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Curtain Call: The HitsEminem's four studio albums shattered so many sales records that you might think just about every man, woman and gerbil on the planet already owns a bulk of the songs that make up this greatest hits collection. But Curtain Call presents the perfect opportunity to have another look at the life of Marshall Mathers. Starting out in the vein of the Beastie Boys and Slick Rick, he grafted filthy verses over bubbly nursery rhyme melodies and primitive Casio beats to come up with comical singles like 'My Name Is' and 'Real Slim Shady.' Then angst and reflection set in, resulting in rare moments of vulnerability ('Lose Yourself') and a richer musical experience ('Stan'). The three new tracks reflect the entire spectrum, with 'When I'm Gone,' a bittersweet goodbye letter, signaling the raw emotion and youthful enthusiasm of his early days have substantially faded, while 'Fack' counters that the Detroit rapper still has the dirtiest mouth in the business.1. Intro
3. The Way I Am
4. My Name Is
6. Lose Yourself
7. Shake That
8. Sing For The Moment
9. Without Me
10. Like Toy Soldiers
11. The Real Slim Shady
13. Guilty Conscience
14. Cleanin' Out My Closet
15. Just Lose It
16. When I'm Gone
17. Stan (Live)$24.99Vinyl LP - 2 LPs Sealed Buy Now
A Thing Called Divine FitsDivine Fits, the band comprised of Spoon's Britt Daniel, Wolf Parade's Dan Boeckner and the New Bomb Turks' Sam Brown, has confirmed that its debut album, A Thing Called Divine Fits, will be released via Merge Records.
A Thing Called Divine Fits was recorded from March-May of 2012 in a backyard studio in Los Angeles, CA. The band co-produced the album with Nick Launay and it clocks in at about 42-and-a-half minutes long. Roughly half the tracks are lead-sung by Dan and half by Britt while Alex Fischel plays keyboards like a madman throughout.
Over the course of A Thing Called Divine Fits' 11 songs it covers such topics as the death of true love, hitchhiking, cocoa butter, emotional distance, what happens when the curtain drops, and Minneapolis, MN.1. My Love Is Real
2. Flaggin a Ride
3. What Gets You Alone
4. Would That Not Be Nice
5. The Salton Sea
6. Baby Get Worse
7. Civilian Stripes
8. For Your Heart
10. Like Ice Cream
11. Neopolitans$18.99Vinyl LP - Sealed Buy Now
Harbingers Of SoulThe LP is pressed on 180gm vinyl and has been lovingly designed and printed 1960s UK style with spot gloss and glued flaps in a limited edition of 500. Arguably the most enduring and influential of all the 1950s R & B groups - the "5" Royales The Harbingers Of Soul LP features the best and most effective tracks from their stays at King and Home Of The Blues. In a very crowded market, their success was remarkable.. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. Home Of The Blues closed its doors in 1962, and although the Royales went on to record for Todd, and had the odd 45 on Smash and White Cliffs, their best days were behind them. But when interest in R & B began to rise again at the end of the 80s, surviving members of the group made a few curtain calls as they were "rediscovered" by a new generation. But these were just the last whispers from a group who were deafeningly loud for so many years. The elite of their Golden Age recordings can all be found on this LP, when they were bridging the gaps between gospel, R & B and the emerging soul style.1. Think
2. Messin' Up
3. Dedicated To The One I Love
4. Tell The Truth
5. It Hurts Inside
6. When I Get Like This
7. Good Lookin' Woman
8. Say It
9. Don't Let It Be In Vain
10. I'm With You
11. Show Me
12. I Got To Know
13. Much In Need
14. Catch That Teardrop
15. What's In The Heart
16. Get Something Out Of It$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Black Album (Colored Vinyl) (Discontinued)Dark Grey Colored Vinyl
Mastered For Vinyl By Masterdisk
Faithful, Updated Rendering Of Original Art Printed At Stoughton Printing Co.
Limited Foil-numbered Edition Of 500 Dark Grey Vinyl Manufactured For Pristine Sound At Quality Record Pressings
Every Damned record is different. And every one takes the band's signature sound in a new direction. The Black Album is no exception, perhaps the band's most ambitious of its excellent discography.
This double LP follow-up to the superb Machine Gun Etiquette (also available from DPR) is the fourth full length release by the British punk founding-fathers. The LP originally came out in July of 1980, making this its 24th anniversary.
This sprawling multi-faceted masterpiece is comprised of traditional punk rock, dark lyrical introspection, haunting sounds, and one side of hard-edged live recordings. It further explores the musical boundaries The Damned were clearly eager to avoid rather than embrace.
From the songs opener, ''Waiting for the Blackout,'' through ''13th Floor Vendetta'' (alluding to the movie The Abominable Dr. Phibes), to its side-length ''Curtain Call,'' The Damned prove why they are the most referential and chameleon-like of all the original punk innovators. And why they remain one of the best.LP1
1. Wait For The Blackout
2. Lively Arts
3. Silly Kids Games
4. Drinking About My Baby
5. Twisted Nerve
6. Hit Or Miss
7. Dr. Jekyll And Mr. Hyde
8. Sick Of This And That
9. History Of The World Pt. 1
10. 13th Floor Vendetta
1. Curtain Call
2. Love Song [live]
3. Second Time Around [live]
4. Smash It Up (parts 1 & 2) [live]
5. New Rose [live]
6. I Just Can't Be Happy Today [live]
7. Plan 9 Channel 7 [live]$52.99Colored Vinyl LP - 2 LPs Buy Now
Drogas LightA decade after Lupe Fiasco exploded onto the hip-hop scene with his seminal 2006 debut Food & Liquor, the Chicago native is closing the chapter on his career with his most visualized projects yet. The independent rapper, who parted ways with his former label Atlantic Records following the release of 2015's Tetsuo & Youth, hits his creative peak with a trilogy of albums-Drogas Light, Drogas and Skulls-the final curtain call on one of the most gifted lyricists and visionaries to grace the mic.
If anything, Drogas Light, the first delivery to fans arriving in early 2017 via 1st & 15th/Thirty Tigers, is a testament to Fiasco's artistic growth throughout the years. The 14-track LP is free of restraint, and daring by his standards: the sonic and storytelling palettes are vast and diverse, more so than ever before, traipsing genre and style with ease and touting songs to soundtrack everything from a night at the club to a quiet listen on headphones. Where Tetsuo & Youth leaned into more experimental pastures, Drogas Light is the embodiment of a musician whose foray beyond the boundaries of hip-hop feels increasingly natural, a glimpse into the genius that will be Fiasco's legacy as he inevitably walks away from the spotlight.
From the start of Drogas Light, Fiasco lays his rhyming skills bare, attacking a haunted beat accented by a screwed vocal sample on opener "Dopamine" that self-reflectively emphasizes the magnetism of the album ("Over-d off of this, but don't fall asleep 'til the dopamine hit!" he chants). The set is dotted with several trap-inflected songs-"NGL" featuring Ty Dolla $ign is a turn-up anthem that entertains the reasons why success comes slow to many, while the STREETRUNNER-produced lead single "Made in the USA" catalogues the various home-grown, illicit products manufactured in the country.
Fiasco has often been pegged as a socially conscious emcee, likened to peers including Common and Nas, and he lives up to the reputation on "City of the Year," where he explores the economic disparity of Chi-town. He flexes his storytelling muscle on the hypnotic, spinning "Jump," on which he unfolds the tale of going from a "trapper to a rapper" by supplying a female adversary with a career boost. But it's when the album hits the relax button that Drogas Light coasts on cushy grooves: "Kill," also featuring Ty Dolla $ign, is an after-hours ode to women who work at gentleman's clubs, and the vamping closer "More Than My Heart" is an emotionally charged hat-tip to all the mothers who would sacrifice anything for their children.
While Drogas Light signifies the beginning of the end for Fiasco, it represents how far he's come since he first entered the game and merely accents the intellectual breadth of the discography he'll leave behind. At the onset of career, rappers including Jay Z and Kanye West regarded him as the future of hip-hop, with the latter tapping him for a standout guest verse on "Touch the Sky" after Fiasco remixed West's hit "Diamonds from Sierra Leone." His debut album Food & Liquor earned him three Grammy nominations and a win for the Jill Scott-assisted "Daydreamin'," which netted the trophy for Best Urban/Alternative Performance in 2008.
In the years since, he evolved from the backpack rap of his debut with a string of classics including 2007's Lupe Fiasco's The Cool and 2011's Lasers, a prelude to the following year's Food & Liquor II: The Great American Rap Album Pt. 1. While Drogas Light is just a taste of what he has to offer in the new year, it's yet another earmark on a track record of an artist who continually comes into new bloom.1. Dopamine Lit (Intro)
2. NGL (feat. Ty Dolla $ign)
4. Made In The USA (feat. Bianca Sings)
5. Jump (feat. Gizzle)
6. City Of The Year (feat. Rondo)
7. High (Interlude) (feat. Simon Sayz)
8. Tranquillo (feat. Rick Ross and BIG K.R.I.T)
9. Kill (feat. Ty Dolla $ign and Victoria Monet)
10. Law (feat. Simon Sayz)
11. Pick Up The Phone
12. It's Not Design (feat. Salim)
13. Wild Child (feat. Jake Torrey)
14. More Than My Heart (feat. RXMN and Salim)$25.99Vinyl LP - 2 LPs Sealed Buy Now
Eight And A HalfJustin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.
Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.
However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.
What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.
And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.
O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.
Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.
And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."1. When I Was Twenty Nine
3. Go Ego
4. The Turn Around
5. Took A Train To India
6. Wait Up
7. Two Points
8. Walked Into Diazepene
9. Oh, My Head
10. My Forevers$17.99Vinyl LP - Sealed Buy Now
No More Shall We PartNo More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.
- Thom Jurek (All Music)1. As I Sat Sadly by Her Side
2. And No More Shall We Part
4. Love Letter
5. Fifteen Feet of Pure White Snow
6. God Is in the House
7. Oh My Lord
8. Sweetheart Come
9. The Sorrowful Wife
10. We Came Along This Road
11. Gates to the Garden
12. Darker with the Day$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Smack UpArt Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself. The presence of Jack Sheldon in a rare performance as a small-group trumpeter was another important factor in the album's success.
The soundstage is spacious and the imaging precise. Pepper is almost in the room (separated by only the thinnest of curtains); you can practically see the air swirling through his alto sax. Pete Jolly's piano is a bit closed-off (as if the lid were shut), but Jimmy Bond's bass thumps and Frank Butler's drumset smacks and sizzles. -- Fred Kaplan, The Absolute Sound, March 2006
Art Pepper's 'Las Cuevas De Mario' is a wonderfully subtle and convoluted track, built entirely on a subtly insistent rhythm motif that's set up by the bass and piano, before the drums start to add accent and prompts. Against the background foundation Pepper's sax and Jack Sheldon's trumpet play beautiful chorus and call and response melodies. Superbly understated, there's a lot going at once yet the instrumentation stays sparse. A longtime collectible record -- Roy Gregory, Hi-Fi+, Issue 451. Smack Up
2. Las Cuevas De Mario
3. A Bit Of Basie
4. How Can You Lose
5. Maybe Next Year
6. Tears Inside$21.99Vinyl LP - Sealed Buy Now