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London Fog 1966
Collector's Edition Boxed Set Features Previously Unheard Concert Recordings From 1966 On CD And Vinyl
Includes 8 x 10 Prints Of Unseen Photos And Replica Memorabilia
Before The Doors took the music scene by storm in 1967, they were the house band at the London Fog, a Sunset Strip dive bar located just footsteps away from the world famous Whisky a Go Go, the future home of many of the band's most legendary performances. The Doors will open a virtual time capsule in December with LONDON FOG 1966, a Collector's Edition boxed set that features unearthed audio recorded at the club in May 1966. Previously unreleased and not even known to exist until recently, this marks the earliest recordings of the band and finds the quartet mixing blues covers with early versions of Doors originals.
LONDON FOG 1966 will be available as an individually numbered limited edition of 18,000 copies from Rhino/Bright Midnight Archives. Presented in a lift-top package designed to look like a vintage storage box, the set features seven songs on both CD and a 10-inch record that's made to resemble a test pressing. Noted Doors engineer Bruce Botnick recently mastered the audio for this collection.
Along with the unreleased music, the set is packed with memorabilia and historic liner notes to provide a true time capsule of that fabled night at the London Fog, including a poster, the set list handwritten by John Densmore, a program for the Royce Hall UCLA student film screening, plus a London Fog coaster. There are also liner notes included from Sunset Strip legend Ronnie Haran-Mellen, who was the talent booker at the Whisky a Go Go. Haran-Mellen saw The Doors live for the first time at the London Fog and then booked them as the permanent house band at the Whisky, leading to the band's signing to Elektra and meteoric rise to superstardom.
Also contributing liner notes is Nettie Peña, one of the lucky few to be in attendance at the London Fog for this fabled show. Peña was a pivotal force in this release coming together as she captured the audio on a ¼" reel to reel recorder, which was the property of the Los Angeles Unified School District. Her father was a teacher for LAUSD and let her borrow the recorder to take to the show. Peña also photographed the band that evening and five black and white 8x10 reprints of these unpublished photos are included in the Collector's Edition, featuring a fresh-faced Morrison on a cramped stage with John Densmore, Robby Krieger and Ray Manzarek.
The show featured on LONDON FOG 1966 took place the same year that The Doors recorded their eponymous debut. Released in January 1967, the album would become one of the most influential in rock history. Like many of the band's early concerts, the show captured on this deluxe set reflects the group's deep love for the blues with covers of standards like Muddy Waters' "Rock Me" and "I'm Your Hoochie Coochie Man." The set also includes raw performances of "Baby, Please Don't Go" (Big Joe Williams), "Don't Fight It" (Wilson Pickett), and "Lucille" (Little Richard).
During their residency at the London Fog, The Doors frequently worked out new songs on stage that would eventually appear on various studio albums. At this show, the band played two originals. The first, "Strange Days," would become the title track for the band's second studio album, which also came out in 1967. This is one of the only known live recordings of this track. The other Doors original, "You Make Me Real," wasn't officially released on a studio album until Morrison Hotel in 1970.
"To hear 'Strange Days,' that came out on their second album, in almost final shape so early on was truly amazing," says Jac Holzman, the President of Elektra Records who signed The Doors to their first recording contract.
Going back to the band's earliest days is a natural starting point for The Doors 50th anniversary celebration.1. Rock Me
2. Baby, Please Don't Go
3. You Make Me Real
4. Don't Fight It
5. I'm Your Hoochie Coochie Man
6. Strange Days
7. Lucille$49.9910 Vinyl LP + CD - Sealed Buy Now
Birth ControlThree albums into their career, New Jersey's Fight Amp show no desire to outgrow their tough but taut noise rock tendencies, but that hardly means they are treading water in a sea of retarded sexuality either. Released in 2012, Birth Control introduces new drummer Dan Smith (who, conveniently, also designed its cover art) into vocalist/guitarist Mike McGinnis and vocalist/bassist Jon DeHart's private little fight club, and the tenacious, unforgiving music they produce in unison makes it just as easy to imagine the trio members sparring in a seedy old boxing gym as bashing away at their instruments in a dingy rehearsal space. And while the boys last just eight rounds (songs) on Birth Control, most of 'em extend well beyond the regulation three minutes and boast a series of curiously style-departing codas -- e.g., the menacing echoes of "White Pickett," the piano on "Should've Worn Black" -- that enhance the illusion of a championship bout going the distance. By and large, most tracks ("Fly Trap," "Creepy Kicks," "I Am the Corpse") focus on punishing instrumental interplay, guitars verging on the atonal, while McGinnis incessantly barks against the fading of the light, escalating to outright screams when the rage becomes more than he can contain. Not until the late-album instrumental left turn "Goner" does the band forgo its customary energy for a more measured, though no less intense, approach where bass grooves call the shots as guitars and drums deliver the body blows. All of which raises the question: are you man or woman enough to go toe to toe with Fight Amp? Then get in the ring!1. Fly Trap
2. White Pickett
3. Creepy Kicks
4. Should've Worn Black
5. Shallow Grave
7. I'm Out
8. I Am the Corpse$22.99Vinyl LP - Sealed Buy Now
Gone Girl SoundtrackTrent Reznor and Atticus Ross won the Academy Award® and Golden Globe® for "The Social Network" soundtrack and the GRAMMY AWARD® for best original score for their "Girl with the Dragon Tattoo"
Trent Reznor is a founding member of Nine Inch Nails, who have sold over 20 million albums worldwide.
Gone Girl, based on the bestselling novel by Gillian Flynn, was directed by OSCAR nominated director David Fincher (Fight Club, The Social Network). The film stars Ben Affleck and Rosamund Pike.LP1
1. What Have We Done to Each Other?
2. Sugar Storm
3. Empty Places
4. With Suspicion
5. Just Like You
7. Clue One
8. Clue Two
9. Background Noise
11. Something Disposable
12. Like Home
1. Empty Places (Reprise)
2. The Way He Looks at Me
3. Technically, Missing
6. Strange Activities
7. Still Gone
8. A Reflection
10. Sugar Storm (Reprise)
11. What Will We Do?
12. At Risk$22.99Vinyl LP - 2 LPs Sealed Buy Now
Fragile, As Said BeforeNo Sleep Records is proud to announce the signing of revered New England indie-rock band Foreign Tongues. - Debut full-length LP, recorded at Getaway Recording's studio in Boston with Defeater guitarist and producer Jay Maas, whose credits include Polar Bear Club, Title Fight and Bane. - The band has released a handful of critically acclaimed EPs over the last few years, including 2013's Glue (Youth Conspiracy) and their 2014 No Sleep debut split with The Felix Culpa.$17.99Vinyl LP - Sealed Buy Now
Second Full-length Release For Hardly Art
Recorded In Analog At Tiny Telephone In San Francisco
There are times when beauty and sadness are inextricably linked. Massachusetts-based Gem Club understands this fragile symmetry. The band-singer/pianist Christopher Barnes and his collaborators, cellist Kristen Drymala and vocalist Ieva Berberian-create music that is intimate, graceful, and filled with melancholy.
In 2009, Gem Club's primary songwriter Christopher Barnes began playing local solo shows. The enthusiastic reception led him to bring Drymala and Berberian into the fold, and the six-song Acid and Everything EP was self-released the following year. Breakers, their subsequent full-length, paired plaintive piano melodies with impressionistic lyrics. Made primarily in Barnes's bedroom, the album displayed how music, even at its most minimal and hushed, could be cathartic, even transcendent.
For the new In Roses, Gem Club have ventured beyond the isolation of the bedroom to record in San Francisco at John Vanderslice's analog studio Tiny Telephone. Barnes worked closely with arranger and conductor Minna Choi of The Magik*Magik Orchestra, who, Barnes says, "helped reshape the new songs in fresh and unimagined ways," The resulting album is more expansive, more majestic, than prior Gem Club releases. There are spacious, grand flourishes-the church-choir voices on "Idea for Strings"; the reverberating drumbeats that propel the melody of "Braid"-yet the music retains the intimacy of previous works.
Because In Roses is an album of haunting piano songs, it might seem felicitous to the listener that Christopher Barnes once lived in a disused Boston piano factory. Nights, from behind neighboring doors, he could hear strangers fighting, throwing loud parties, even shooting scenes for porn films. While life exploded around him, Barnes retreated, "trying to re-create these landscapes with music." But he is quick to note that In Roses takes a different approach to the landscapes of the world than before. "Whereas Breakers was more about the body and inward-gazing, the new album is about me looking out on relationships I've had or wish I've had." Many lyrics address "the crashing realization that lives are no longer happening the way we want." Other songs are elegies for those Barnes has idolized or loved, but has lost: "Soft Season" is inspired by the life and death of early-90s gay adult film actor Joey Stefano ("I'm a boy on my back," Barnes sings, "and I'm more of a man"); the harrowing closer "Polly" is a song he wrote about his relationship with his late aunt.
Beauty and Sadness is the title of a 1964 novel by the late Japanese writer Yasunari Kawabata, but the name could also serve to describe the music of Gem Club. During one scene of the book, Kawabata writes, "He heard a sound that only a magnificent old bell could produce, a sound that seemed to roar forth with all the latent power of a distant world." With In Roses, the beautiful and sad sounds of Gem Club come roaring forth with increasing power.
--Scott Heim1. [Nowhere]
2. First Weeks
5. Idea for Strings
6. Soft Season
8. Speech of Foxes
10. Marathon (In Roses)
11. Polly$16.99Vinyl LP - 2 LPs Sealed Buy Now
Coast To CoastThe River City Tanlines (named in honor of the farmer tan) is a three-piece rock band from Memphis, TN. Principle songwriter and hardest working woman in the music business, Alicja Trout, is a veteran of countless noteworthy punk/indie bands over the years, including The Clears, The Lost Sounds and her current projects Alicja-pop, MouseRocket and Black Sunday. Likewise the powerful rhythm section of Terrence Bishop and John Bonds are no strangers to the scene either, having played together behind such names as Jack Oblivion, R.L. Burnside, Jim Dandy & Black Oak Arkansas, and Monsieur Jeffrey Evans.
In 2009 the River City Tanlines appeared in Craig Brewer's (Hustle and Flow, Black Snake Moan) web-series Five Dollar Cover for MTV, and performed I'm Your Negative in a rollerderby fight scene. They also have a song (Black Knight, a crowd favorite at live shows) featured in the EA Sports video game Skate. Together since late 2004, the band has toured extensively in North America and Europe playing clubs and festivals, and has ten releases on various record labels around the world. Their last album I'm Your Negative was released in 2006 by Dirtnap Records out of Portland, OR.
This, their newest offering, Coast To Coast, was produced by Bruce Watson (Hasil Adkins, T-Model Ford, John Paul Keith) at his Dial Back Sound Studios and will be released on Big Legal Mess Records/Fat Possum. The 10-song set runs the gamut from the galloping opener I Don't Get It to the poppy Stop My Heart to the Ramones-esque Pretty Please and the psyche rock of Dark Matter, all adding up to what is sure to become another Memphis classic!1. I Don't Get It
2. Stop My Heart
3. Pretty Please
5. When I Became You
6. Dark Matter
7. You Shot Me
8. Can't Stand You Anymore
9. Can You Handle This Heart
10. Waiting For Nothing$16.99Vinyl LP - Sealed Buy Now
Teacher Don't Teach Me NonsenseTeacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.
Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.
Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.1. Teacher Don't Teach Me Nonsense
2. Look and Laugh
3. Just Like That$19.99Vinyl LP - Sealed Buy Now
Fight Club (Soundtrack) (Out Of Stock)Mondo are proud to present the soundtrack to Fight Club on vinyl for the first time in over 15 Years.
The Dust Brothers only film score to date, Fight Club is arguably one of the most enjoyable soundtrack albums to come out of the 90's and part of that has to do with the fact that it is one of the best sequenced scores of all time. Weaving all of the films cues from the film into 16 songs, the album winds up feeling like the best instrumental Trip-Hop album you've never heard.
Buy it, or you will be incomplete. But be warned, this album is not beautiful, clean or perfect. It is not Mint, or even VG+. It is Fair at best. Just like you. You are not your record collection.LP 1
1. Who Is Tyler Durden?
3. What Is Fight Club?
4. Single Serving Jack
5. Corporate World
6. Psycho Boy Jack
7. Hessel, Raymond K.
8. Medula Oblongata
1. Jack's Smirking Revenge
2. Stealing Fat
3. Chemical Burn
5. Commissioner Castration
6. Space Monkeys
7. Finding The Bomb
8. This is Your Life - The Dust Brothers Feat. Tyler Durden$52.99Vinyl LP - 2 LPs Sealed Temporarily out of stock