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Down By The River'
Live At The Cellar Door
Mastered By Chris Bellman At Bernie Grundman Mastering And Pressed At Pallas In Germany
Neil Young will release Live At The Cellar Door, the latest in his Archives Performance Series, on Reprise Records. The album collects recordings made during Young's intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.
The album, which features Young performing on acoustic guitar and piano, includes tracks that are interesting for several reasons, such as stunning live versions of songs that appeared on After The Gold Rush (Tell Me Why, Only Love Can Break Your Heart, Birds, Don't Let It Bring You Down and the title track) and solo performances of the Buffalo Springfield songs Expecting To Fly (from their 1967 second album Buffalo Springfield Again), I Am A Child (from their third and final album Last Time Around and Young's 1977 Decade compilation), and Flying On The Ground Is Wrong, from their 1966 self-titled debut.
In addition, Live At The Cellar Door features early, raw performances of songs that wouldn't appear until subsequent Young albums, including the rarity Bad Fog Of Loneliness (which appears on Live At Massey Hall '71 - released in 2007-but was previously unreleased until the studio band version was included on Archives Vol. 1 1963-1972), Old Man (released two years later on 1972's Harvest album), a rare solo performance of Cinnamon Girl on piano (the full band version appears on Young's 1969 second solo album Everybody Knows This Is Nowhere), and Down By The River, also from Everybody Knows This Is Nowhere.
Live At The Cellar Door was recorded by Henry Lewy and produced by Young.1. Tell Me Why
2. Only Love Can Break Your Heart
3. After the Gold Rush
4. Expecting To Fly
5. Bad Fog of Loneliness
6. Old Man
8. Don't Let It Bring You Down
9. See the Sky About to Rain
10. Cinnamon Girl
11. I Am A Child
12. Down By the River
13. Flying On The Ground Is Wrong$24.99180 Gram Audiophile Classic Vinyl LP - Sealed Buy Now
Down The River Of Golden DreamsOkkervil River's Down the River of Golden Dreams takes the band's hallmarks - lush, eclectic orchestration that evokes chamber pop and soul, lapel-gripping emotional urgency, and the lyrical, direct songwriting of frontman Will Sheff - and expands and elevates them in service of a stunningly ambitious set of new songs.
If last year's Don't Fall in Love with Everyone You See was the middle of the darkest night of the year, Down the River of Golden Dreams is the earliest light of a morning that could either bring the first breeze of spring or a battalion of tornadoes. On it the band stretches their wings, they shake off the fear and trepidation of the last record and try to look life in the face, emboldened by distorted blasts of Wurlitzer, guttural stabs of Hammond organ, urbane strings, and jaunty horns that could be the work of a shitfaced Canadian Brass. Down the River of Golden Dreams combines with Okkervil's trademark melancholy a sense of drama and play at which the last album only hinted. It oozes the band's signature string-destroying folk-rock attack and umbilical chamber-pop swoon, but it also echoes the venomous cabaret of Jacques Brel, the off-kilter swagger of the Faces and Bob Dylan's Blonde On Blonde, and the dusky balladry of Nick Cave. In addition, it displays a new confidence in frontman Will Sheff, whose concise, literary lyrics and emotionally direct delivery are rapidly distinguishing him as one of rock music's best new songwriters.Down the River of Golden Dreams
It Ends With a Fall
For the Enemy
Blanket and Crib
The War Criminal Rises and Speaks
The Velocity of Saul at the Time of his Conversion
Main Island Lovers
Song about a Star
Seas Too Far to Reach$17.99Vinyl LP - Sealed Buy Now
Going Down To The River (Pre-Order)It's just not your typical Music City Story.... A frequent homeless, 62 year old singer-songwriter guitarist gets discovered at a Nashville food pantry by a Swedish country music star, who helps him from the streets to superstardom in a country best known for Abba's Dancing Queen and the likes.Doug Seegers' debut solo album entitled Going Down to the River on Rounder Records is raw, rootsy and emotionally charged. A brilliant 62-year-old singer who struggled with homelessness for years, Seegers found acclaim when Swedish music star Jill Johnson discovered him in a Nashville food pantry. The two subsequently recorded a duet that climbed to the top of the music charts in Sweden.
When I first heard Doug Seegers' voice, so full of soul and raw emotion, I was stunned. This man has lived these songs, not in his imagination but every long day over many hard years. He stands before you now - ready to testify. Listen and believe. - Emmylou Harris
Part Hank Williams, part Hank Snow, part Gram Parsons . . .his music is more real than anything you're gonna hear . . .Close your eyes and you will be transported, not to the past; he's not an imitation - it is a soul-portation. - Buddy Miller1. Angie's Song
2. Going Down To The River
3. She (featuring Emmylou Harris)
4. Lonely Drifter's Cry
5. Hard Working Man
6. Pour Me
7. There'll Be No Teardrops Tonight (featuring Buddy Miller)
8. Memory Lane
9. Gotta Catch That Train
10. Burning A Hole In My Pocket
11. She's In A Rock 'n' Roll Band
12. Baby Lost Her Way Home Again$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
River Of Dreams (Awaiting Repress)
The Billy Joel/Friday Music 180 Gram Audiophile Vinyl Continues!
First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation
Featuring: Danny Kortchmar, Leslie West, Will Downing, Ira Newborn, Liberty Devitto, Richie Cannata
Mastered By Joe Reagoso At Friday Music And Capitol Mastering, Hollywood, Ca. Manufactured At R.T.I.
Billy Joel's last studio album River of Dreams wound up becoming one of his most successful albums
of his amazing career. Released in 1993, he was at the top of the charts with a number one album and
a number one single with The River of Dreams. The Doo-Wop influenced pop record thrilled audiences
worldwide as he toured all over the world promoting the great album that it was.
Two decades later, these tunes still resonate with his fans as Billy Joel is currently embarking on
a very successful concert tour, and Friday Music is proud to be a part of the celebration with one of his
greatest achievements River of Dreams.
As another installment in our exclusive Billy Joel/Friday Music 180 Gram Audiophile Vinyl Series, this
impeccably mastered first time audiophile LP features some of his greatest songs like the brilliant album
opener No Man's Land, the R&B infused All About Soul, the hard rock nod to Cream with Shades of Grey
and the stellar album closer Famous Last Words.
The masterwork contains even more of his most loved classics like the stunning ballad Lullabye
(Goodnight, My Angel) and the acid rock tinged flavor of The Great Wall of China.
Impeccably mastered by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood,
Billy Joel's River of Dreams will be one of the most definitive classic rock releases in the audiophile vinyl
domain in some time.
For a very limited time, we are also enhancing your listening enjoyment with a first time gatefold
cover artwork presentation, which features the first time LP sized cover art, as well as lyrics to all of these
great Billy Joel songs, making this a keepsake for years to come.
Billy Joel River of Dreams Celebrate 2 Decades of the voice, the songs, the musicianship and the
memories 1st Time Audiophile Vinyl An exclusive Only from your friends at Friday Music.
In the middle of the night1. No Man's Land
2. The Great Wall of China
3. Blonde Over Blue
4. A Minor Variation
5. Shades of Grey
6. All About Soul
7. Lullabye (Goodnight, My Angel)
8. The River of Dreams
9. Two Thousand Years
10. Famous Last Words$29.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
'Til Your River Runs DryEric Burdon has completed his most personal album to date, titled 'Til Your River Runs Dry. A member of the Rock and Roll Hall of Fame and hailed by Rolling Stone as one of the "100 Greatest Voices of All Time," Burdon has long forged new ground while maintaining a commanding presence in the music marketplace as front man of The Animals, with War at its inception and simply as Eric Burdon. In 2012, Eric's influence is enjoying resurgence with both new artists and superstars.
The album was produced by Burdon and Tony Braunagel and recorded in New Orleans in 2010 and 2011 in California at Playback Studios in Santa Barbara and at Ultratone Recording in Studio City where Eric recorded his last two albums, My Secret Life and Soul of a Man. The new album was mixed by Ed Cherney and mastered by Doug Sax and Eric Boulanger at The Mastering Lab in Ojai, California.
Eric discusses the album: When I started out with the Animals I never dreamed that I would grow old, much less be singing on stage at the age of 70," said Eric. "There I was, in my twenties, singing "When I was Young," as if I was already an old man. Now, I can look back at a life with many ups and downs, and thankfully, I can reflect on where I am and where I've been. I'm privileged to be able to look back at the many paths and highways that I've traveled. At this point in my life, I'm very comfortable in this place where I am."1. Water
2. Memorial Day
3. Devil And Jesus
5. Old Habits Die Hard
6. Bo Diddley Special
7. In The Ground
8. 27 Forever
9. River is Rising
10. Medicine Man
11. Invitation to the White House
12. Before You Accuse Me$17.99Vinyl LP - Sealed Buy Now
By A ThreadWith over 1,000,000 Gov't Mule albums sold to date and over 2,000,000 downloads sold through Mule.net,
Gov't Mule is one of the most successful and respected bands in the world. Once lauded by Rolling Stone for successfully bringing the classic power-trio sound of Cream and the Jimi Hendrix Experience into the 21st century - the band has completed work on 'By A Thread'. Their first studio album in three years.
Recorded largely at Willie Nelson's Pedernales Studio in 2009, the album's origins are apparent from the first track, "Broke Down On The Brazos," named after the nearby river, with a deep Texas stomp for the backbeat and featuring the trademark guitar-work of ZZ Top founder Billy Gibbons. Perhaps less descriptively named,
"Steppin' Lightly" is another burner, set off by the soulful vocals and mind-bending guitar work of Haynes, who proves anew why Rolling Stone named him one of the Top 25 guitarists of all time.
Other highlights include the lament "Railroad Boy," informed by both Celtic tradition and the Mississippi Delta; the expansive psych-rock of 'Monday Mourning Meltdown"; and the optimistic 'Frozen Fear," with
its lush harmony and even a hint of rocksteady skank. In recent months, Haynes has been spectacularly busy in his other dual roles as guitarist and singer for The Allman Brothers, who recently wrapped an epic stand 15 night stand at NYC's Beacon, and The Dead, where he recently drew raves from USA Today:
"Haynes has the toughest role to fill... he did so masterfully."
Gov't Mule tour dates this summer included Mountain Jam, Bonnaroo Music Festival, Rothbury Music Festival, The Weesner Amphitheatre in Minneapolis MN, Mile High Music Festival in Denver, CO, Minglewood Music Hall in Memphis, TN, Sloss Furnace in Birmingham AL, The Fillmore in Charlotte NC, Masquerade
Music Park in Atlanta GA, Lincoln Theatre Street Stage in Raleigh NC, Innsbrook Pavilion in Richmond VA, National Harbor Pavilion in Washington DC, Bank of America Pavilion in Boston MA, Ives
Concert Park in Danbury, CT, Rocks The Harbor in Buffalo NY, RiverPlex in Pittsburgh PA, The Wellmont Theatre in Montclair NJ, Party in the Park in Rochester NY.LP1
1. Broke Down On The Brazos
2. Steppin' Lightly
3. Any Open Window
4. Railroad Boy
5. Monday Mourning Meltdown
6. Gordon James
1. Frozen Fear
3. Inside Outside Woman Blues #1
4. Scenes From A Troubled Mind
5. World Wake Up$18.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
DecadeA fantastic 3-LP collection of Neil's best-from Buffalo Springfield through CSNY to his own enigmatic solo career-featuring Southern Man; Down by the River; Helpless; Ohio; Sugar Mountain; Like a Hurricane; Heart of Gold; After the Gold Rush , and lots more.
One of the most influential artists of all time, Neil Young has set a standard of artistic integrity and iconoclastic creativity. Before starting his multi-platinum solo career, he was a founding member of the folk-rock band Buffalo Springfield and worked with the groups Crazy Horse and Crosby, Stills and Nash. The Canadian singer-songwriter was recognized by the Rock and Roll Hall of Fame in 1995 for his work as a solo artist and was inducted into the Canadian Music Hall of Fame in 1982. Young's philanthropic work is as renowned as his musical legacy.
His famous Bridge School Benefit Concert has become a yearly tradition since 1986 and continues to boast an incredible line-up of high-profile artists. Each year, Young donates all of the proceeds to the Bay Area's Bridge School, which assists children with severe physical impairments and complex communication needs. He was also one of the original founders of Farm Aid in 1985, and continues to be an active member on the organization's board of directors.LP 1
1. Down to the Wire - By Buffalo Springfield
2. Burned - By Buffalo Springfield
3. Mr. Soul - By Buffalo Springfield
4. Broken Arrow - By Buffalo Springfield
5. Expecting to Fly - By Buffalo Springfield
6. Sugar Mountain
7. I Am a Child - By Buffalo Springfield
8. The Loner
9. The Old Laughing Lady
10. Cinnamon Girl - By Neil Young & Crazy Horse
11. Down By the River - By Neil Young & Crazy Horse
1. Cowgirl In the Sand - By Neil Young & Crazy Horse
2. I Believe in You - By Neil Young & Crazy Horse
3. After the Gold Rush - By Neil Young & Crazy Horse
4. Southern Man - By Neil Young & Crazy Horse
5. Helpless - By Crosby, Stills, Nash & Young
6. Ohio - By Crosby, Stills, Nash & Young
7. Soldier03 Old Man
8. A Man Needs a Maid
10. Heart of Gold
11. Star of Bethlehem
1. The Needle and the Damage Done
2. Tonight's the Night, Pt. 1
3. Tired Eyes
4. Walk On
5. For the Turnstiles
7. Deep Forbidden Lake
8. Like a Hurricane - By Neil Young & Crazy Horse
9. Love Is a Rose
10. Cortez the Killer - By Neil Young & Crazy Horse
12. Long May You Run - By The Stills-Young Band$36.99Vinyl LP - 3 LPs Sealed Buy Now
SadnecessaryYou never know who you're going to meet on the first day of school. Sometimes, you can end up being introduced to one of the best friends you'll ever
know. That was the case for Clemens and Philipp-otherwise known as Milky Chance. The Kassel, Germany duo met in an Advanced Music Course at
the start of eleventh grade, and they creatively gelled right off the bat.
They got along so great that they played in a local band until graduation. Even though the group disbanded when their drummer left Kassel, Clemens and
Philipp kept on making music. Weaving together elegant electronic production with acoustic guitars and lilting, lush vocals, they harnessed a style
unequivocally their own.
Clemens put it best, Think of it as the singer-songwriter spirit mixed with electronic beats. Somehow, it's always a little bit melancholy, but there's a
positive spin. You can dance to most of it too! Melancholy is something that I carry within me. I write the best songs when this mood catches me."
In order to capture that, the boys built a tiny studio in the quiet house Clemens grew up in. Over the course of two weeks in 2013, they cut their full-length
debut, Sadnecessary, on a minimalist setup, spending hours getting the settings just right. They didn't need anything more than a rudimentary interface,
microphone, and computer. That's why Sadnecessary sizzles so much.
After cutting the tracks, Clemens and Philipp uploaded the first single Stolen Dance to YouTube. With its bright handclaps, plaintive acoustic guitars, and
his own gravelly smooth delivery, the song became a viral sensation, eventually racking up over 30 million-plus YouTube views and made them the most
blogged about act on HypeM for that month.
About the song, he says, It's less of a story than a feeling. The feeling in the song refers to a certain moment I wanted to hold on to. It's the sentiment you
experience when you miss somebody you really like and just can't spend time with that person. You're sad the other person isn't there, but you're also
happy for the beautiful moments you've spent together.
Sadnecessary, released on the musicians' own Lichtdicht Records in Europe, became a phenomenon followed by packed shows around the continent. In
early 2014, Republic Records inked a deal with Milky Chance to release the record stateside, opening them up to their largest audience yet.
Now, songs like Down By The River flow between poetic musing and delightfully danceable grooves. Clemens remains honest at every turn though.
There is actually a personal story behind 'Down By The River', he adds. In general it's about being in love, but there's a lot of room for interpretation.
That's important to us.
Ultimately, because of that emotional expanse, these songs will resonate loudly with listeners everywhere. Clemens leaves off, At the end of the day,
we're most happy when people discover our music for themselves and have fun at one of our concerts. It's just great when they listen to a song and
connect it to a personal experience. That's the most amazing thing, and we'd love to encourage that.
Led by the irresistibly catchy, danceable track "Stolen Dance" - which has already hit #1 in 15 countries and amassed over 50 million views on YouTube -
German duo Milky Chance are now poised for greatness in the states as well.
The duo weaves elegant electronic production with acoustic guitars, along with lilting, lush vocals. It's a unique sound that is unequivocally their own.1. Stunner
2. Flashed Junk Mind
7. Down By The River
8. Sweet Sun
10. Stolen Dance
12. Feathery$25.99Vinyl LP - Sealed Buy Now
Black Sheep Boy (10th Anniversary Edition)In celebration of the ten-year anniversary of this iconic album, Jagjaguwar is proud to present the Black Sheep Boy 10th Anniversary Edition, a three-LP set combining the classic Black Sheep Boy album and its counterpart the Black Sheep Boy Appendix with an all new unreleased album entitled There Swims a Swan: full-band recordings made six months prior to the release of Black Sheep Boy which illuminate the album's roots in the traditional American songbook.
Featuring beautiful, emotional readings of songs popularized by such artists as Washington Phillips, Lead Belly, the Louvin Brothers, and Roscoe Holcomb, There Swims a Swan takes the listener on a trip through the songs that inspired Sheff while composing Black Sheep Boy and reads like a run-through of that album's themes. Black Sheep Boy is celebrated for its album artwork as well as its music, and the Anniversary Edition collects that artwork in a meticulously reworked package, combining every previous element of William Schaff's imagery with a large new piece by Schaff depicting an updated Black Sheep Boy. The release also includes lengthy liner notes by Will Sheff walking the listener through the circumstances surrounding the album.
For Okkervil River fans (the most high-profile of whom was recently revealed to be President Barack Obama, who included Down Down the Deep River on his 2015 summer playlist), the Anniversary Edition is a loving, comprehensive, richly expanded presentation of a record many consider to be one of the band's best. For those new to the band, this might be the best place to start, the first step on a long road, the opening to a forest you can get lost in.LP1 - Volume I
1. Black Sheep Boy
2. For Real
3. In A Radio Song
5. Get Big
6. A King And A Queen
7. A Stone
8. The Latest Toughs
9. Song Of Our So-Called Friend
10. So Come Back, I Am Waiting
11. A Glow
LP2 - Volume II
1. Missing Children
2. No Key, No Plan
3. A Garden
4. Black Sheep Boy #4
5. The Next Four Months
6. Another Radio Song
7. A Forest
8. Last Love Song For Now
LP3 - Volume III
1. Goodnight Irene
2. I'm In Love With Susan Smith
3. See See Rider
4. Knoxville Girl
5. Satan Is Real
6. Good Liquor Gonna Carry Me Down
7. Willow Tree
9. Oh, The Wind And Rain
10. What are They Doing in Heaven Today
11. Trouble in Mind$37.99Vinyl LP - 3 LPs Sealed Buy Now
ADAD-MER-6412xEast River Pipe
The Gasoline Age
First Time Available On Vinyl
Includes 9 Previously Unreleased Bonus Tracks From Various Years
Merge celebrates our long relationship with East River Pipe by releasing their critically
acclaimed fourth album The Gasoline Age on vinyl.
Saluted by ROLLING STONE as "the most gifted of the new loners," F.M. Cornog,
aka East River Pipe, originally released The Gasoline Age in 1999. Named Album of
the Year by both THE NEW YORK TIMES and England's THE INDEPENDENT,
The Gasoline Age was inspired in large part by nighttime drives on New Jersey's seedy
Route 22. Automobile imagery appears throughout the album: cybercars, stolen cars,
pimpmobiles. The cars all seem to carry with them a romanticism that emphasizes
even further Cornog's gift of creating a lyrical mood without tying his flights of fancy
down to specifics.
The Gasoline Age explores the suburban landscape and turnpike stretches outside
Cornog's door and calmly runs down bleak facts over the gentle pulse and chorused
strums Cornog has been perfecting since his early singles. Some of the songs are built
on merely six concise lines of clear-eyed warning, though sometimes ("Hell Is an
Open Door") he sounds like he might actually be looking forward to the
darkness on the horizon. On other tracks, like the ironically titled "Party Drive," it
sounds as though Cornog is barely going to make it to the curb. But for the character
in the song, going on that drive is the only thing that makes it seem like "we're gonna
The disconnect between the unsettling dead ends Cornog sings about and the peaceful
swells of the keyboards and the glimmering guitars is what brings emotional weight to
the entire album. One doesn't get the sense that a whole lot has changed in the last 15
years for the characters inhabiting this world.
Merge came to know East River Pipe through his string of memorable and
mysterious singles on Hell Gate and Sarah Records. Merge co-founder Mac
McCaughan writes, "We had friends who were early fans of those records, including
Jim Wilbur of Superchunk, and it seemed that no one took East River Pipe fandom
lightly-once you were in on the secret, you were all in. After Ajax Records compiled
the sparkling early sides, we started working with Fred and his wife and partner
Barbara Powers and have been looking forward to the next batch of periodic broadcasts from his bedroom studio ever since."1. Shiny, Shiny Pimpmobile
2. Hell Is an Open Door
4. Wholesale Lies
5. My Little Rainbow
6. Party Drive
7. King of Nothing Never
8. 14th Street Boys Stolen Car Club
9. All You Little Suckers
11. Down 42nd Street to the Light
12. Atlantic City (Gonna Make a Million Tonight)
13. Don't Hurry$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Am Very FarThe goal was to push my brain to places it didnt want to go. The idea was to not have any idea, to keep myself confused about what I was doing, frontman Will Sheff says about Okkervil Rivers newest album. The resulting record, I Am Very Far, is a startling break from anything this band has done before. By turns terrifying and joyous, violent and serene, grotesque and romantic, its a celebration of forces beyond our control.
On I AmVery Far, Sheff emerges not only as a songwriter of the highest caliber, but a producer and arranger of singular vision. Abandoning the tidy conceptual arcs of Okkervil Rivers previous albums, I Am Very Far is a monolithic, darkly ambiguous work, one that doesnt readily offer up its secrets.
Work on I Am Very Far started in early 2009, after a year spent on the music of others. Sheff contributed vocals to The New Pornographers album Together, wrote a song for Norah Jones The Fall, and helmed the Roky Erickson record True Love Cast Out All Evil, for which his album notes received a Grammy nomination. Immediately upon wrapping up work and leaving Ericksons company, Sheff drove to his home state of New Hampshire for lengthy isolated writing sessions. I wanted to go back home and re-start writing again, like Id never written a song previously, he says, and I wanted the music and lyrics to be both completely wedded together and a little bit beyond my control.
Sheff emerged from the writing process with 30 or so songs, which he narrowed down to 18. In contrast to Okkervil Rivers usual practice of holing up in one studio for months on end, he opted for a series of short, high-intensity sessions, each in a different location, each employing completely different methods than the one before it. For songs like Rider and Wake and Be Fine, Sheff gathered together a massive version of Okkervil River; two drummers, two pianists, two bassists, and seven guitarists, all playing live in one room, and led them on a week of live-in-the-studio marathon sessions, performing a single song obsessively over and over for as many as 12 hours to capture just the right take. Finishing the record from home, Sheff constantly edited and reworked the album, reinventing the song structures, re-recording vocals, re-writing until the very last minute, reshaping even the tiniest of details, ultimately creating an album that plays not only as a lush, seamless epic, but also as the most deeply personal effort of his career.
What can listeners expect? Richer and weirder than The Stage Names and deeper and moodier than even Black Sheep Boy, I Am Very Far is dense, fragmented, opaque. A reverie of uncertainty, it feels at once disorienting and oddly familiar, threatening and friendly. Okkervil River have thrown away all maps and compasses but they continue to chart their way, unblinking, toward destinations unknown.1. The Valley
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need a Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life as a Blast
10. Wake and Be Fine
11. The Rise$19.99Vinyl LP - 2 LPs Sealed Buy Now
Grab The Next TrainBorn near Detroit, Michigan, Marshall Crenshaw began playing guitar at age ten and he received his first break playing John Lennon in the off-Broadway company of Beatlemania. In 1987, he played Buddy Holly in the Richie Valens biopic "La Bamba." While living in NYC, he recorded the single "Something's Gonna Happen" for Alan Betrock's Shake Records, which led to a deal with Warner Bros. His debut album, Marshall Crenshaw was acclaimed as a pop masterpiece upon its release in 1982 and established him as a first-rate songwriter, singer and guitarist. The record spawned the Top 40 single "Someday, Someway," which rockabilly singer Robert Gordon covered and scored a hit with a year earlier, and other classics such as "(You're My) Favorite Waste of Time," "Whenever You're On My Mind" and "Cynical Girl." The great songs continued with the Life's Too Short album on MCA ("Fantastic Planet of Love"), three albums for Razor & Tie and the 2009 release Jaggedland ("Someone Told Me," "Passing Through," "Never Coming Down
A quote from Trouser Press sums up Marshall Crenshaw's early career: "Although he was seen as a latter-day Buddy Holly at the outset, he soon proved too talented and original to be anyone but himself." All Music Guide captured Crenshaw's vibe perfectly: "He writes songs that are melodic, hooky and emotionally true, and he sings and plays them with an honesty and force that still finds room for humor without venom."
"His intelligence, integrity, and passion for the great song always show up in his music," wrote Robert Christgau in his Consumer Guide of Marshall Crenshaw. Over a span of 30 years, Crenshaw has released 13 albums, all of which have received the highest marks from critics and have earned him a fiercely loyal fan base.
"I wanted to think of a different way of working that would inspire me and keep me motivated," Marshall Crenshaw says of his newest endeavor: a subscription-only service that addresses the recent seismic changes in the music-industry landscape by cutting out the record-company middle man to distribute his new recordings directly to fans.
The subscription service, which the veteran singer/guitarist/songwriter/producer recently launched via a successful Kickstarter funding campaign, will provide fans with a steady stream of new Marshall Crenshaw music via a series of exclusive three-song 10-inch, 45-rpm vinyl EPs on Addie-Ville Records, six of which the artist plans to release over a two-year period.
Each EP will consist entirely of newly recorded, never-before-released material, encompassing a new original Crenshaw composition, a classic cover tune, and a new reworking of a time-honored favorite.
"I really do think that vinyl sounds best, and that playing a vinyl record is still the optimum listening experience," Crenshaw asserts. "And with the sound quality that you get at 45 rpm, I think that these things are going to deliver the goods, sonically."
All three tracks were mastered for maximum awesomeness by legendary engineer Greg Calbi, who will handle mastering duties on the entire EP series.1. Grab The Next Train
2. Made My Bed Gonna Lie In It
3. Something's Gonnna Happen$11.9910 Vinyl EP 45 RPM - Sealed Buy Now
AudioQuest Chicago Interconnect Cable
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.
RCA to RCA
Custom Lengths Available Upon Request
Every March 17 on St. Patrick's Day, New York City merely paints a green line down the center of its Fifth Avenue parade route-a stunt easily pulled off by any city-but only Chicago dyes an entire river the perfect shade of emerald green to honor Irish culture. Why green? Thanks to Ireland's lush vegetation, the island is often lovingly referred to as the Emerald Isle. To the Irish, a green display of pride is not to be taken lightly. In the United States, even those of non-Irish descent know to wear green clothing on St. Patrick's Day, or else be playfully pinched by an Irish friend or colleague! But it's one thing to don a green shirt or tie, another thing altogether to transform a 156-mile long river. Chicago's Stephen M. Bailey, the man who orchestrated the transformation, boasted that he'd turn the River Chicago into the River Shannon (Ireland's longest) for a day, and, eventually, he did.
There was no specific recipe for successfully dyeing a river. A bit of trial and error was required. Initially, over 100 pounds of dye was used, and the river stayed green for a week! In the second year, 50 pounds of dye kept the river green for three full days. In the third year, it was found that using 25 pounds of dye would turn the river green for a single day. Two years later, environmental concerns led to the formation of a new vegetable-based dye that produces a perfect sea of green and lasts for four or five hours-40 pounds of the stuff does the trick. Following suit across the nation, major canals, minor creeks, city blocks, drinking fountains, and even the Presidential Fountain at the White House are dyed green for St. Patrick's Day-all thanks to the wonderful example set in Chicago.
SOLID LONG-GRAIN COPPER (LGC) CONDUCTORS: Solid conductors eliminate strand-interaction distortion. Chicago's solid Long-Grain Copper allows a smoother and clearer sound than cables using regular OFHC (Oxygen-Free High-Conductivity) copper. OFHC is a general metal industry specification regarding "loss" without any concern for distortion. LGC has fewer oxides within the conducting material, less impurities, less grain boundaries, and definitively better performance.
NITROGEN-INJECTED HARD-CELL FOAM INSULATION: Nitrogen-Injected Hard-Cell Foam insulation is used exclusively in most of AudioQuest's video and digital audio cables. Similar to Foamed-PE, it is nitrogen-injected to create air pockets. 'Hard' foam is used because the stiffness of the material allows the conductors in the cable to maintain the same relationship with each other along the full length of the cable, thus ensuring that the characteristic impedance of the cable is consistent.
METAL-LAYER NOISE-DISSIPATION SYSTEM (NDS): 100% shield coverage is easy. Preventing captured RF Interference from modulating the equipment's ground reference requires AQ's Noise-Dissipation System. Noise-Dissipation System prevents a significant amount of RFI from reaching the equipment's ground plane.
DOUBLE-BALANCED GEOMETRY: Two ideal audio conductors separate from the cable's shield. Not only does this prevent the shield from being used as an inferior audio path, but it further optimizes sound quality by only grounding the shield at one end, reducing system ground-plane modulation.
COLD-WELDED GOLD-PLATED PLUGS: This plug design allows for a connection devoid of solder, which is a common source of distortion. Because the ground shells are stamped instead of machined, the metal can be chosen for low distortion instead of machinability.$74.95Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available Buy Now
Mama EarthThe all-star Mama Earth lineup of Joss Stone (vocals), Nitin Sawhney (guitar), Jonathan Joseph (drums), Étienne M'BappÉ (bass/guitar) and Jonathan Shorten (keyboards) will release their debut EP Mama Earth via Mascot/Provogue.
The project started when British soul singer Joss Stone and her former musical director Jonathan Joseph hit on the Mama Earth concept of an album driven by the dynamic rhythms of Africa. A band was assembled from all corners of the music world. Jonathan's compadre Étienne M'BappÉ, the dazzling Cameroon-born multi-instrumentalist whose rÉsumÉ spans from John McLaughlin to Robben Ford; Jonathan Shorten, who had produced much of Stone's studio catalogue between penning some of the biggest hits for acts including Gabrielle and (again) Joss Stone. Finally, there was Nitin Sawhney: the genre-slipping wildcard and one-man musical tidal wave whose collaborations take in Sting, Paul McCartney, and the London Symphony Orchestra.
The 5 musicians convened at Stone's house, where the musical squad didn't take long to feel each other out. Music was spontaneously written on the spot, without any preparation. In the meantime, Stone purposefully kept her own creative process separate from the four musicians. I left them to do their own thing with the music in the studio, she reflects, while I was cooking dinner in the kitchen. I deliberately didn't have any input in the music, because I didn't want to affect it - or it'd all come out hip-hop and R&B! Then they'd come across into the house, give me the track and I'd sit in the kitchen writing lyrics and melodies with my mum. So it was, like, 'You guys do you, and I'll do me - then we'll put it together'. And that's the way it worked. I also went down to the river on my own with a pen and paper and write in the grass by the river. Which was a good way to do it, actually, The whole project is about Mother Nature. It's supposed to be from her perspective.
Just ten days after they came together - and following a powerful co-production from all five band members - the Mama Earth sessions were over. And yet, you sense that the story of this fascinating band is only just beginning. Impulsive, dynamic and sometimes downright dangerous, this is an album unlike anything else in the five musicians' respective CVs, unprecedented in the clinical modern music scene - and sure to make waves upon its release. I guess this album is essentially how I think of music, considers Sawhney. It was all about being open to the moment. I think that's really what I loved about this project. To me, Mama Earth is what music should be about, really...1. Mama Earth
2. Interlude 1
4. Interlude 2
6. Interlude 3
7. What Would She Say?
8. Interlude 4
10. Interlude 5
11. Breathe$15.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Grace & LiesOn the surface, the two concepts Grace and Lies couldn't seem more different. One of them restores, the other ruins. One of them forgives, the other deceives. But to hear Kim Krans, frontwoman for Family Band, tell it, the two aren't opposed, they're intertwined. Grace and Lies are two characters I envisioned last summer, she says, by way of explaining the haunting title track on the group's second record. I couldn't get them out of my head. I saw them in a field behind our cabin, singing and slow dancing, like ghosts, sort of. They're the rulers of beauty and false promises. And we all fall for them from time to time."
And therein lies the beautiful dichotomy of Family Band. A collaboration between visual-artist-turned-singer Kim Krans and her husband, onetime heavy-metal guitarist Jonny Ollsin (Children, S.T.R.E.E.T.S.), the merging of the couple's sensibilities makes for music that's simultaneously elegant and visceral. Their songs are as stark as bare trees in winter, Krans' baleful alto swooping mournfully over Ollsin's glimmering guitar like a black crow against a grey sky.
As its title implies Grace & Lies is equal parts light and shadow, evoking the mystery and terror of early Cat Power, the ghostly aura of Warpaint, with whom Family Band toured in 2011, and the hushed longing of prime-era Cowboy Junkies. Though they explored similar territory, both sonically and lyrically, on their self-released debut, Miller Path, on Grace their canvas is wider, the greys lusher, the blacks deeper. Assisted by bass and lapsteel player Scott Hirsch (Hiss Golden Messenger), the couple has made a record that boldly confronts life's darker questions.
Miller Path was recorded mostly at our cabin upstate, while Jonny was busy with his metal band and I was focused on my visual arts career, Krans explains. It was my first time recording music and I didn't know how to steer the wheel. I didn't even know what the wheel was. But with Grace & Lies, we all decided what the overarching atmosphere and mood of the record should be. I made big drawings of each song in the control room, with all the parts and changes illustrated, and we built those visions with sound.
That meticulous planning is evident throughout. Night Song revolves around a single, dazzling guitar riff that spirals like stars in the night sky; Ride builds steadily to an ominous, spectacular finale, timpanis booming and guitars gathering like storm clouds in a clear sky; and Again, which boasts production and instrumental work by Dan Rossen of Grizzly Bear, surges forward, a roaring river beneath a sheet of ice. Grace & Lies is a document of a band staring down life's larger riddles: love, death, loss and deceit.1. Night Song
5. Your Name
7. Grace & Lies
9. Rest$15.99Vinyl LP - Sealed Buy Now
From The Hills Below The CityHoundmouth is comprised of four musicians from New Albany, IN, across the
river from Louisville - hence 'From the Hills Below the City.' Matt Myers (guitar/
vocals), Katie Toupin (keyboard/vocals), Zak Appleby (bass/vocals) and Shane
Cody (drums/vocals) spent the past year building a passionate following in their
hometown and touring with the Alabama Shakes, the Lumineers, Grace Potter,
and the Drive-By Truckers. "Houndmouth is a great young band," testifies Patterson Hood of the Truckers. "They 'brought it' each and every night. They were
extremely popular with our fanbase and our band. I look forward to hearing what
they do next."
The 12 original songs on 'From The Hills Below the City' are packed with tales
of down-on-their-luck drug runners, casinos, riverboats, recession-era scraping,
and more. All members of Houndmouth sing, "leading with individual character
and harmonizing in saloon-choir empathy," writes Rolling Stone's David Fricke,
and their songs have a loose-limbed swing, anchored by a sturdy rhythm and a
cagey melodic sensibility.
"Earthy melancholy with a rude garage-rock streak"
- David Fricke, Rolling StoneOn The Road
Come On, Illinois
Casin (Bad Things)
Long As You're At Home
Comin' Around Again
Halfway to Hardship
Palmyra$18.99Vinyl LP - Sealed Buy Now
The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- Put It On, Small Axe, and Duppy Conqueror -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style.
The confrontational nature of the group's message is apparent immediately in the opening track, Get Up, Stand Up, as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s Simmer Down philosophy. Here, on Burnin' and Lootin', they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, Many Rivers to Cross, asking impatiently, How many rivers do we have to cross/Before we can talk to the boss? I Shot the Sheriff, the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences (If I am guilty I will pay), and emphasizes the isolated nature of the killing (I didn't shoot no deputy), but its central image is violent.
Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers.1. Get Up, Stand Up
2. Hallelujah Time
3. I Shot The Sheriff
4. Burnin' And Lootin'
5. Put It On
6. Small Axe
7. Pass It On
8. Duppy Conqueror
9. One Foundation
10. Rastaman Chant$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Dalmak180g LP Audiophile Pressing Includes Art Poster
Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)
Partly Recorded In Istanbul With Four Turkish Guest Players
Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)
When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.
Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.
European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.
Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.
With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.
We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.1. Learning To Crawl
2. Lost River Blues I
3. Lost River Blues II
4. Barn Board Fire
5. Hayale Dalmak
6. Translator's Clos I
7. Translator's Clos II
8. White Pine
9. Yavri Yavri$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Handel - Water Music - Fireworks Music (Speakers Corner)
Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.
The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.
Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.
In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.
For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.
- London Symphony Orchestra
- George Szell (conductor)
Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
Production: John Culshaw
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Everything Will Be Alright In The EndLos Angeles, CA's Weezer will release their highly anticipated ninth album, Everything Will Be Alright In The End, on Republic Records. Produced by Ric Ocasek, who previously helmed production on the band's first and third records (''The Blue Album'' and ''The Green Album''), Everything Will Be Alright In The End is the band's first collection of new material in four years.
Since forming in 1992, Weezer has released a myriad of celebrated, chart-topping albums, selling over 13 million records worldwide. Following an intensely prolific couple years at the end of the aughts, the band chose to deliberately dial down the tempo in 2010, a move singer/guitarist Rivers Cuomo says allowed him to write at a slower pace, giving the songs he wanted to use for an album the time to gradually grow into their final forms. He started almost every song on the piano, eventually transferring them to the guitar before taking them to the band. When it came time to record the material, Weezer reunited with the man who helped them make some of their most iconic album-length work, Cars frontman Ric Ocasek. The resulting album, Everything Will Be Alright In The End, is a stand-out gem in Weezer's vast and varied catalogue, a reflection of a much-loved band at their very best. Organized thematically around three groups of songs, it is an album that utilizes that sound from the band's earliest days to tell new stories in 2014, creating some of the finest, most heartfelt songs Weezer has ever recorded.1. Ain't Got Nobody
2. Back To The Shack
3. Eulogy For A Rock Band
4. Lonely Girl
5. I've Had It Up To Here
6. The British Are Coming
7. Da Vinci
8. Go Away
10. Foolish Father
11. The Futurescope Trilogy:
a. The Waste Land
c. Return To Ithaca$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pacific DaydreamLos Angeles, CA's Weezer will release their eleventh album, Pacific Daydream, via Crush Music/Atlantic Records. Produced by Butch Walker, Pacific Daydream is the follow up to the critically acclaimed album Weezer (The White Album), which was nominated for a Grammy for Best Rock Album at the end of last year.
Following the release of Weezer (The White Album), the band began working on what they called "The Black Album," but as they worked, they found the songs they were writing felt more like reveries from a beach at the end of the world. Instead of forcing a different direction, they began an entirely new album; Pacific Daydream was born. Frontman Rivers Cuomo brings this decision back to a Chinese proverb he says inspired the design behind the entire record:
Once upon a time, I, Chuang Chou, dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of my happiness as a butterfly, unaware that I was Chou. Soon I awaked, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man.
Pacific Daydream - an album full of the melodic mastery and craftsmanship for which Weezer are known - is a record that navigates the uncertainty between reality and dreams, blurring the line between the listener knowing if they are daydreaming the world of the album, or if the world of the album is daydreaming them. It's a record about finding the grey area between the black and the white, about escaping the everyday into the fantasy of what may be just down the line, but also maybe isn't. It's an album that sounds like the Beach Boys and The Clash fell in love by the ocean and had one hell of an amazing baby. It's Weezer doing all the things they do best and then some.1. Mexican Fender
2. Beach Boys
3. Feels Like Summer
4. Happy Hour
5. Weekend Woman
6. QB Blitz
7. Sweet Mary
8. Get Right
9. La Mancha Screwjob
10. Any Friend of Diane's$19.99Vinyl LP - Sealed Buy Now
UNIM-GLA-2695xLittle Green Cars
Absolute ZeroAbsolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.
"This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."
"These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "
The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.
The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?
"That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.
"The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.
The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."
In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.1. Harper Lee
2. Angel Owl
3. My Love Took Me Down to The River to Silence Me
4. The Consequences of Not Sleeping
5. Big Red Dragon
6. Red and Blue
7. The Kitchen Floor
8. The John Wayne
11. Goodbye Blue Monday$19.99Vinyl LP - Sealed Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now