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Escape From La'
Escape from L.A.- Music from the Motion Picture ScoreLimited To 1500
Clear With Green Splatter Colored Vinyl
John Carpenter wasn't just a sci-fi and horror master, one of the best and most innovative directors of his generation-he was also a highly accomplished soundtrack composer whose pioneering use of synthesizers to create suspense and dread in his film scores influenced musicians both within the film world and without. And the score he composed-along with Shirley Walker-for his 1996 dystopic sequel Escape from L.A. offered the creeping, atmospheric tension that Carpenter fans crave; although, as this film was set in L.A. and featured plenty of dark humor, Carpenter and Walker threw in a bit of rock 'n' roll as well.
The original soundtrack release included a mere 16 tracks and came out on CD exclusively; now, Real Gone Music not only has added another 16 tracks to the release, but is also bringing it to vinyl for the very first time! And not just any vinyl; do you remember how in the film Snake Plisskin is infected with the plutoxin virus that will prove fatal within ten hours unless he retrieves the "Sword of Damocles" super weapon and receives the antidote? Well, our limited edition (of 1500) double-LP is being pressed on test tube clear with plutoxin virus green splatter vinyl just make sure you don't let the vinyl scratch your skin! Brand new gatefold artwork featuring stills from the film production completes the package.LP 1
1. Escape from New York
2. History of Los Angeles
3. Fire Base Seven
4. Snake Arrives/Deportees
5. Snake Gets Scratched
6. Defense Lab
7. Snake's Flashback
8. Weapons/Snake's Uniform
9. Snake's Escort
10. Submarine Launch
11. Sub Sinks
12. Mulholland Drive-By
13. Acid Rain/Tour Guide Sting/Snake Gets Directions
14. Sunset Boulevard Bazaar
15. Motorcycle Chase
17. Push On Through/Snake Takes a Breather
18. Beverly Hills Surgeon
19. I Think We're Lost/Taslima
1. The Future Is Right Now/Fun Gun
2. The Black Box/Target L.A.
3. The Broadcast/The Coliseum
4. Decapitation/Game Time/The Game
5. Escape from Coliseum
6. Queen Mary/Hang Glider Attack
7. Helicopter Arrival
8. Texas Switch/Fire Fight
9. Escape from Happy Kingdom
10. Crash Landing
11. Out of Time
12. Presidential Decree
13. J.C.'s Blues$41.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Escape From EvilOn Escape From Evil, Lower Dens' Jana Hunter emerges: cerebral and hot-blooded, rash and
incorruptible, and, crucially, possessing of a loud, clear voice.
Hunter stepping up and taking center stage has emboldened every other aspect of the band.
Escape From Evil is a cinematic, tonally rich work. The sounds are clean and warm. The pulse of
the album is strong. Melodies are potent and songs are physical. Lyrics are direct, frank
confrontations with life's common crises. The album title is brazen, and along with the grimly
funny title of lead single, To Die in L.A., almost theatrical.1. Sucker's Shangri-La
3. To Die in L.A.
4. Quo Vadis
5. Your Heart Still Beating
6. Electric Current
7. I Am The Earth
8. Non Grata
10. SociÉtÉ Anonyme$19.99Vinyl LP - Sealed Buy Now
Enter The Slasher House
Double LP Includes Two 180g Heavyweight Vinyl With Two Printed Inner Card Stock Sleeves
Domino is proud to announce the debut album Enter The Slasher House from Avey Tare's Slasher Flicks.
Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even
remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from
LA, say leather masked guitar-wielding Avey Tare (of Animal Collective), knife-wielding keyboard player
Angel Deradoorian (of Dirty Projectors, Deradoorian), and the cannibal chief drummer and decaying
grandfather Jeremy Hyman (of Ponytail, Dan Deacon).
Having composed the bones of these eight songs on acoustic guitar, Avey Tare invited Deradoorian, to
create melodic lines to flesh them out. Inspired by Ken Burns' Jazz history documentary, they needed
a drummer who could play "free but structured"; enter Hyman. The group produced and recorded the
songs live at the Lair studio using only minimal overdubs; the live sound being key to Slasher Flicks'
spooky dynamism.1. A Sender
2. Duplex Trip
3. Blind Babe
4. Little Fang
5. Catchy (Was Contagious)
6. That It Won't Grow
7. The Outlaw
8. Roses On The Window
9. Modern Days E
10. Strange Colores
11. Your Card$21.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now
and mesmeric curiously unsettling.
like a sedated Lucinda Williams
swathed in watery echo.
-ALL MUSIC GUIDE
Jones lets a little light in, if only
to show how dark the world can be.
Based in Nashville, but raised in a coal miner's company house on the banks of
Buffalo Creek, WV, Stone Jack Jones is the descendant of four generations of
coal miners. After being rejected from military service in Vietnam due to
epilepsy, and discouraged from pursuing the coal mining business, Jack decided
to start wandering. By the time he landed in Nashville, where he met Roger
Moutenot, Patty Griffin, and Kurt Wagner, Jack had worked as a carny, an escape
artist, a ballet dancer, a professional lute player, and even owned a strip club.
Ancestor was produced in collaboration with Roger Moutenot (known for his
work with Yo La Tengo, Sleater Kinney, and many others), and features contributions by Patty Griffin, and Lambchop members Ryan Norris, Scott Martin, and
Kurt Wagner. Intensely meditative, the album patiently explores the hardness of
the coal mines, the mystery of suicide, the comfort of a dog's acceptance, the
idea that forgetting all you know can be the first step towards hearing and
reconnecting with your muse, and one man's gratitude for the love he's been
given and the life he's had the chance to live.1. O Child
3. Black Coal
4. State I'm In
6. Red Red Rose
7. Way Gone Wrong
9. Good Enough
11. Petey's Song$17.99Vinyl LP - Sealed Buy Now
What's RealDear Listener / Internet Surfer / Intrigued Music Consumer-
Thank for you for taking the time to read about our new record, What's Real. We have been working on this album for the better part of two years. Or maybe I have been working on this album since I was 14. That was when I first heard the bands that made me want to pick up the guitar and learn to play. When I became consumed over the angst, the freedom, the recklessness of rock and roll, the escape it created and allowed, and the feeling of unity with anyone who was discovering and finding the same.
I started writing this album as soon as we got home from touring behind our debut record Out In The Light. All of a sudden, I was sitting still for the first time in years, and I dove into my early musical influences to find that what I once thought were alternative anthems of recklessness, of angst, of societal alienation, were also perfectly constructed songs. It wasn't pop. But it became popular for a reason. And as a songwriter I began to see that music in a new light.
I approached this album from that place. From a place of seeing that songs can sound big, feel big, and still be incredibly personal. Still be brutally honest. Still leave everything on the table. And while current alternative radio is pumping out songs about the "best day of my life" and "wanting to be like the cool kids", I wanted to write songs about heartbreak, about finding clarity, about feeling stuck in your hometown. And I wrote it with the hope that people connect with it in a visceral way. In an emotional way. The way I am connecting to it. A connection I feel is not as expected these days.
This record was recorded over a 15 month period while I was living in San Francisco and taking road trips down to record with friend and Grouplove producer/drummer Ryan Rabin. The first song we recorded together was "Got To My Head". He got where I was coming from and became my collaborator throughout the majority of the process. We pushed this record to the extremes, trying to fit as many hooks at times, capturing throat wrenching vocal takes at others. I was writing while recording. A lot of the writing takes on past tragic relationships I have since moved on from. "I Feel Everything" is a song about the addiction of abusive and extreme relationships, "Over It" is a song about finally getting out of it, and "What's Real" is about the constant struggle to weed out the impersonal and temporary relationships and yearning for something more. The songs came from desperate times. They came from a place where I would rather be in any situation than the one I was in. Some of them were written while in it, some of them are reflection.
I recorded a handful of the songs with another producer Carlos De La Garza. Among those are "Rebel Yell", a song about longing for the drive to care about the state of the world like I once did so intensely, but has faded with the distractions of adulthood, and "Mom And Dad's," a song about the realities of having to move back in with your parents after you thought you were gone for good, and finding everything both completely changed and exactly the same.
This record could not have been possible without my band. I met them all while living in San Francisco. It's a new band from the last record. Andrew Wales plays Drums. Brian DaMert plays Guitar. Greg Sellin plays Bass. And Sara DaMert plays Keys. They have helped me take these songs from my headphones to the stage and have realized them in the greatest way possible. they do them every justice I could have asked. I am so grateful to have them.
When we finished the record I felt like we had made a sonic place. It felt like my bedroom in high school. We accomplished my goal in providing a world for someone who needs a real alternative. An escape. I don't care if that sounds cheesy. I am not worried about it. Come to our shows. Participate in the energy. We will leave it all on the table. We expect the audience to as well. There is something really rewarding in doing so. It's what I dreamt about when I was 14 and started playing guitar. It's what I still dream about today. It's What's Real.
Van (WATERS)1. Got To My Head
2. I Feel Everything
3. Mom and Dads
4. The Avenue
5. What's Real
6. Inside My Room
7. Stupid Games
9. Over It
10. Rebel Yell
11. Green Eyes$18.99Vinyl LP - Sealed Buy Now
Twist AgainSince Bodies of Waters last record, 2008s A Certain Feeling, much has happened to them; travels throughout North America in their stalwart motor-home, the departure and arrival of various band members, the unexpected notoriety of core duo David & Merediths crypto-disco trio Music Go Music, and the construction of their drafty yet dependable home studio.
From this milieu has emerged the singular statement that is Twist Again. Recorded and mixed at home by David and (a newly pregnant) Meredith in Highland Park (their northeast L.A. neighborhood), the album is a work out of time. It sounds like no other record of 2011, or maybe any other era. The album seems to have escaped the stamp of the cut & paste digital age, it sounds like people playing music together in a room, which it essentially is.
Since their inception, BoW has performed in various incarnations ranging from two to fifteen people, and the groups extended musical family was drawn upon heavily in seeding Twist Agains sonic landscape with horns, strings, saxophones, percussion, and more. The fuzzed out guitar lines and heavy organs of previous BoW recordings have morphed into a J.C. Vannier inspired stew of buzzing reeds and rich brass. The choral blasts have been replaced by cascades of strings and driving pianos à la Roy Orbison or Ennio Morricone.
From the haunting lullabies Rise Up, Careful and Lights Out Forever to the pathos-anthems Mary, Dont You Weep and Like A Stranger, these are rare sorts of classic melodies, and the arrangements give them room to resonate. Davids shaky baritone (imagine a relaxed Scott Walker) and Merediths clear, tender mezzo-soprano take turns at the head of the band, and join for a duet. This time around, listening is an invitation inside, rather than a challenge to keep up. - Chase Roden1. One Hand Loves the Other
3. Mary, Don't You Weep
4. Open Rhythms
5. Rise Up, Careful
6. Ever With Us
7. Like A Stranger
8. Lights Out Forever
9. New Age Nightmare
10. In Your Thrall Again
11. My Hip Won't Let Me
12. You Knew Me So Well$16.99Vinyl LP - Sealed Buy Now
The Sticks (Out Of Stock)"Bit by bit, gonna get my bricks out in the sticks / Bit by bit, gonna build my house in the wildest thickets / Gonna get away from all those mouths and my shit / Gonna say good-bye to all the la-di-da-di-da-di-da-di-da," Mother Mother's singer and guitarist Ryan Guldemond sings on "Bit By Bit", the song he calls the benchmark piece and anthem of The Sticks. And so it goes on this Canadian five-piece's latest effort, an album about "longing to escape the clutches of the modern world."
The album is about as unpredictable musically as it is lyrically, with "Let's Fall in Love" eventually revealing dirty, "Supermassive Black Hole"-esque guitars, "Little Pistol" busting out strings and reserving into a fuzzy, evolving folk tune, and the drums on the title track revealing themselves as a dead-ringer for "When The Levee Breaks. Random though this journey into the Canadian countryside may be, it's a damn fun ride. A pit stop in the band's more folky past pops up on track five, the acoustic, vocal-driven "Dread In My Heart", whose "We Are Going To Be Friends"-simplicity and lyrics like, "There's a god awful shitty feeling of dread in my heart / And I can't seem to change my attitude, but I can change my heart," effortlessly resonate.
-Amanda Koellner1. Omen
2. The Sticks
3. Let's Fall In Love
5. Dread In My Heart
8. Bit By Bit
9. Latter Days
10. Little Pistol
11. Love It Dissipates
12. Cry Forum
13. Waiting For The World To End$19.99Vinyl LP - Sealed Temporarily out of stock
Venus On Earth (Out Of Stock)Three albums in the novelty has worn off, but Dengue Fever has smartly chosen to keep evolving. While that means their unquestionably unique offering no longer startles, it's no less riveting -- Venus on Earth is at once the band's most accessible and most varied release.
A recap: when first heard from in 2003 on their self-titled debut, Dengue Fever was like no other band, a bunch of L.A. hipsters fronted by a Cambodian-born woman, Chhom Nimol, who paid homage to that Asian nation's pre-Pol Pot cheesy psychedelic-cum-lounge-surf-garage pop sound of the '60s/early '70s, music obscure enough that only a tiny handful of Americans could honestly claim to have known the first thing about it -- certainly, the source material spun outside of the orbit of the so-called core world music audience.
By the second album, 2005's Escape from Dragon House, Dengue Fever had tossed in a few more disparate elements, and with Nimol's high-range vocals riding atop this internationalist admixture and a basic alt-rock sensibility as a guiding force (minus the faux alt-rock attitude), Dengue Fever attracted an audience and garnered critical praise. For Venus on Earth, the mainstream beckons, or comes as close to beckoning as it's ever going to for a band as non-mainstream as Dengue Fever.
Nimol's vocals are as beguiling as ever, Ethan Holtzman's Farfisa organ still swirls, Zac Holtzman's guitars still chime and chunk, and Paul Dreux Smith's drums clang happily along. With horns provided by David Ralicke and bass from Senon Gaius Williams, Dengue Fever has softened some of the rougher edges, injected some serious soul, and added more swing to their thing. Oceans of Venus could be an outtake from the first B-52's album, Clipped Wings a lost Blondie tune, and Woman in the Shoes is just one of the most cuddly pop songs in ages. The groovelicious Nimol-Zac Holtzman duet Tiger Phone Card, a tale of a long distance Phnom Penh-NYC romance, is the pop smash Yoko Ono might have had in an alternate universe.
Drenched in reverb, soaked in sweat, marinated in some phantom historical moment yet tethered to the now, Dengue Fever is more innovative and resourceful than 99-percent of the bands that receive 99 times the publicity.
- Jeff Tamarkin (All Music Guide)1. Seeing Hands
2. Clipped Wings
3. Tiger Phone Card
4. Woman in the Shoes
5. Sober Driver
6. Monsoon of Perfume
8. Oceans of Venus
9. Laugh Track
10. Tooth and Nail
11. Mr. Orange$15.99Vinyl LP - Sealed Temporarily out of stock
Casa de Trova - Cuba 50's (Pure Pleasure) (Out Of Stock)
La Casa de Trova. The house of the troubadours. It's a place of almost mythical status in Cuban music, the home of so many of the glorious songs that have come out of the island. Even Paul McCartney has made his pilgrimage there. For Alejandro Almenares, it's a place he visits every single day, still carrying his guitar as he goes to play and talk with friends. And it's the inspiration behind his album Casa De Trova (Tumi Records: release: February 25, 2014).
For Almenares, the connection to the house is deep. His musician father, Angel Sanchez Almenares, was one of the founders of the Casa.
»I was there when it all began, too,« he recalls. »I grew up listening to them playing there, the trovas and soneros. I'm 76 now. I'm the last of the founders still alive.«
It's a house filled with memories of all the tunes that have filled the air over the years - and still do. As a child, Almenares took them all in as naturally as breathing. When he was 10 years old he began attending music school staying until he was 14, »when I had to quit in order to work and help my parents.«
Two years later he was a professional musician, playing the music his father had written and performed in groups like Los Taínos, Trio Oriente and Las Guitarras Internacionales. A lifetime of music, and, he adds with a smile, »so many bands that the number and names escape me now.«
If you're a fan of the Buena Vista Social Club, this guy's gonna make them seem like a bunch of posers. Composer, vocalist and tres guitarist, Alejandro Almenares delivers the real thing from Cuba here on this set. This double vinyl set contains the same songs (although in different order); the difference is that the first features his rich and full voice, while the second features his material as (mostly) instrumentals. Flutes, percussion, violin, soprano sax, guitars and intermittent vocal choruses accompany Almenares on the gentle and fragrant instrumental takes of "No Critiques Al Nene" and "La Nina Que Yo Ame", while vocalists Tony Rodon, Eva Grinan, Jose Cabrera and Ismael Borges deliver tales of passion on "Mujercita "Linda", A Tu Retrato", "Te Vi Y Te Contemple" and "De Lo Que Quiero Saber" respectively. The simplicity of the old world charms are on abundant display here. No gimmicks, no frills, just earnest notes and, like the best of cooks, letting the simple ingredients do all the work in creating the flavor that makes your mouth water. Essential listening!
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.LP1 - Vocals
1. No Critiques Al Nene
2. La Finca De Vila
3. Mujercita Linda
4. Te Vi Y Te Contemple
5. El Son De Vicentico
6. A Tu Retrato
7. La Chica De Mi Rosal
8. Esa Guitarra Que Suena
10. La Nina Que Yo Ame
11. De Lo Que Quiero Saber
13. Con Amor Te Pagare
LP2 - Instrumentals
1. No Critiques Al Nene
2. El Son De Vicentico
4. Te Vi Y Te Contemple
5. Con Amor Te Pagare
7. A Tu Retrato
8. Mujercita Linda
9. La Chica De Mi Rosal
10. La Nina Que Yo Ame
11. De Lo Que Quiero Saber
12. Esa Guitarra Que Suena
13. El Mismo Paso
14. La Finca De Vila$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
Undefeated (Out of Stock)Bobby Bare, Jr. could've phoned in a career. He could've exploited the fact that he's the son of iconic Country Music Hall of Famer Bobby Bare, was born into Nashville's Music Row elite, and counted artists like Shel Silverstein as close family friends and George Jones and Tammy Wynette as next door neighbors. Instead, Bobby blazed a path of unique songwriting craftsmanship with a voice that blows through you like an unyielding wind on the desolate prairie.
Undefeated is BBJ's first release since 2010 and what he calls his "break-up record," but the whole of it is much more involved: this isn't escapism; it's an emotional survival guide. Undefeated is ten songs of reality checks, clever wordplay, and daring arrangements, the aural companion to that buddy who pulls up a bar stool next to yours to help soak away your sorrows.
Like a bespectacled, curly haired prizefighter whose opponent is on the ropes, Bobby goes at each release as if it might be his last round, focused, and full of energy and purpose. Undefeated is no different. The song list is a war chest of formidable uppercuts (e.g. distorted pop rock gems "North of Alabama By Mornin'" and "Don't Stand At the Stove"), eye-splitting right jabs (open and orchestral "Don't Wanna Know" and "The Elegant Imposter"), and sneaky left hooks (the crescendoing "As Forever Became Never Again").
Undefeated is an album of distinct balance, but with raw and varied textures. "North of Alabama By Mornin'" leads with a murky, palm-muted electric guitar and striding, crunchy organ backbeat; a combination that is undeniably kinetic à la Humble Pie's '70s boogie grooves and sinister and sexy, like a Southern doppelganger to Greg Dulli/The Twilight Singers. Bare Jr.'s ghostly high/low vocal layers echo the bleak picture of a metaphorical road trip, when his confidence slips, "Am I holding the steering wheel or is it holding me?/ The transmission is slipping like a pigeon through a tiger's teeth." By the song's finale, though, jubilant yelps ("Oh! Ho! Ho! We're goin' home!") and the electric guitar's pinch-harmonic wailing, indicate that things are headed in the right direction.
What's most striking about BBJ is his proficiency with a broad sonic palette that fluently conjures uncommon impressions of life's soul-arresting experiences. "The Big Time" is rock 'n' roll reinterpreted through the lens of soulful pedaled bass, celebratory and punchy brass, and the facade of big-city talk ("You're gonna miss me after I hit the big time/ Gonna get brand new famous friends."). In "Blame Everybody (But Yourself)" the band - Young Criminals' Starvation League - taps into a piano-inflected British invasion/Herman's Hermits sort of vibe, blended with the melancholic echo chamber aesthetic of My Morning Jacket.
At other moments, Bobby channels his country DNA (like in the Hayes Carll co-penned "My Baby Took My Baby Away"), mirror-ball gazing '70s R&B/soul ("Undefeated"), and bright ballads from the hills and hollers of Venice Beach ("If She Cared"). From anyone else, this refusal to play it on the straight and narrow would sound cluttered and disjointed, but Bobby never breaks a sweat.1. North of Alabama By Mornin'
2. If She Cared
3. The Big Time
4. Don't Wanna Know
5. The Elegant Imposter
7. My Baby Took My Baby Away
8. Blame Everybody (But Yourself)
9. As Forever Became Never Again
10. Don't Stand At The Stove$16.99Vinyl LP - Sealed Temporarily out of stock