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The Fat BoysBecause of their comic image, some hip-hoppers dismissed the Fat Boys as a novelty act -- some, but not many. The fact is that they were among the best and most popular rappers of the mid-1980s. Along with Run-D.M.C., L.L. Cool J, and Whodini, the Fat Boys were the finest that hip-hop's Second Generation (as it was called) had to offer. After making some noise as the Disco Three, the rotund Brooklynites changed their name to the Fat Boys in 1984 and hit big with this excellent debut album, which is humorous, wildly entertaining, and unapologetically funky.1. Jail House Rap
2. Stick 'Em
3. Can You Feel It?
1. Fat Boys
2. The Place To Be
3. Human Beat Box
4. Don't You Dog Me$20.99Vinyl LP - Sealed Buy Now
First US vinyl pressing of their seminal debut for FatCat
"Despite an overload of music these days, if often feels like there are fewer essential listens.
At the end of Weirdo Rippers, you're left with a rare sense of having discovered something
new." 8.0/10 - Pitchfork
"Weirdo Rippers created an entire world within an album....so obviously a Los Angeles
record. From the ambient guitar scratch on "Loosen This Job" to the plaintive field
recording of waves on "Every Artist Needs a Tragedy" to the defiant, almost snotty "Boy
Void," which sounded like it was recorded from inside a crusty cardboard box, the Los
Angeles that No Age were writing was all warehouses, skating at sunset and unpretentious
Shimmering shoegaze pop and glowering punk collide and burst into flames on this
delightfully rude debut. Surging waves of frayed yet beautiful electronica give way to urgent
rants, with voices buried in the mix like distant cries for help. - SPIN
By now the two young heavyweights
from the LA Skate / Art /
Punk underworld, No Age, are a
well-known and established part
of the indie pantheon. But back
in 2007 Dean Spunt and Randy
Randall were just building quite a
bit of noise in the wake of the
demise of their previous band
After working out their sound in
the LA scene revolving around
the now fabled venue The Smell
(pictured on the cover of Weirdo
Rippers) they decided to release
five ltd. vinyl only releases on a
variety of DIY indie labels across
the globe on the same day (namely
UTR, Deleted Art, Teardrops, Youth Attack, and Dean's own PPM label). Designed by
Brian Roettinger, Randall and Spunt, the back of each record's sleeve was a different
color, and had one of the letters that, when you collected all of them, would join to spell
No Age. Their debut LP release for FatCat, 'Weirdo Rippers', was a collection of
recorded highlights taken from the aforementioned releases. At the time it was readily
available on CD and has since found a home digitally but it's not found its way back to the
vinyl format that first gave many of these tracks life. Now we're presenting the first
domestically available version of 'Weirdo Rippers' pressed to vinyl; an utterly essential
piece of No Age's past.1. Every Artist Needs A Tragedy
2. Boy Void
3. I Wanna Sleep
4. My LIfe's Alright Without You
5. Everybody's Down
6. Sun Spots
7. Loosen This Job
8. Neck Escaper
9. Dead Plane
11. Escarpment$20.99Vinyl LP - Sealed Buy Now
The Terror StatePittsburgh can be proud again cuz Justin and the boys are back with their second Fat full length. With lyrics donated by the great Woody Guthrie and production by Tommy Morello, this album is fixin to be shit-hot!1: Angry, Young, And Poor
2: This Machine Kills Fascists
3: Underground Network
4: Daddy Warbux
5: Vieques, Puerto Rico: Bikini Revisited
6: Stars And Stripes
7: Watch The Right
8: The Panama Deception
9: Culture Revolution
10: Spazs House Destruction Party
11: Bring Out Your Dead
12: A Start
13: Until It Happens To You$14.99Vinyl LP - Sealed Buy Now
REDD-FAT-5013xMe First & The Gimme Gimmes
Take A BreakCan I get a witness! The Gimmes play that funky music and pay homage to R&B classics. Who says white boys ain't got no riddum?1: Where Do Broken Hearts Go
3: End Of The Road
4: Ainât No Sunshine
5: Nothing Compares 2 U
7: Isnât She Lovely
8: I Believe I Can Fly
9: Oh Girl
10: Iâll Be There
11: Mona Lisa
12: Save The Best For Last
13: Natural Woman$14.99Vinyl LP - Sealed Buy Now
REDD-FAT-3910xNo Use For A Name
Hard Rock BottomYou wont be bummed! 13 new songs and a hilarious enhanced CD which documents the making of the record. The boys down at the shelter love it and so will you!1: Feels Like Home
2: International You Day
3: Pre-Medicated Murder
4: Dumb Reminders
5: Any Number Can Play
6: Friends Of The Enemy
8: Let Me Down
9: This Is A Rebel Song
12: Insecurity Alert
13: Nailed Shut$14.99Vinyl LP - Sealed Buy Now
SymptomsWhat's more punk rock than being a punk in the Middle East? Nothing. Which is why Israeli miscreants Useless ID are not only the longstanding ambassadors of Middle East punk rock, but they're also way punker than you. Armed with 18 years of experience and a tour history that includes such out-of-the-way spots as China, Belarus, and even Siberia, these boys from Haifa City have finally found a home with longtime friends Fat Wreck Chords for the release of Symptoms. The 12 tracks on Symptoms ooze with all the irresistible appeal of songs popularized by genre heavyweights Rise Against, No Use For A Name, and Alkaline Trio, yet clearly maintain a cohesive and unique perspective from start to finish.1. Live Or Die
2. Before It Kills
3. Normal With You
5. Manic Depression
6. Sleeping With Knives
8. Obsessive Compulsive Disorder
9. New Misery
10. Waiting For An Accident
11. Fear In The Mirror
12. Somewhere$15.99Vinyl LP - Sealed Buy Now
Sing In JapaneseIn keeping with the theme of their last release, Me First And The Gimme Gimmes decided to tackle the proud musical tradition of another country, rather than a specific genre. This time they set their sights on the land of the rising sun, Japan, the birthplace of Karaoke. The fact that the Gimme Gimmes are one of the most renowned cover bands around makes this a match made in heaven.
Spike's sweet crooning is universally pleasing, as he proves by deftly belting out the 6 tracks on Sing In Japanese in the dialect in which they were originally written. The boys ply their fun-loving, punk rock style to these Japanese classics, resulting in 6 up-tempo sing-alongs peppered with guitar riffs hotter than wasabi.1. Hero
2. Kokoro No Tabi
3. Kekkon Shiyoyo
5. 22 Sai No Wakare
6. Linda Linda$12.99Vinyl LP - Sealed Buy Now
Smith WesternsRummaging through 1970s glam, Phil Spector teen-pop, and Nuggets garage-punk with the youthful abandon of kids finding new toys in the attic, the Smith Westerns' self-titled debut exudes an earnestness almost as pure as its recording levels are deafening. Their simple, sweet choruses about boys and girls in love could spike the punch at a 1970s TV show school dance.
When singing guitarist Cullen Omori, his bassist brother Cameron, second guitarist Max Kakacek, and a drummer known as Hal have the tunes to make themselves heard over their vintage aesthetic, The Smith Westerns' teenage kicks are hard to beat. Take string-swept glam ballad Be My Girl. which softly punctuates one of the year's most wrenchingly innocent hooks with somewhat risque pick-up lines. There's less lyrical subtext, but no less raunchy production, on the glam-rock boogie of Girl in Love, a come-on cursorily addressing the fleetingness of youth. It's only fitting that the Smith Westerns both look and sound like the Black Lips' good-bad not-evil twins.
These guys are sort of literally true to their school, garage-rocker Miss Alex White is a fellow Northside College Prep magnet-school alum, and their time on the road with the likes of Jay Reatard and Nobunny is evident on fine 60s-style frat-rocker Gimme Some Time. With fuzzed-out xylophone, frenetic opener Dreams suggests the group's most recent tour with Girls and Los Campesinos! might serve them better for a follow-up. Diamond Boys almost earns its piano on the strength of its adolescent grandiosity, but We Stay Out lets lo-fi become the end rather than the means, with a guitar line that sounds like a bee buzzing underwater.1. Dreams
2. Boys Are Fine
3. Gimme Some Time
4. Girl In Love
5. We Stay Out
7. Be My Girl
8. The Glam Goddess
9. Diamond Boys
10. My Heart$16.99Vinyl LP - Sealed Buy Now
Nude Beach IIGrowing up in the bucolic waterfront village of Northport, NY, Chuck Betz, Ryan Naideau and Jimmy Shelton played punk rock together since high school, in a succession of bands more than happy to set up at any house party, BBQ or makeshift venue that would have them. The familiar strain of classic rock is the go-to sound on the North Shore of Long Island, but they lived in an alternate universe where Ryan convinced his parents to let him turn the family basement into an occasional all-ages show space, hosting touring groups, and rounding out the bill with whatever band he and his friends were in at the time.
Fast forward to 2008, the boys had based themselves in Brooklyn and Nude Beach was born; the group slowly integrated themselves into the local DIY community, performing in dive bars and warehouse lofts, often several times a week, playing more than 100 shows in less than four years together. They self-released cassettes and vinyl LPs, they booked their own tours, and played in infinite side-projects and spin-off bands at every punk venue in North Brooklyn and beyond.
But while Nude Beach is very much a part of the Brooklyn DIY scene, it's always been more in spirit than in sound; sure, they're as beer-soaked, overdriven and raw as any group around, yet as hard as they've tried to ignore it, the trio could never quite shake the rock & roll of Tom Petty and Bruce Springsteen which sound-tracked their Long Island youth, and battered vinyl from the Byrds, the Replacements and the Jam sits side by side in their record collections with the hardcore and indie LPs and 7"s that brought the friends together in the first place.
In an increasingly fractured music scene, Chuck, Ryan and Jimmy play against fashion and deliver straight up rock & roll, and moreover, they do it better than anyone has in a long time. They've got the songs, they've got the sound, and they've got the fuck-all attitude that just can't be faked. Nude Beach will rock you if you let them. Turns out it's still more fun than just about anything else going on. Just check out their most recent full-length, II, if you don't believe us!1. Radio
2. walkin' Down My Street
3. Some Kinda Love
4. You Make It So Easy
5. Keep It Cool
6. Love Can't Wait
7. Cathedral Echoes
8. Don't Have To Try
9. The Endless Night
10. Loser in the Game$16.99Vinyl LP - Sealed Buy Now
Pop CrimesRowland S. Howard started playing in teenage bands in late
70s Melbourne. Whilst still a callow youth he wrote "Shivers," an
undisputed classic, (quietly ignoring the fact that Rowland perhaps
doesn't see it that way and approaches the song as if it was written
by someone else). The song was recorded by his band The Boys Next
Door who mutated into the Birthday Party and then relocated to
Europe to wage a guerrilla campaign against the trivialities of the
80s, until they turned their fire upon themselves and disintegrated
Whilst his former associates have moved on to weekend colour
supplement acceptability, Rowland has commonly been perceived
as the banished wastrel prince... exiled to a squalid garret on the
colder edges of the kingdom, accompanied only by his dreams and
inclinations. His demeanour (pale, gaunt, stick thin, sickly, dark
humoured, fatalistic) has perhaps inadvertently added far too much
credence to this interpretation of events. The shadow of this myth
has seemingly obscured the sheer volume of his creativity and the
singularity of his musical vision.
Always respected by his peers, a scan through Rowland's
catalogue of work sees him allied with the likes of Lydia Lunch,
Thurston Moore, Wim Wenders, Barry Adamson, The Gun Club, Nikki
Sudden, the Beasts Of Bourbon, the Hungry Ghosts and HTRK.
Rowland's own ensemble These Immortal Souls gun their engines
in the ill-lit background and the legacy of his work with The Birthday
Party scores the skin of successive generations of musicians and
But it's a history Rowland would gleefully put a match to. With or
without it Rowland S. Howard would make tense, beautiful music,
would deliver us his personal vision of the world, would create Pop
Long-time faithful friends Mick Harvey (who played with Rowland
for over 30 years), JP Shilo (Hungry Ghosts) and producer Lindsay
Gravina make for a formidable backline. Out front the guitar playing
couldn't be any one else but Rowland S Howard and his weary,
almost journalistic vocal delivery dispassionately sits amidst the
sweaty panic of the music, adding to the ill ease.
The band lurch in to Pop Crimes as if dragging a rain soaked body
across a muddy field. The ghosts of Lee Hazlewood, Snatch, Sergio
Leone, The Shangri-Las and nameless guys from a never known chain
gang watch on. Within the first few breaths Rowland references
Stalin, Calvary and genocide, whilst razoring guitar lines the current
crop of post-punk revisionists could only fantasize about.
"Shut Me Down" is Rowland at his most romantic, though
inevitably it's shot through with loss and longing. If only Dusty
Springfield were alive to revel in its drama. Talk Talk's 'Life's What
You Make It' is re-imagined as if it had risen from the grind of a
Detroit auto plant's assembly line. '(I Know) A Girl Called Johnny'
sees Jonnine D from HTRK sidle up to the microphone for a duet
that will melt even the coldest of hearts. It's a glorious missing link
between the New York girl group sound and the street smarts of
Suicide. Townes Van Zandt's "Nothin" is given a chilling tenement
building transformation. "Wayward Man" has the band wailing like
alarm sirens before Rowland emerges at his most contemplative
with the gorgeous, fragile build of "Ave Maria." Final track "The
Golden Age Of Bloodshed" takes the album out on a swaggering,
swashbuckling epic, with salvation slipping through the narrator's
fingers.1. (I Know) A Girl Called Jonny
2. Shut Me Down
3. Life's What You Make It
4. Pop Crimes
5. Nothin '
6. Wayward Man
7. Ave Maria
8. The Golden Age Of Bloodshed$17.99Vinyl LP - Sealed Buy Now
Back For A Taste Of Your LoveA rollicking vocalist and gifted harmonica player, Syl Johnson has forged a career in both blues and soul. The brother of bassist Mac Thompson and guitarist/vocalist Jimmy Johnson, Syl Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, and Junior Wells in the '50s before recording with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal. Johnson toured with Howlin' Wolf from late 1959 until 1962, when Willie Mitchell signed him to Hi Records.
Johnson recorded for both Twilight and Hi in the late '60s and early '70s, clicking with the dance/novelty cut Come on Sock It to Me and crackling message track Is It Because I'm Black? He had his biggest hit with Take Me to the River in 1975, reaching number seven on the R&B charts. Johnson later recorded for Shama and Boardwalk. He reappeared on a collaboration with his brother Jimmy in the summer of 2002, humorously titled Two Johnsons Are Better Than One.
[Back For A Taste Of Your Love] ...moves his hard Chicago soul groove over to Willie Mitchell's production style, which has a bit more of a mellow tip to it. Syl wrote a number of the tracks, and the titles include I'm Yours, Feelin' Frisky, I Hate I Walked Away, and The Love You Left Behind.
- Zero G Sound1. I'm Yours
2. I Let a Good Girl Go
3. Anyway the Wind Blows
4. You Don't Know Me
5. Feelin' Frisky
6. We Did It
7. Wind, Blow Her Back My Way
8. I Hate I Walked Away
9. The Love You Left Behind$16.99Vinyl LP - Sealed Buy Now
Rarities Vol. 1: The CoversNo Use For A Name is one of THE most successful and prolific acts to come out of the 90's skate-punk scene. But there's a lot more to it than that. Just have a look at their family tree, it has bands like Spazz, Foo Fighters, and Suicidal Tendencies to count among its branches. No really, think about that: the dude from that infamous grindcore band was in NUFAN?!? Their long, unpredictable journey has been full of twists, turns, and alternate routes that led them to be one of the best-selling outfits of their genre. They've done it all: Warped Tour's main stage, MTV, a live record, and an even a recent greatest hits album entitled, All The Best Songs. Hey, you know you've made it when you finally get a greatest hits collection! Not bad for some goofy kids from San Jose who started out with a couple hardcore 7s
Early No Use releases appeared on New Red Archives, a San Francisco punk label operated by Nicky Garratt of the UK Subs. Believe it or not, in the late 80's it actually made sense that they would be labelmates with Reagan Youth, Social Unrest, and Christ On A Crutch. An AllMusic review describes their early material as, hulking hardcore with mighty fists full of metal. Angry and Threatening. This was a gritty, hardcore punk band, known mostly for their growling vocals and dark lyrical themes. Then came the first unforeseen occurrence: frontman Tony Sly unexpectedly developed into a proficient songwriter and mastered melody like few punk bands can ever do. Nobody knows where those gifts come from and you never see it coming, but suddenly No Use For A Name was starting to make music that people actually liked.
As is natural, the band kept evolving, and things changed in a major way for the band when they signed to Fat Wreck Chords in the mid-90's. Their 8-song Fat debut, The Daily Grind EP, drew comparisons to Bad Religion and was a marked step up, but it was 1995's, ¡Leche con Carne!, that would cement No Use For A Name as a successful band for years to come. The album was their best yet and bore a hit song (Soul Mate) that landed them on alternative radio charts, which, for a scrappy punk band, was a complete deviation from industry norms. Stranger yet, was that they made a music video and MTV even played the damn thing! What followed obviously was commercial success in the form of six-figure album sales, another anomaly in the world of indie-punk bands and something that would set the stage for later melodic punk bands like Blink 182, et al. From then on it was steady sailing with a string of successful records and tours from the band. Most notably was 1997's darker, and somehow faster, Making Friends; followed by 1999's hyper-catchy More Betterness!. It was during these halcyon days that Chris Shiflett held down 6-string duties for NUFAN before accepting an offer to join Foo Fighters on lead guitar.
The years went by for the perennial punk powerhouse and the band did numerous world tours, amassing album sales that would eventually total in the 7 figures. Pretty remarkable when you think about it. The new millennium was also a fruitful time for the boys. It started in 2001 with the release of their Live In A Dive album, which was very successful abroad where people were especially hungry for No Use's live performances. In 2002 they released their poppiest effort, Hard Rock Bottom, which was stocked with upbeat tempos and radio-friendly melodies. Their most recent and seemingly final studio album came in 2008. Ironically titled The Feel Good Album Of The Year, the album was a tinge darker and more aggressive than their recent releases and the band reminded us all that their songs still had urgency and bite.
After 25 years, No Use For A Name disbanded in 2012 when frontman Tony unexpectedly passed away. Anthony J. Sly (November 4, 1970 - July 31, 2012) died at home, in his sleep on a Tuesday morning, at age 41. Fat Mike-label head and long-time friend to Tony-was staggered by the news and offered, One of my dearest friends and favorite songwriters has gone way too soon. Tony, you will be greatly missed. No one could've predicted his passing, and needless to say, it shook the very foundation of the Fat Wreck family and the underground music community as a whole. Tony was loved and respected by a wide variety of artists and musicians, and nowhere is that more evident than the roster of contributors to The Songs of Tony Sly: A Tribute; a compilation of NUFAN songs covered by bands like Bad Religion, Frank Turner, The Gaslight Anthem, Alkaline Trio, and many more. Bands from the Americas, Europe, Australia, UK, and even Israel contributed to this final chapter in the storied career of No Use For A Name. The collection will be released on October 29th, 2013, and all proceeds will go towards the Tony Sly Memorial Fund, which has been established to help Tony's wife Brigitte and their daughters, Fiona and Keira.1. Turning Japanese
2. Hybrid Moments
3. I've Heard
4. Selwyn's Got a Problem
5. Enjoy the Silence
7. Dream Police
8. Fairytale of New York
9. Making Our Dreams Come True
11. Don't Cry for me Argentina
12. The Munsters' Theme
13. Beth$15.99Vinyl LP - Sealed Buy Now
Mississippi Hill Country BluesFans of this Mississippi hill country blues patriarch will enjoy this time capsule recorded in 1982 and 1967. It's Burnside in the raw, playing solo on acoustic guitar as he did for his neighbors for most of his early career--when farming was still his profession. Burnside reprised Miss Maybelle, Mellow Peaches, Poor Boy, Jumper on the Line, and others among these songs on his more recent albums for Fat Possum Records, but these early versions capture his driving blend of one-chord rhythm with lightning decorations of slide and melody already fully developed.
If anything, Burnside's guitar playing has slowed over the years, but it's taken on gravity as it's grown more spare, just as his voice--high and limber here--has added character with the imperfections of age. Burnside is also a more idiosyncratic musician now. Nonetheless, it's a pleasure to hear him doing numbers like Bad Luck and Trouble nearly 20 years ago, fusing the influences of John Lee Hooker and Fred McDowell into the potent style that's made him one of today's premier practitioners of old-time rural blues. -Ted Drozdowski1. Miss Maybelle
2. House Up On The Hill
3. Gone So Long
4. Skinny Woman
5. See What My Buddy's Done
6. Don't Care How Long You're Gone
7. Rolling And Thumbling
8. Mellow Peaches
9. I Believe
10. Poor Boy
11. Poor Black Mattie
12. Jumper On The Line
13. Long Haired Doney$18.99Vinyl LP - Sealed Buy Now
Bright Sunny SouthNonesuch Records releases Sam Amidon's label debut, Bright Sunny South in 2013. Produced by Amidon with his childhood friend and longtime collaborator Thomas Bartlett (a.k.a. Doveman) and legendary English engineer Jerry Boys (Buena Vista Social Club, Vashti Bunyan, R.E.M.) and recorded in London, the record features a band made up of Bartlett and multi-instrumentalists Shahzad Ismaily and Chris Vatalaro. Jazz trumpeter Kenny Wheeler also makes a cameo. Amidon himself not only sings but also plays banjo, fiddle, acoustic guitar, and piano on the album.
Amidon describes Bright Sunny South as a "a lonesome record" and a return to the more spare sound of his 2007 self-recorded debut, But This Chicken Proved Falsehearted: "There was an atmospheric quality to my last two records; those albums are like a garden of sounds," says Amidon, "but this one is more of a journey, a winding path. The band comes rushing in and then they disappear. It comes from more of a darker, internal space."
A longtime admirer of Boys' work, Amidon was particularly enamored of his recordings with Martin Carthy in the 1970s, as well as the Ali Farka TourÉ/Toumani DiabatÉ duet albums on World Circuit/Nonesuch: "Those are so beautiful. I listened to all of that. I loved the sense of documentation, the unadorned quality. Everything sounded so clear."
The Vermont-born and raised, London-based Amidon is known for his reworking of traditional melodies into a new form. In addition to country ballads and shape-note hymns, Bright Sunny South features interpretations of traditional and contemporary songs, including Tim McGraw's "My Old Friend" and Mariah Carey's "Shake It Off." The record also includes a version of "Weeping Mary," a shape-note hymn that his parents, Peter and Mary Alice Amidon, had recorded with the Vermont-based Word of Mouth Chorus for Nonesuch Records on the 1977 disc Rivers of Delight: American Folk Hymns from the Sacred Harp Tradition.
Bright Sunny South follows 2010's critically acclaimed I See the Sign, which earned Amidon praise from SPIN for his "quirky alchemy contrasting pretty sounds with violent lyrical undercurrents" and Pitchfork, which said, "[Amidon's] interpretations are so singular that it stops mattering how (or if) they existed before."
Prior to I See the Sign, which was released on the Iceland-based label Bedroom Community, Amidon released But This Chicken Proved Falsehearted (Plug Research, 2007) and All Is Well (Bedroom Community, 2008). In addition to his solo albums, Amidon has collaborated on performances pieces with musical polymath Nico Muhly, toured as part of Thomas Bartlett's group Doveman and the Brooklyn band Stars Like Fleas, collaborated with Beth Orton, and embarked on a series of live shows with the guitarist Bill Frisell.
Sam Amidon, sing, banjo, fiddle, acoustic guitar; piano (8)
Thomas Bartlett, piano, Hammond organ, Wurlitzer, Moog synthesizer; percussion & electric guitar (11)
Shahzad Ismaily, electric & acoustic guitars, electric bass, Moog bass; drums (2); shaker egg (7)
Chris Vatalaro: drums & percussion; flute (6); a taste of the Wurli (2)
Kenny Wheeler, trumpet (2, 5)
Doug Wieselman, clarinets (11)
Tyler Gibbons, electric bass (10)
Produced by Sam Amidon, Jerry Boys, and Thomas Bartlett
Engineered and Mixed by Jerry Boys
Recorded at Snap Recording Studios and Livingston Studios, London
"Weeping Mary" Engineered by Patrick Dillett at No Fat Studios, New York, NY
Violin and bass on "Streets of Derry" Recorded by Tyler Gibbons at Red Heart Studios, Marlboro, VT
Assistant Engineers: Ben Mclusky at Snap; Sonny at Livingston
All songs are traditional, reworked & arranged by Sam Amidon, except track 4 written by McEwan/Wiseman, arranged by Sam Amidon and Thomas Bartlett; track 8 by Cox/Carey/Austin/Dupri, arranged by Sam Amidon; track 11 by McCurry/Power, arranged by Sam Amidon and Thomas Bartlett
Design by John Gall
Executive Producer: David Bither1. Bright Sunny South
2. I Wish I Wish
3. Short Life
4. My Old Friend
5. He's Taken My Feet
7. As I Roved Out
8. Shake It Off
10. Streets of Derry
11. Weeping Mary$24.99Vinyl LP + Bonus 7 - Sealed Buy Now
Basses LoadedIt's 2016 and the Melvins have an album called Basses Loaded coming out that features six different bass players. That's right SIX different bass players. NEW Melvins bass players for this go around are Steve McDonald from the legendary Los Angeles glam punk band Redd Kross and their old friend Krist Novoselic from Nirvana! Making return appearances are former and probably future bass players Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle/Fantomas), Jared Warren (Big Business) and Dale Crover.
Six bass players? Is this a joke? What IS the deal with these ceaseless idiots? Can't they just settle in and be happy with ONE line up?
I suppose it figures considering how many goddam bass players they've had up until this point.
Nonetheless Basses Loaded actually works!
According to King Buzzo, "More is more! As hard as it might be to believe, all of these bass players contribute something of their own to Basses Loaded which gives the whole album a good kick right in it's big fat ass."
Recording with Krist Novoselic is something that should have happened a long time ago but rumor has it that he's been busy doing things like playing bass with Paul McCartney and getting his ass inducted into the Rock and Roll Hall of Fame. It's hard to believe he even bothered with this! Ha!
Butthole Surfer and Honky member Jeff Pinkus played on the Melvins' album Hold it In and has done shit load of touring with the boys in the last few years.
Trevor Dunn recorded the Freak Puke album with these guys as well as played bass on the Melvins' record setting US tour where they played all 50 states plus DC in 51 days. This was also released as a tour DVD last year entitled Across the USA in 51 Days, the Movie!
Jared Warren is a Melvins' veteran having recorded the Senile Animal, Nude with Boots and The Bride Screamed Murder albums as well as the Bulls and the Bees EP. Dale Crover is usually the Melvins drummer but slid over to bass when they brought back original drummer Mike Dillard for the Tres Cabrones album (this line-up was called Melvins 1983).
Steve McDonald has been in Redd Kross since he was 11 and he's a founding member of Los Angeles hardcore band OFF! plus he's got REALLY good stories about the "rock scene" in Los Angeles! The Melvins have a shit load of touring planned with Steven this year so this whole thing is a really big deal.1. The Decay of Lying (Steve McDonald)
2. Choco Plumbing (Jared Warren)
3. Beer Hippie (Dale Crover)
4. I Want To Tell You (Steve McDonald)
5. Captain Come Down (Jeff Pinkus)
6. Hideous Women (Steve McDonald)
7. Shaving Cream (Dale Crover)
8. Planet Distructo (Trevor Dunn)
9. War Pussy (Steve McDonald)
10. Maybe I Am Amused (Krist Novoselic)
11. Phyllis Dillard (Dale Crover)
12. Take Me Out to the Ballgame (Dale Crover)$16.99Vinyl LP - Sealed Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Porcupine MeatNaming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."
Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.
Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.
Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."
Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.
During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.
Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."
Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."
Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."
The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.
For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.
Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."
Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.1. I Don't Want Nobody Hanging Around
2. Porcupine Meat
3. Got Me Accused
4. Snake in the Grass
5. Funk O' De Funk
6. Me, Myself and I (feat. Joe Bonamassa)
7. Catfish Stew
8. It's Your Move (feat. Dave Alvin)
9. Nighttime Gardener (feat. Keb Mo)
10. I Think Your Dress Is Too Short
11. Standing on Shaky Ground
12. I'm Tired (Tangle Eye Mix)$25.99Vinyl LP - 2 LPs Sealed Buy Now
A Comprehensive Guide To Moderne Rebellion (Out Of Stock)Cute band alert! Sassy surfer boys finally took time out from being chick magnets to record a new album. First 10 copies come with a nude photo of Chuck!1: Weight Of The World
3: A Credit To His Gender
5: Up & Away
6: Last Believer
8: Favorite Son
9: West End Memorial
10: This Is The Light
12: Token Idiot
13: Come Dancing
15: Think Of Me
16: The Sky Is Falling
17: Sometimes$14.99Vinyl LP - Sealed Temporarily out of stock
Making Friends (Out Of Stock)Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving em wet sloppy ones when they come to your town.1: The Answer Is Still No
3: Growing Down
4: On The Outside
5: A Postcard Would Be Nice
7: Best Regards
10: Three Month Weekend
11: Sitting Duck
12: Fields Of Athenry$14.99Vinyl LP - Sealed Temporarily out of stock
Turn Ons (Out Of Stock)On Colored Vinyl
What began as Gaz and Danny taking a little time out from their Supergrass commitments for a studio lark has now resulted in a modern day psychedelic punk descendant of Bowies Pin Ups: often irreverent and sometimes initially unrecognizable but always loving and respectful re-imaginings of 12 classics spanning 40 years of rock, punk and even hip hop. Icons receiving the celebratory HotRats treatment range from the Kinks, Velvet Underground and Pink Floyd to the Sex Pistols, Beastie Boys and more.1. I Can't Stand It
2. Big Sky
3. The Crystal Ship
4. (You Gotta) Fight For Your Right (To Party!)
5. Damaged Goods
6. Love Is The Drug
8. Pump It Up
9. The Lovecats
10. Queen Bitch
12. Up The Junction$16.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock