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Eight Miles High'
The Columbia Singles '67When Mr. Tambourine Man first rumbled out of car radio speakers in 1965, it was a pivotal moment in pop history. With its jangling 12-string and epic sweep, it was the dawn of a new day: the birth of folk-rock.
And the Byrds were just getting started. The next two years saw one hit after another, from the Biblical prophesies of Turn, Turn, Turn to the raga-rock of Eight Miles High, from the exotic orchestration of So You Want To Be A Rock 'N' Roll Star to the Byrds bringing it all back home with My Back Pages.
Here they are again, 30 landmark recordings in their perfectly constructed, radio-friendly mono mixes: the forgotten rarities, withdrawn singles and, of course, all the original A and B-sides. No one has ever had a stronger run of singles than did the Byrds in their prime. No one.1. Mr. Tambourine Man
2. I Knew I'd Want You
3. All I Really Want To Do
4. I'll Feel A Whole Lot Better
5. The Bells Of Rhymney
6. Chimes Of Freedom
7. She Don't Care About Time (I)
8. It's All Over Now, Baby Blue
9. The Times They Are A-Changin'
10. Turn! Turn! Turn! (To Everything There Is A Season)
11. She Don't Care About Time (II)
12. Set You Free This Time
13. It Won't Be Wrong
14. He Was A Friend Of Mine
15. Eight Miles High
17. 5D (Fifth Dimension)
18. Captain Soul
19. Mr. Spaceman
20. What's Happening?!?!
21. So You Want To Be A Rock 'N' Roll Star
22. Everybody's Been Burned
23. My Back Pages
24. Renaissance Fair
25. Have You Seen Her Face
26. Don't Make Waves
27. Lady Friend
28. Old John Robertson
29. Goin' Back
30. Change Is Now$36.99Vinyl LP - 2 LPs Sealed Buy Now
Eight Miles High / Why (Mono)"Eight Miles High" b/w "Why" - The Rare RCA Studios Versions Original Mono Masters!!!
During an action-packed Byrds tour of the UK in August 1965, ideas began to form in Gene Clark's mind for a new song. After germinating for several weeks, he began to put his thoughts on paper during the band's U.S. tour in November 1965.
Traveling from gig to gig, David Crosby's cassettes of Ravi Shankar and John Coltrane provided the tour bus soundtrack. As Clark continued writing the song that would become ''Eight Miles High,'' this exotic music, especially Coltrane's recordings, found their way into the composition. Juxtaposed against lyrical snapshots of London, like ''rain grey town, known for its sound,'' the modal melody created a striking contrast and summoned a surreal, flight-like feeling.
Despite Clark's increasing isolation from the group, it was obvious that ''Eight Miles High'' was a work of major importance and the group promptly made plans to record it. The band entered RCA Studios in Los Angeles on December 22, 1965, to track ''Eight Miles High,'' along with a new Roger McGuinn- David Crosby song ''Why.'' They had worked up an explosive arrangement for the Clark song, adding elements culled from their recent highway listening sessions. The Coltrane influence is especially evident in McGuinn's electric twelve-string solo, inspired by Coltrane's free-form sax lines on ''India.'' Shankar's sitar work is reflected in Chris Hillman's driving bass part, a hypnotic drone against which McGuinn's guitar lines shine in high relief. This Eastern influence also emerges on the high energy ''Why'' with McGuinn creating a sitar-like solo on his guitar while employing non-Western scales. Though not a conscious attempt, these songs were later cited as pioneering examples of raga rock, one of several innovative sub-genres, along with folk rock and country rock that the band explored in their career.
Despite the unqualified artistic success of the RCA sessions, Columbia refused to release the tracks because they had not been recorded in a Columbia-owned studio. The band dutifully re-recorded the two songs at Columbia Studios in Hollywood and these recordings were released as a single and later included in the Fifth Dimension album. However, the band was not fully satisfied with this second attempt, believing that the RCA recordings were better.
This special Sundazed release marks the first use of the recently located original mono mixdown masters. McGuinn has always felt that the first recordings of these songs were more spontaneous. And when asked about the RCA version of ''Eight Miles High'' Crosby declared, ''It was a stunner, it was better, it was stronger. It was the way we wanted it to be.''1. Eight Miles High
2. Why$9.997 Vinyl Single Mono - Sealed Buy Now
Eight Miles High / Makes No Sense At All1. Eight Miles High
2. Masochism World
3. Makes No Sense At All
4. Love Is All Around Mary Tyler Moore Theme$24.99Vinyl LP - Sealed Buy Now
8 Mile Original SoundtrackImport
This may be the soundtrack for Eminem's movie debut, but don't think of 8 Mile of as an Eminem album, because it's not. It's a soundtrack and plays like a soundtrack, with many cuts from current stars and new artists (several associated with Eminem's fledgling Shady imprint), plus a couple of previously released tracks, most of it very high quality, whether it's a hard-hitting Jay-Z, a sultry Macy Gray, or Taryn Manning's Boomkat's sexy slow burn Wasting My Time. Sure, there's a couple of tracks that fall flat -- Young Zee and Obie Trice feel strained -- but it all flows well, and it's all strong. But it's also all overshadowed by four blindingly great new songs from Eminem (four and a half, if you count his show-stealing appearance on D-12's Rap Game), all illustrating a step forward from The Eminem Show, even if they work a familiar pseudo-biographical ground. What impresses is not just the wordplay and delivery, but the music itself -- fuller, richer than anything on his previous records, appropriately cinematic in scope and pushing Eminem toward new heights. The opening track and first single Lose Yourself is easily equaled by the title song with its layered pianos, while Rabbit Run is nearly as good. Hearing these, it's hard not to greedily hunger for a full album of this, but the soundtrack is excellent as is and these new Eminem cuts make it a necessary purchase.
- Stephen Thomas Erlewine (All Music)LP1
1. Lose Yourself
2. Love Me
3. 8 Mile
4. Adrenaline Rush
5. Places To Go
6. Rap Game
7. 8 Miles And Runnin'
1. Time Of My Life
2. U Wanne Be Me
4. Wastin' My Time
6. That's My Nigga Fo' Real
8. Rabbit Run$45.99Vinyl LP - 2 LPs Sealed Buy Now
The Byrds Greatest HitsRanked 178/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Mastered from the original Columbia Tapes by Joe Reagoso & Kevin Gray!
Once The Byrds landed in 1964, they soon developed into a very influential band, which included the greats Roger McGuinn, David Crosby, Chris Hillman, Gene Clark & Michael Clarke. Columbia Records knew the importance of this entity and soon honored their favorite sons with their own Greatest Hits LP. Friday Music is honored to announce The Byrds 180 Gram Series with the release of this legendary LP. Their biggest hit singles like Mr. Tambourine, Man, Turn, Turn, Turn, Rock 'N' Roll Star & Eight Miles High are included.1. Mr.Tambourine Man
2. I'll Feel A Whole Lot Better
3. The Bells Of Rhymney
4. Turn! Turn! Turn!
5. All I Really Want To Do
6. Chimes Of Freedom
7. Eight Miles High
8. Mr. Spaceman
9. 5D (Fifth Dimension)
10. So You Want To Be A Rock 'N' Roll Star
11. My Back Pages$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
The Byrds Greatest HitsImport
The Byrds' Greatest Hits is the first greatest hits album by American rock band The Byrds and was released in August 1967. It is the top-selling album in The Byrds' catalogue as it provides a summary of The Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart.
From classics such as Mr. Tambourine Man, Turn! Turn! Turn! (To Everything There Is A Season) and Eight Miles High these are chiming timeless songs that will fill your heart with warmth.1. Mr.Tambourine Man
2. I'll Feel A Whole Lot Better
3. The Bells Of Rhymney
4. Turn! Turn! Turn!
5. All I Really Want To Do
6. Chimes Of Freedom
7. Eight Miles High
8. Mr. Spaceman
9. 5D (Fifth Dimension)
10. So You Want To Be A Rock 'N' Roll Star
11. My Back Pages$34.99180 Gram Audiophile Virgin Vinyl LP Buy Now
The Byrds were one of the earliest groups who could combine the best of two worlds.
They caught on to the energy of the British Invasion and combined it with the lyricism & musical elements of the contemporary folk movement.
Along the way they pioneered Psychedelic and Country Rock, always keeping things recognizable with their vocal harmonies accompanied by their jangly guitars.
On their third album 'Fifth Dimension' from 1966 they started showing a more LSD-tinged side of themselves with the Psychedelic Rock of songs such as 'Eight Miles High' and 'I See You' and a preference for the Indian raga.
One of their most pioneering albums!1 5 D (Fifth Dimension)
2 Wild Mountain Thyme
3 Mr. Spaceman
4 I See You
5 What's Happening?!?!
6 I Come And Stand At Every Door
1 Eight Miles High
2 Hey Joe (Where You Gonna Go)
3 Captain Soul
4 John Riley
5 2-4-2 Fox Trot (The Lear Jet Song)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fifth Dimension (MONO)By 1966, the Byrds had powered up like a mammoth Atlas rocket boosting Astronauts into orbit around the Earth, with their third album, Fifth Dimension. This amped-up new soundimmediately dubbed raga-rock due to the Byrds newfound fascination with the music of Ravi Shankar and John Coltraneis best exemplified by Eight Miles High, yet another national pop smash, and 5D (Fifth Dimension), both swirling, multi-hued masses of sonic energy on an interplanetary scale. 5D is tethered to a generation newly interested in LSD mind-trips, while Eight Miles High details the Byrds' first transcontinental flight to the United Kingdom. Folk-rock, always a Byrds staple, appears in the luscious form of Wild Mountain Tyme and John Riley. Hey Joe, soon to become a standard of shaggy-haired garage rock nation, is a standout, while Mr. Spaceman, a brilliant, humorous blend of deep space and country-rock also scaled the national charts.
Unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. 5 D (Fifth Dimension)
2. Wild Mountain Thyme
3. Mr. Spaceman
4. I See You
5. What's Happening?!?!
6. I Come And Stand At Every Door
7. Eight Miles High
8. Hey Joe (Where You Gonna Go)
9. Captain Soul
10. John Riley
11. 2-4-2 Fox Trot (The Lear Jet Song)$28.99Vinyl Mono LP - Sealed Buy Now
Two Sides To Every StoryTwo Sides To Every Story, the criminally long out-of-print solo album from founding Byrds member, Gene Clark, finally returns to vinyl. 35 years after its initial 1977 release on RSO, High Moon Records re-mastered, 180-gram audiophile vinyl LP is presented in stunningly rich and crisp audio fidelity that will shed new light on this underrated, beautifully-crafted Gene Clark classic. The album was produced by Thomas Jefferson Kaye, producer of Clark's masterpiece, No Other, and features an all-star cast of musical co-conspirators: singer Emmylou Harris, banjo-virtuoso Douglas Dillard (The Byrds, Dillard & Clark), Country violin legend Byron Berline, guitarist Jeff Skunk Baxter (Doobie Brothers, Steely Dan, Joni Mitchell), and pedal-steel ace Al Perkins (Flying Burrito Brothers, Bob Dylan, Rolling Stones). Gene Clark served as The Byrds chief songwriter in the mid-sixties, penning some of their most essential songs, including Feel a Whole Lot Better, Eight Miles High and You Showed Me.
Clark's inimitable songwriting and singing continue to inspire and influenced countless artists. Among them: Robert Plant and Alison Krauss (who recorded TWO of his compositions on their 2010 Grammy® winning Album Of The Year, Raising Sand ), Bob Dylan, Fairport Convention, REM, Tom Petty, Yo La Tengo, the Flamin' Groovies, Teenage Fanclub, and Wilco.1. Home Run King
2. Lonely Saturday
3. In The Pines
4. Kansas City Southern
5. Give My Love To Marie
6. Sister Moon
8. Hear The Wind
9. Past Addresses
10. Silent Crusade$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live From SpainIt had been nearly 20 years since Roger McGuinn had last performed in Spain, but in September 2004 the former Byrds leader and two of his treasured and trusty 12-string guitars made their way to the Basque medieval city of Vitoria-Gasteiz for a special solo set at the revered Azkena Rock Festival. And for this magical visit, McGuinn fans will be thrilled to learn, the tape was rolling.
Beautifully recorded by Spanish national radio, this incredibly intimate, 21-song album finds McGuinn chiming his way through glorious versions of Byrds hits (Turn! Turn! Turn!, Eight Miles High, So You Want to Be a Rock n Roll Star, and others) and his trademark inimitable readings of Bob Dylan classics (My Back Pages, Knockin on Heavens Door, and, of course, Mr. Tambourine Man); along the way, the folk-rock icon peppers the program with poignant anecdotes about his career and the songs themselves. Long-time fans, however, will completely swoon over the versions of less-frequently revisited gems like Lover of the Bayou, Jolly Roger, and Drug Store Truck Drivin Man.1. My Back Pages
2. Ballad of Easy Rider
3. Wasnt Born to Follow
4. On Easter Morn He Rose
5. Mr. Spaceman
6. Pretty Boy Floyd
7. You Aint Goin Nowhere
8. Drug Store Truck Drivin Man
9. Chimes of Freedom
10. On and On
11. Lover of the Bayou
12. Chestnut Mare
13. Jolly Roger
14. Bells of Rhymney
16. Mr. Tambourine Man
17. Turn! Turn! Turn!
18. Eight Miles High
19. So You Want to Be a Rock n Roll Star
20. May the Road Rise to Meet You
21. Knockin on Heavens Door$36.99Vinyl LP - 2 LPs Sealed Buy Now
Fifth Dimension (Red Vinyl) (Awaiting Repress)Red Colored Vinyl With Gatefold Jacket
The Byrds were truly a gift to rock music fans all over the world. There will never be another collective of superstar talent like The Byrds. Their amazing sound and membership is of legendary proportion, as it truly was shown in 1966 with their brilliant third album Fifth Dimension.
Jam packed with 11 classic rock champions like Eight Miles High, Mr. Spaceman, I See You, Hey Joe and of course the smash title track, Fifth Dimension, making this one of the most important albums ever in classic rock. With the lead vocals and unmistakable 12 string guitar work of Roger McGuinn, the musicianship and lead vocal work of the legendary David Crosby, the solid bass playing and lead vocal work of Chris Hillman, along with the stellar lead vocals of Gene Clark and the hipster Michael Clarke on drums, all of these ingredients made The Byrds a force to reckon with like no other. Cultivating their folk and rock influences into psychedelic electric treasures, their music will forever stand the test of time.1. Fifth Dimension
2. Wild Mountain Thyme
3. Mr. Spaceman
4. I See You
5. Whats Happening?!?!
6. I Come And Stand At Every Door
7. Eight Miles High
8. Hey Joe (where You Gonna Go)
9. Captain Soul
10. John Riley
11. 2-4-2 Fox Trot (The Lear Jet Song)$31.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
The Fantastic Expedition of Dillard and ClarkIn 1965 Missouri-born Gene Clark was riding the crest of unprecedented success and adulation as a member of the Byrds. Anointed as America's answer to the Beatles, the Byrds topped the charts with folk-rock anthems like Mr. Tambourine Man, Turn! Turn! Turn! and Eight Miles High. Gene was front and center as tambourine player, singer and principal songwriter for the group. But in early 1966 he flew the Byrds' coop. A gifted songwriter, expectations ran high for a stellar solo career, but those hopes were dashed when his debut solo album and single both failed to chart. Dropped by Columbia Records the following year, Gene's career remained in limbo until teaming up with banjo player extraordinaire Doug Dillard.
What emerged from a series of informal jam sessions in and around Laurel Canyon was a loose-knit group of pickers seeking to break bluegrass music out of its traditional confines and redefine it in a contemporary country-rock context. The Fantastic Expedition of Dillard & Clark is a groundbreaking album that helped define country-rock and set the template not only for that genre but the entire alt-country, Americana and Roots Rock movements of the '90s. Together with future Eagle Bernie Leadon, who co-wrote Train Leaves Here This Morning, with Gene (featured both on the Fantastic Expedition album and later on the Eagels' debut release), the Dillard & Clark merger represents a high-water mark in Gene Clark's impressive anon of recordings and one of the most satisfying periods in his often troubled career.
The Fantastic Expedition of Dillard & Clark ranks among a handful of seminal 1960s country-rock experiments. I think we made our mark in country rock, muses Doug Dillard. We didn't make the charts but we sure influenced a lot of people. To insure that their influence carries on, Sundazed proudly presents this newly mastered edition, sourced from the original A&M analog tapes, available on resonant high-definition vinyl packaged in a vibrant recreation of the original cover artwork.1. Out On the Side
2. She Darked the Sun
3. Don't Come Rollin'
4. Train Leaves Here This Mornin'
5. With Care From Someone
6. The Radio Song
7. Git It On Brother (Git In Line Brother)
8. In the Plan
9. Something's Wrong$24.99Vinyl LP - Sealed Buy Now
SanctuaryNow heavily influenced by the earth-shaking creations of two master musicians -John Coltrane and Ravi Shankar-the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillman's swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimensionwas as outspoken and defiant as the man, himself. Acreative zenith in the Byrds' career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio sweetening-strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. EIGHT MILES HIGH
3. RYDER (I Know My Rider)
4. JOHN RILEY I
5. 2-4-2 FOX TROT (The Lear Jet Song)
6. PSYCHODRAMA CITY
7. JOHN RILEY II
8. WILD MOUNTAIN THYME
9. HEY JOE (Where You Gonna Go)
10. I SEE YOU
11. WHAT'S HAPPENING?!?!
12. CAPTAIN SOUL(30 Minute Break)$28.99Vinyl LP - Sealed Buy Now
Another DimensionNow heavily influenced by the earth-shaking creations of two master musicians (John Coltrane and Ravi Shankar)the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillmanï¿½s swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimension was as outspoken and defiant as the man, himself. Acreative zenith in the Byrd's career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio Sweetening of strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. Eight Miles High
3. Ryder (I Know My Rider)
4. John Riley I
5. 2-4-2 Fox Trot (The Lear Jet Song)
6. Psychodrama City
7. John Riley II
8. Wild Mountain Thyme
9. Hey Joe (Where You Gonna Go)
10. I See You
11. What's Happening?!?!
12. Captain Soul (30 Minute Break)$24.9910 Vinyl LP Gatefold Set - 2 LPs Sealed Buy Now
The King Of LimbsRadiohead's highly anticipated eighth album, The King Of Limbs follows-up the artistic provocateurs' 7-time Grammy nominated 2007 release In Rainbows. The eight song collection was produced by longtime collaborator, Nigel Godrich and is arguably the most groove-oriented set of Radiohead's restless career.
King Of Limbs was named in honor of one of Great Britain's oldest trees. Nicknamed 'Big Belly Oak' and located in the 4,000-acre Savernake Forest in Wiltshire, England, the tree is estimated to be around 1,000 years old and has a girth of over 36 feet. The album was recorded in a country home less than three miles from Big Belly.1. Bloom
2. Morning Mr. Magpie
3. Little By Little
5. Lotus Flower
7. Give Up The Ghost
8. Separator$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live At Royal Albert Hall 1971From their earliest days as 12-string-wielding folk-rockers, to the thrilling psychedelic excursions of their raga-rock period to their 1968 birthing of country-rock, the Byrds were always accorded a heros welcome in England.What better place to record founding Byrds member/guitarist/singer Roger McGuinns new version of the bandfeaturing fretboard ace Clarence White, bassist Skip Battin and drummer Gene Parsonsthan Londons Royal Albert Hall!
Rescued from a tape that had sat forgotten in McGuinns climatized garage for decades, this stellar 1971 set, featuring live versions of the current bands studio faves (Lover of the Bayou, Chestnut Mare) as well as adventurous reworkings of Byrds classics (Mr. Tambourine Man, My Back Pages, Eight Miles High,So You Want to Be a RocknRoll Star) might be the most accurate and stirring live performance yet of the legendary Los Angeles combo. By 1971, the guitar interplay of McGuinn andWhite had become a jaw-dropping highlight of their live performances,as had their stripped down, acoustic mini-set and peerless four-part vocal harmonies.Lover of the Bayou
1. You Ain't Going Nowhere
2. Truck Stop Girl
3. My Back Pages
4. Baby, What You Want Me to Do
5. Jamaica, Say You Will
6. Black Mountain Rag-Soldier's Joy
7. Mr. Tambourine Man
8. Pretty Boy Floyd
9. Take a Whiff (On Me)
10. Chestnut Mare
11. Jesus Is Just Alright
12. Eight Miles High
13. So You Want to Be a Rock 'n' Roll Star
14. Mr. Spaceman
15. I Trust
16. Nashville West
17. Roll Over Beethoven
18. Amazing Grace$36.99Vinyl LP - 2 LPs Sealed Buy Now
II: Void WorshipWizards and warriors, rejoice, for the chosen one has returned! The Misery Wizard lives!
Since the early 2012 unveiling of their debut sonic behemoth MISERY WIZARD, fans and critics alike have patiently yet anxiously awaited the second chapter in the ongoing legacy of the almighty PILGRIM, a three-piece doom metal band from Rhode Island, USA.
Their first release shook the doom metal underground to its core, making a loud, in your face effort to bring doom metal back to its most minimalist and archaic roots, restoring it to its former glory. Their critical success, paired with their controversial interviews and emotionally draining live performances have lead PILGRIM to excellence, traversing the globe performing sold-out shows in multiple countries and playing festivals alongside some of the biggest names in their genre. Two years later, the fabled outfit has returned with a brand new record, the highly anticipated next installment of their aural adventure PILGRIM II: VOID WORSHIP.
PILGRIM returns more powerful than ever, wielding eight new epic tracks laden with tales of sword and sorcery, death, doom and destruction. Recorded at Moonlight Mile Recording by audio mastermind Mike Moebius, II: VOID WORSHIP delivers an absolutely unrivaled quality of tone and heaviness that many critics felt their original effort MISERY WIZARD had lacked. The band takes a new approach to their song writing, replacing meditated, repetitive hypnosis-inducing dirges with more calculated and demented powerhouse riffs. They build, shape, and climb into frenzied climaxes and fade into sweet sonic releases, molding perfectly crafted rock songs into twisting spires of evil doom metal masterpieces. It is obvious that PILGRIM has matured, both musically and as individuals, in their past two years of global conquest.1. Intro
2. Master's Chamber
3. The Paladin
4. Arcane Sanctum
5. In the Presence of Evil
6. Void Worship
7. Dwarven March
8. Away from Here$20.99Vinyl LP - Sealed Buy Now
Fuchsia Swing SongDuring the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.
Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition.
Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point.
Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. Downstairs Blues Upstairs sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures
He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is Luminous Monolith, with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records limited editions; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of Luminous Monolith and three more of Downstairs Blues Upstairs, making it a very worthwhile look at the entire session.
This is a highly recommended date. Rivers never played quite like this again.
- Thom Jurek1. Fuchsia Swing Song
2. Downstairs Blues Upstairs
3. Cyclic Episode
4. Luminous Monolith
6. Ellipsis$19.99Vinyl LP - Sealed Buy Now
Calico ReviewIf you drive past the 200 block of South La Brea, there is a lamp shop, a pet shop, and a little glass door that says "Casting Agency" above it. Inside you'll find one of LA's most stereotypical rituals, where men & women from all walks of life vie for the attention and popularity of the Hollywood producer. It's a dream factory for some of them. It's also a place where Los Angeles outsiders learn what the city is really like, beyond the sun and surf and celebrities, where every brightly-lit surface eventually faces a cloud.
Indeed, the lessons learned by the Allah-Las - guitarists Miles Michaud and Pedrum Siadatian, bassist Spencer Dunham, drummer Matthew Correia - since their auspicious formation in 2008 have been tempered with experience. Now, with their third album Calico Review (their first for Mexican Summer), their experience transforms once more, this time into wisdom. The band's trajectory, formed around mutual appreciation for the same kinds of music and a host of shared experiences, focuses on both the outer trappings of their home and surroundings, and the through line of darkness that suffuses life in LA county.
Where the Allah-Las display their insight, and what really shines across the 12 songs that comprise Calico Review, is the way that the group has pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling - the peerless capture of music long in the tradition and mood of California pop, the sound that's captured the essence of the LA experience - aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements.
The process began with their self-titled debut, which captured the Allah-Las' live set circa 2012 and continued onward with 2014's Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that's grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit.
Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It's immediate, the first thing you recognize about the band in the opening moves of "Strange Heat," in the amount of control and character burning off of the band's knack for restraint. Songs like "Famous Phone Figure" cradle character sketches over delicate strains of violin, organ, and Mellotron, Correia's drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs. "
Could Be You" works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. "Roadside Memorial" applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, "High & Dry," featuring drummer Matthew Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number "200 South La Brea," its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.
In between releases, the Allah-Las have toured around the world, and will continue that journey in support of Calico Review. The experience of traveling and idle time on tour inspired the group in different ways, and provided the pathways by which the band transports its listeners to a different place, be that wherever they are, and where the band has been.
What the Allah-Las present is not necessarily crossing the L.A. River, coin in mouth, on the Riverboat Styx. It's not Raymond Chandler and it's not Raymond Carver. But the band's four members are aware of the pitfalls that stack against the idyllic notion of southern California life that forms from outside of the city. It's a siren call to the hopeful, and it's a successful town for tempering dreams into wakeful reality. Even with over 8,000 people per square mile, there is room for everyone, and then some, to be completely alone, by choice or otherwise.
Calico Review bears the mark of four students becoming the teachers, sharing the sentiments of the town they call home. Join them. There's a lot to learn.1. Strange Heat
3. Could Be You
4. High & Dry
6. Roadside Memorial
7. Autumn Dawn
8. Famous Phone Figure PLAY
9. 200 South La Brea
10. Warmed Kippers
11. Terra Ignota
12. Place In The Sun$17.99Vinyl LP - Sealed Buy Now
The Last Days of OaklandFantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.
The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.
By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.
The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.
The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.
In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.
The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.
With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.
For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.
When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.1. Intro - The Last Days of Oakland
2. Working Poor
3. About A Bird
4. Scary Woman
5. Interlude - What Would You Do?
6. The Nigga Song
7. In the Pines (Oakland)
8. Hump Thru the Winter
9. Lost In A Crowd
10. Interlude 2 - El Chileno
11. The Worst
12. Rant Rushmore
13. Nothing Without You
14. Push Back
15. The Shadows$23.99Vinyl LP - Sealed Buy Now
Days Are GoneDays Are Gone is the debut album from indie-rock outfit/sisters Haim.
Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.
Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.
Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.
- Dan Hyman (Rolling Stone)1. Falling
3. The Wire
4. If I Could Change Your Mind
5. Honey & I
6. Don't Save Me
7. Days Are Gone
8. My Song 5
9. Go Slow
10. Let Me Go
11. Running If You Call My Name$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Hot Spot (Out Of Stock)An amalgamation of swampy blues, jazz and rock - all mixed and recorded in a sparse, bloomy and eerie sort of way. This recording is just so damn fine, so airy and warm. And the musician's aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought after and collectible record among audiophiles. A true demonstration disc.
Originally released in 1990.
Miles Davis, trumpet
Tim Drummond, bass
Bradford Ellis, keyboards
John Lee Hooker, guitar, vocals
Taj Mahal, guitar, vocals
Earl Palmer, drums
Roy Rodgers, slide guitar
This title is not eligible for discount.1. Coming to Town
2. Empty Bank
3. Harry's Philosophy
4. Dolly's Arrival
5. Harry and Dolly
7. Bank Robbery
9. Gloria's Story
10. Harry Sets up Sutton
13. End Credit$54.99Vinyl LP 45 RPM - 2 LPs Sealed Temporarily out of stock
Tea for the Tillerman (Out Of Stock)Cat Stevens' highly regarded 1970 release, Tea for the Tillerman came only seven months after the start of his comeback with Mona Bone Jakon and its arrangements, performances and songs are all enveloped in a confident grace and beauty. Stevens was able to pull off a rare feat with Tea for the Tillerman in that he was able to achieve pop accessibility without having to sacrifice artistic relevance. The album is also noteworthy for having four of its songs Where Do the Children Play?, On the Road to Find Out, Tea for the Tillerman and Miles from Nowhere featured in Hal Ashby and Colin Higgins' 1971 black comedy Harold and Maude.1. Where Do The Children Play?
2. Hard Headed Woman
3. Wild World
4. Sad Lisa
5. Miles From Nowhere
6. But I Might Die Tonight
7. Longer Boats
8. Into White
9. On The Road To Find Out
10. Father And Son
11. Tea For The Tillerman$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Somethin' Else (Stereo) (Out Of Stock)Blue Note Reissue
As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008
One of the best known record dates in the history of modern jazz, the chemistry among Adderley, Miles Davis, Hank Jones, Sam Jones and Art Blakey is amazing. Their reworkings of Autumn Leaves and Love For Sale are masterpieces. Miles' title tune and Nat Adderley's One For Daddy-O are classics.
This title is not eligible for discount.Autumn Leaves
Love For Sale
One For Daddy-O
Dancing In the Dark$49.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Temporarily out of stock