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Fever To Tell'
Fever To TellFever to Tell is the debut studio album by Yeah Yeah Yeahs, originally released on April 29, 2003, by Interscope Records. It was produced by David Andrew Sitek and features the singles, Date with the Night, Pin, Maps, and Y Control. The original album is newly remastered by Stephen Marcussen on black 180g audiophile vinyl for the first time and featuring five newspaper lyric posters with exclusive photos by Nick Zinner, Spike Jonze, Lance Bangs, Julian Gross, Patrick Daughters and Cintamani Calise1. Rich
2. Date With The Night
5. Black Tongue
7. Cold Light
8. No No No
10. Y Control
11. Modern Romance/Poor Song$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Something Else (Awaiting Repress)After achieving his highest-charting release with 2011's All 6's And 7's (#4 Billboard), Strange Music general Tech N9ne tackles the most ambitious album of his career with Something Else. The Kansas City emcee kept fans busy in 2012 with the release of three consecutive Top 3 rap EP releases - KLUSTERFUK, E.B.A.H., and Boiling Point.
With demand at a fever pitch, Tech N9ne aims to give listeners an untouched piece of his life while cementing his place among rap's elite.
The beats sound nothing like anything you've ever heard me on, say Tech. The features that I'm going for are something you would never imagine. All I can say about it now is that it's a very human album. What I mean by that is that it's contradictory. On one song I say, 'The saint is ours', like we're in the saint's corner and then I have another song called 'I'm Not A Saint'. It's so beautiful because the King, the Clown, and the G are still present on this album.
There are no apologies in what I'm saying. I don't mind that it contradicts itself because that's what people do. The album is everywhere. It feels like it's Hell, Purgatory and Heaven all over again. I'm telling stories that I've never told - that I was afraid to tell on some songs. It's super personal and I've got a big chip on my shoulder again. It's always been there, but it's getting bigger having to prove to fans and critics that we ain't going nowhere.
Album Features: Kendrick Lamar, The Doors, B.O.B., Wiz Kalifah, Cee Lo Green, Serge (System Of The Down), Game, Danny Brown, Big K.R.I.T., Krizz Kaliko, Mayday and others.1. News with Mark Alford (skit)
2. Straight Out the Gate (feat. Serj Tankian & Krizz Kaliko)
3. B.I.T.C.H. (feat. T-Pain)
4. With the BS (feat. Red Cafe, Trae Tha Truth & Big Scoob)
5. Love 2 Dislike Me (feat. Tyler Lyon & Liz Suwandi)
6. Fortune Force Field
7. I'm Not A Sain
8. Fragile (feat. Kendrick Lamar, ¡Mayday! & Kendall Morgan)
9. Priorities (feat. Game & Angel Davenport)
10. News with Mark Alford (skit)
12. So Dope (They Wanna) (feat. Wrekonize, Snow That Product & Twisted Insane)
13. See Me (feat. Wiz Khalifa & B.o.B.)
14. My Haiku-Burn The World (feat. Krizz Kalifo)
15. That's My Kid (feat. CeeLo Green, Big K.R.I.T. & Kutt Calhoun)
16. Meant To Happen (feat. Scoop Deville)
17. News with Mark Alford 3 (skit)
19. R.I.P. Ray (skit)
20. Strange 2013 (feat. The Doors)
21. SMB$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Sea When AbsentAppropriately for new beginnings, Sea When Absent marks a number of firsts for ASDIG-it's the first album recorded in a real studio by someone who isn't Ben or Josh, the first album not written mostly by Ben, the first album with next-to-no reverb, and the first time in ASDIG's history that it has existed as anactual band (not just Ben or Josh playing everything). There was also a conscious effort to get away from aspects of recording that have defined this band in the past-namely heavily reverbed and buried vocals [ed.- they never sound buried to Ben]. Vocalists Jen Goma and Anne Fredrickson have beautiful voices and it was time to explore the possibilities of their abilities/talents. Jen took on a central role in the making of this album, stepping up to write most of the lyrics and melodies. Anne also contributed melodies throughout the album and put her classical cello training to use adding string arrangements. Since 2009 Ben has called Sydney, Australia home and while he was down under, multi-instrumentalist/backup vocalist/engineer/jack-of-all-trades Josh Meakim was Our Man in Philly, overseeing the recording sessions and adding all of the musical and production ideas he usually does. The distance between Ben and the rest of the band also forced novel ways of building songs from across the world. Bassist Ryan Newmyer, in Brooklyn, was tasked with deconstructing and rebuilding several songs in his own way-Oh, I'm a Wrecker (What to Say to Crazy People) bears the fruit of this tact. Holding it all together is drummer Adam Herndon. Adam is Sea When Absent's alchemist-weaving between, and often reconciling, the colossal boom of electronic beats (see Golden Waves or Double Dutch) and the subtle elegance of a drum kit in a room (see The Body, It Bends or The Things They Do to Me).
Between releasing Ashes Grammar in late 2009 and Autumn, Again in late 2010, ASDIG spent the better part of that year on tour. The six members in this band returned to six different Ithacas and the various dramas and adventures they've endured since then inform a lot of Sea When Absent. But 2014 is also just an insanetime to be alive. Dominant narratives have broken down and the stories we tell ourselves have never been more up-for-grabs.It's all happening and A Sunny Day in Glasgow want to be as simultaneously everywhere and nowhere as the rest of us. Sea When Absent is ASDIG's story for the milieu-a fever-dream about the now (or maybe a lucid dream about the fever-now) and a future possible set in pop-major.1. Bye Bye, Big Ocean (The End)
2. In Love With Useless (The Timeless Geometry in the Tradition of Passing)
4. MTLOV (Minor Keys)
5. The Things They Do to Me
6. Boys Turn Into Girls (Initiation Rites)
7. Never Nothing (It's Alright [It's Ok])
8. Double Dutch
9. The Body, It Bends
10. Oh, I'm a Wrecker (What to Say to Crazy People)
11. Golden Waves$16.99Vinyl LP - Sealed Buy Now
ShakaraShakara is one of a clutch of early 1970s albums - also among them this box's Fela's London Scene and Afrodisiac - on which Fela's Afrobeat transitioned from foetal stage to something approaching full-grown form. Shakara (1971) includes three of mature Afrobeat's signature ingredients. There are two guitarists, rhythm guitarist Tutu Shoronmu and tenor guitarist Segun Edo. The pair's repetitive, interlocking riffs - part melody, part rhythm - play a similar role to the rhythm and mi-solo guitars used in contemporary Congolese rumba. Fela's Broken English lyrics extend his music's audience beyond Yoruba speakers and make his words understandable across Anglophone Africa. And female backing vocalists echo Fela's lead vocals in what was to become Afrobeat's trademark call-and-response pattern. On release, Shakara's B-side, "Lady," was jumped on by the Nigerian press as Fela's contribution to a "war between the sexes." "I want tell you about lady-o," Fela sang. "She go want take cigar before anybody, she go want make you open the door for am, she go want the man wash plate for her for kitchen, she want sit down for table before anybody." By contrast: "Africa woman, she know the man na master, she go cook for him, she go do anything for him .But lady no be so, lady na master." "Lady," like 1975's "Mattress," has been interpreted by some as "anti-women." It was certainly in conflict with European feminist thought. However the lyric is interpreted, Fela was arguing from the particular in order to highlight the general: the adoption of European social habits to the detriment of African culture. Fela would address African men in similar fashion in "Gentleman" in 1973, lampooning their adoption of European suits, shoes and ties - which caused them to "smell like shit" in the African heat - before returning to the women in 1976 in "Yellow Fever," a song about the fashion for skin whitening creams. "Shakara" is a mainly instrumental track, with a brief lyric, sung in Yoruba, warning against boasters and braggarts. Up-tempo, with a suitably turbulent horn arrangement, it includes strong solos from Fela on keyboards and the fearsome Igo Chico on tenor saxophone.1. Lady
2. Shakara (Oloje)$19.99Vinyl LP - Sealed Buy Now
Rock of AgesThe Band's Ultimate Live Album Recorded at Its Career Peak!
Legendary Live Set Features Horn Arrangements by Allen Toussaint
Incredible Sound and Virtuosic Performances
The Last Waltz gets bigger billing, but The Band's 1972 live album Rock of Ages is actually the better representation of a live Band album. Recorded at the tail end of the group's Cahoots tour and over the course of four nights at New York's Academy of Music at the end of December 1971, the incendiary concert set bookmarks the close of the first phase of the collective's career.
Rather than follow the lead of most other live records made at the time (and many since), The Band resists any temptation to improvise or extend its material. Instead, the group plays with an intensity, chemistry, and spirit that's nearly unrivaled by any other live album. The quintet also draws on a secret weapon: One Allen Toussaint, who tailors expert horn arrangements for multiple songs, a move that spices renditions of classics such as "Don't Do It" and "Chest Fever." To top it all off, the horn charts are performed by the Rock of Ages Horn Section-a five-piece ensemble that includes legendary trumpeter Snooky Young (Count Basie, Lionel Hampton) and saxophonist Joe Farrell (Charles Mingus, Elvin Jones).
"I felt very much at home with The Band. You could tell in their music they know where they're coming from and they know where they're going. Each one had an extremely special interest in what they were doing." -Toussaint, as told to Rob Bowman
Do they ever. Unencumbered by the myriad guests and grandiose sense that define The Last Waltz, and energized by Toussaint's invaluable work, Rock of Ages is the sound of a great band pulling out all the stops. Robbie Robertson's guitar solos take "Unfaithful Servant" to a higher ground; "The W.S. Walcott Medicine Show" kicks with raunchy R&B abandon; Garth Hudson delivers a show-stealing performance on "The Genetic Method," a thrilling organ piece that incorporates elements of Anglican church music, folk, classical, and pop-as well as "Auld Lang Syne," due to its being recorded on New Year's Eve.
After various inferior editions and reissues, Rock of Ages is finally presented on an immaculate-sounding 180g 2LP set from Mobile Fidelity that lets Toussaint's contributions, horn section's energy, and the Band's feverish interplay shine like never before. Mastered from the original tapes, the open, airy, natural, and balanced sound will have you returning to Rock of Ages again and again.
This title is not eligible for discount.1. Introduction / Don't Do It
2. King Harvest (Has Surely Come)
3. Caledonia Mission
4. Get Up Jake
5. The W.S. Walcott Medicine Show
6. Stage Fright
7. The Night They Drove Old Dixie Down
8. Across The Great Divide
9. This Wheel's On Fire
10. Rag Mama Rag
11. The Weight
12. The Shape I'm In
13. Unfaithful Servant
14. Life Is A Carnival
15. The Genetic Method
16. Chest Fever
17. (I Don't Want To) Hang Up My Rock And Roll Shoes$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Gentleman1973's Gentleman is the last of Fela's early 1970s transitional albums - it was followed by 1974's Alagbon Close, on which he brought all Afrobeat's signature ingredients together. On its title track, 1973's Gentleman presents one of Fela's most perfect lyrics, sung in call-and-response with the backing vocalists. "I no be gentleman at all," Fela sings, "Africa hot, I like am so; I know what to wear but my friend don't know; him put him socks him put him shoes; him put him pants him put him singlet; him put him trouser him put him shirt; him put him tie him put him coat; him come cover all with him hat; him be gentleman; him go sweat all over; him go faint right down .I no be gentleman at all-o; I be Africa man original." There's plenty more. As so often with Fela's songs, "Gentleman" can be interpreted literally or as metaphor concerning a wider issue. In this case, Fela's topic is the colonialism-induced inferiority complex which led many in Africa's new governing elites to reject African style, concepts of beauty and modes of behaviour in favour of European imports. It was a subject Fela returned to on 1976's Yellow Fever, whose title track attacked the craze for skin whitening creams among African women, and 1977's Johnny Just Drop, whose title track lampooned the social pretensions of Africans returning home after working or studying abroad. Gentleman's other tracks, "Fefe Naa Efe" and "Igbe," have briefer lyrics. On "Fefe Naa Efe," an Ashanti motto from Ghana, Fela tells a woman dumped by her boyfriend that she must get over the heartache and move on.1. Gentleman
2. Fefe Naa Efe
3. Igbe$19.99Vinyl LP - Sealed Buy Now