lead guitarist Dave Soloway prior to the release of Daybreak in 2009, that may have been the moment that marked the final days of an early 2000s emo powerhouse. But even that album felt more like a body of work you could have expected from Chris Conley and company in the past.
The band's newest self-titled release marks a well-documented departure from the days of Stay What You Are, In Reverie, and, hell, even Sound the Alarm. Whereas previous entries in the band's catalogue have dealt with the anxious, even nerve-wracking realities of the young and socially awkward, Saves the Day instead starts off on a power-pop riff and hardly strays from it (not that anyone's complaining.)
The first two tracks, "Remember" and "In the In Between," set the tone for the rest of the LP. The fast-paced, poppy tunes are care-free ventures, something missing from Conley's writing since In Reverie.
Oddly enough, Saves the Day sounds more like the bands that have fondly proclaimed that Can't Slow Down, Through Being Cool and Stay What You Are inspired their own sounds. That sentiment becomes even more pronounced as the album plays on.
"Beyond All of Time" slows things down a bit before "Ain't No Kind of Love" kicks the tempo back up a bit. Both tracks flow into each other nicely. And although neither stands out on its own, the songs reinforce the mood of the album.
"Lucky Number" plays much the same, fitting into the album nicely as a piece of the puzzle, but without offering much on its own merit.
The song "Xenophobic Left Hook" by title alone demonstrates that Conley hasn't yet lost his lyrical style. But the sound that accompanies his vocals is drastically different than ever before and it can be directly attributed to the band's ever-changing lineup.
"The Tide of Our Times" is one of the album's truly outstanding tracks. It's catchy. It's fast. It's less than two-and-a-half minutes long and it's emblematic of everything Saves the Day does right in this album.
"Supernova" is, lyrically, the closest we might come to a traditional Conley track. The imagery and metaphors are wonderfully woven throughout the ballad.
"Verona" picks the pace back up, leading nicely into another of the album's best tracks: "Ring Pop." The pace is fast and the lyrics recall carefree days when a ring pop may have sufficed as a symbol of courtship. It's the essence of what makes some of Conley's best music, harkening to a past with the sentimentality ramped up to 11.
"Stand in the Stands" is, by far, the most up-beat and optimistic album closer Saves the Day has ever composed. Standing in stark contrast to even the band's sunnier albums and closers like "Firefly" and "Tomorrow Too Late," the track starts with a bouncy melody and doesn't let up for the nearly four minutes it plays out.
Although Daybreak was the first album where Conley was the last of the band's founding members left, it carried hints of Sound the Alarm and Under the Boards, primarily because of those three albums' conceptual ties (They were designed as a trilogy that started with 2006's Sound the Alarm).
If Conley's way with words is what drew you to the band, this will be right up your alley. Saves the Day may not be the band you remember, but Conley's presence maintains the only lyrical and moody consistency that we really need.
- Eder Campuzano (Daily Emerald)1. Remember
2. In The In Between
3. Beyond All Of Time
4. Ain't No Kind Of Love
5. Lucky Number
6. Xenophobic Blind Left Hook
7. The Tide Of Our Times
10. Ring Pop
11. Stand In The Stars$16.99Vinyl LP - Sealed Buy Now
ALIVE In AmsterdamOn November 28th 2015, Walter Trout took the stage at Amsterdam's Opulent Royal Theater Carre for a captivating live performance that showcased the blues-rock legend at full-throttle. With songs pulled from every era of his five-decade career, the 'ALIVE In Amsterdam' set is potent, From the stinging Luther Allison cover "I'm Back," to the plaintive B.B. King tribute "Say Goodbye To The Blues," which builds from neck-tingling guitar swells to a stunning virtuoso climax. 'Battle Scars' is well-represented by the harmony-bolstered rocker "Almost Gone" and the raucous "Tomorrow Seems So Far Away," while Trout is joined by his son Jon for "Rock Me Baby," and even finds time for a fistful of fan favorites, including "The Love That We Once Knew" and "Marie's Mood."
'ALIVE In Amsterdam' is the sound of a man announcing his resurrection after a period on the ropes. As Trout's army of international fans are painfully aware, recent times have taken the bandleader to the brink, hollowing a bleak diagnosis of life-threatening liver failure and hepatitis C in 2013. Trout's rebirth began with a successful transplant in may 2014, and gathered speed with 2015's 'Battle Scars': the acclaimed studio album that channeled his near-death experience into raw autobiographical songs.
Urgent, impassioned, and electrifying, ALIVE In Amsterdam is a live album to treasure. Walter Trout is on tour all this year, stopping off at some of the most prestigious venues such as Royal Albert Hall, Carnegie Hall, and Ryman Auditorium, as well as festivals in the US and Europe including Lead Belly and New Orleans Jazz & Heritage festivals. Trout always shows you magic in the studio, but it's on stage where he truly comes alive!LP 1
1. Marie's Introduction
2. Play The Guitar
3. Help Me
4. I'm Back
5. Say Goodbye To The Blues
6. Almost Gone
2. Tomorrow Seems So Far Away
3. Playin' Hideaway
4. Haunted By The Night
5. Fly Away
6. Please Take Me Home
1. Rock Me Baby
2. Marie's Mood
3. Serve Me Right To Suffer
4. Love That We Once Knew$27.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Everything Is Debatable (Awaiting Repress)Hellogoodbye: Everything is Debatable - Is everybody ready for an inspired cacophony of joyful sound contrasted with dark yet mature lyrics? If so, take a listen to Everything Is Debatable. This album is the sonic personification of live for today because you might not get tomorrow. The album deals extensively with death, but instead of descending into depression, the album explodes with energy. It's as if Hellogoodbye sees death coming and there's a lot on their bucket list, the culmination of which is a great album.
The concept of death leads off the album with the opening line to 'And Everything Becomes a Blur'. "All the friends we made along the way, everyone single one will pass away". Later in the album the concept is explored further with 'Die Young, Die Dumb; Not Soon' and with the album's closer, 'A Near Death Experience'. The final track vacillates between slow build, soaring self-exploration and almost jazz-inspired interludes. 'Die Young, Die Dumb; Not Soon' uses the concept of death as more of a joke. The plan of the title is to pass away before cynicism infiltrates your psyche: die before you're no longer open-minded, but hopefully "not soon".
The album is quite adept at dance tracks as well. '(Everything is) Debatable' is an inspired, danceable song. It is rich and full and it never leaves the listener bored. Every moment is complete with a new sound to hear, a new instrument being shown off. 'Just Don't Let Go Just Don't' is another really great dance track. This entire album is a clinic in how dance tracks can be exciting without being vapid. The electronic base line mixed with the real guitars and drums is brilliant. Hellogoodbye mixes the real with the synthetic like a brilliant designer.That blend is really what completes the album. A track is never fully synthetic or completely grounded with real instruments. The blend is always present and well thought out.
Probably my favorite song on the album is also its darkest. 'Summer of the Lily Pond' explores the details of disagreements and discovers that the author is in fact the one that "was wrong". The concept is explored with fantastic horns that capture the brassy feeling of regret. It is perhaps the least synthetic song on the album and its contrasting presence highlights the brilliance of the album.
- Jay Abbondanza (Violent Success)1. And Everything Becomes A Blur
2. (Everything Is) Debatable
3. The Magic Hour Is Now
4. Swear You're In Love
5. Summer Of The Lily Pond
6. Just Don't Let Go Just Don't
7. I Don't Worry (as Much As I Should)
8. How Wrong I Can Be
9. An External Force
10. Die Young, Die Dumb; Not Soon
11. A Near Death Experience$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now