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Fire And Water'
Fire And Water (Half-Speed Master)HALF-SPEED MASTER : 2016 reissue of 1970 album, mastered at Abbey Road Studios from the original tapes & pressed on 180-gram audiophile quality vinyl! Includes 'All Right Now'.1. Fire And Water
2. Oh I Wept
4. Heavy Load
5. Mr. Big
6. Don't Say You Love
7. All Right Now (Long Version)$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fire And WaterFree was one of the British bands that pioneered Hard Rock. Despite a short life span, they were a huge influence bands such as Bad Company and Foreigner, thanks to their style of stripped-down British Blues.
Their follow up to Free, Fire And Water, peaked at #17 in the album charts, carried by the classic Rock anthem All Right Now - which peaked at #4 in Billboard's Hot 100 in 1970. Paul Kossoff's guitar playing and Paul Rodger's incredible voice made Free one of the best bands around. Their revered legacy is justified with Music On Vinyl's 180 gram audiophile treatment.1. Fire And Water
2. Oh I Wept
4. Heavy Load
5. Mr. Big
6. Don't Say You Love
7. All Right Now (Long Version)$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fire And WaterFree was one of the British bands that pioneered Hard Rock. Despite a short life span, they were a huge influence bands such as Bad Company and Foreigner, thanks to their style of stripped-down British Blues.
Their follow up to Free, Fire And Water, peaked at #17 in the album charts, carried by the classic Rock anthem All Right Now - which peaked at #4 in Billboard's Hot 100 in 1970. Paul Kossoff's guitar playing and Paul Rodger's incredible voice made Free one of the best bands around.1. Fire And Water
2. Oh I Wept
4. Heavy Load
5. Mr. Big
6. Don't Say You Love
7. All Right Now$24.99Vinyl LP - Sealed Buy Now
AudioQuest Water Interconnect Cable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
RCA to RCA
XLR & Custom Lengths Available Upon Request
Water-refreshing, soothing, cleansing water-covers more than 70% of our planet's surface and is the only substance in nature to appear naturally in all three common states of matter: solid, liquid, and gas. We know water as the nuclei of comets in space; as vapor in the soft clouds of our blue sky; as the crystals that form the many intricate patterns of snowflakes; as vast glaciers atop our planet's most tempting and challenging mountains; as brilliant, white icebergs drifting freely in artic oceans; as freshwater rivers that course through our land; as aquifers in the soil beneath our feet. On the molecular level, water can form large numbers of hydrogen bonds, giving rise to an unusually high surface tension and extreme capillary force, which, in turn, allows water to move upward through narrow tubes against the force of gravity-a life-giving property relied upon by all vascular plants, including our greatest trees: aspens, oaks, and redwoods.
Fascinatingly, the boiling point of water is highly dependent upon the barometric pressure of its environment: Water at the top of K2, for instance, will boil at a temperature different than that of water taken from the Mackenzie River, while the ocean's deepest waters, near geothermal vents, can reach temperatures of hundreds of degrees and yet remain liquid. According to Aristotle, among the classical elements, water held a special place between wind and earth, being both cold like earth and wet like wind, but stood distinctly at odds with fire. And people born under the astrological signs of Cancer, Scorpio, and Pisces are thought to have dominant water personalities: nurturing, sympathetic, and imaginative. Today, of course, we cherish water for all that it is, and know it best as the one thing that quenches our thirst when all else fails.
SOLID PERFECT-SURFACE COPPER+ (PSC+) CONDUCTORS: Solid conductors prevent both strand-to-strand contacts and magnetic interaction, major sources of distortion. Surface quality is critical because a conductor can be considered as a rail-guide for both the electric fields within a conductor, and for the magnetic fields outside the conductor. The astonishingly smooth and pure surface of all AudioQuest's Perfect-Surface metals nearly eliminates harshness and greatly increases clarity compared to all other premium coppers. The extreme purity of PSC+ further minimizes distortion caused by grain boundaries, which exist within any metal conductor.
DIELECTRIC-BIAS SYSTEM (DBS, US Pat #S 7,126,055 & 7,872,195 B1): Creates a strong, stable electrostatic field which saturates and polarizes (organizes) the molecules of the insulation. This dramatically reduces dielectric induced smearing of the signal, letting sound emerge from a "black" background.
CARBON-BASED 6-LAYER NOISE-DISSIPATION SYSTEM (NDS): Shields-the-shield, reducing RFI contamination of the equipment ground plane.
POLYETHYLENE AIR-TUBE INSULATION: Almost no contact between conductors and insulation further reduces smearing and preserves dynamics.
TRIPLE-BALANCED GEOMETRY: Proper ground-reference conductor prevents using the shield as an inferior ground-reference conductor.
COLD-WELDED, HANGING-SILVER PLATING DIRECTLY OVER HIGH-PURITY RED COPPER PLUGS.$450.00Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available Buy Now
Hold Your Fire200 Gram Vinyl
Remastered At Abbey Road Studios Using The Direct To Metal Mastering Audiophile Copper Plating Process, All From Original Analogue Masters
Hold Your Fire is an album in the purest sense; infinitely greater than the sum of its parts, it gradually draws in the listener by slowly revealing its nuances and secrets. While the use of keyboards is still overwhelming at times, Geddy Lee employs lush textures which, when coupled with a greater rhythmic and melodic presence from guitarist Alex Lifeson, results in a far warmer sound than in recent efforts. Of course, drummer Neil Peart is as inventive and exciting as ever, while his lyrics focus on the various elements (earth, air, water, fire) for much of the album. Opener Force Ten is the band's most immediate number in years, and other early favorites such as Time Stand Still and Turn the Page soon give way to the darker mysteries of Prime Mover and Tai Shan. The multifaceted Lock and Key is quintessential Rush, and sets the stage for the album's climax with the sheer beauty of Mission. As was the case with 1976's 2112 and 1981's Moving Pictures, Rush always seem to produce some of their best work at the end of each four-album cycle, and Hold Your Fire is no exception.1. Force Ten
2. Time Stand Still
3. Open Secrets
4. Second Nature
5. Prime Mover
6. Lock And Key
8. Turn The Page
9. Tai Shan
10. High Water$29.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Origins Vol. 1Pressed On Colored Vinyl
Ace Frehley is beginning the new year by looking back. The former Kiss guitarist's new LP, Origins Vol. 1, finds him covering songs by Jimi Hendrix, the Rolling Stones, Thin Lizzy, Cream, and other artists that have inspired him over the years.
The LP also features his first recording with Paul Stanley, an impassioned interpretation of Free's Fire and Water, in nearly two decades.
Other guests on the record include Slash, Pearl Jam's Mike McCready, Lita Ford and Rob Zombie guitarist John 5.
- Kory Grow (Rolling Stone)1. White Room (Cream)
2. Street Fighting Man (Rolling Stones)
3. Spanish Castle Magic, feat. John 5 (Jimi Hendrix)
4. Fire and Water, feat. Paul Stanley (Free)
5. Emerald, Slash (Thin Lizzy)
6. Bring It on Home (Led Zeppelin)
7. Wild Thing, feat. Lita Ford (The Troggs)
8. Parasite, feat. John 5 (Kiss)
9. Magic Carpet Ride (Steppenwolf)
10. Cold Gin, feat. Mike McCready (KISS)
11. Till the End of the Day (Kinks)
12. Rock and Roll Hell (KISS)$29.99LP - 2 LPs Sealed Buy Now
To Be Everywhere Is To Be NowhereThrice has been a staple in the alternative/modern-rock world for over fifteen years. A band known for effortlessly and continuously releasing groundbreaking records, their discography has sold over a 1.5 million copies, and they've toured the world with acts like The Deftones, Coheed & Cambria, Rise Against, Circa Survive and Brand New.
Thrice released their first proper full-length, Identity Crisis, in 2001 and quickly stormed to the forefront of the indie music scene as listeners rejoiced and formed what can only be described as a cult following. The band went on to release seven highly praised albums - fan favorites The Illusion Of Safety (2002), The Artist In The Ambulance (2003) and Vheissu (2005), the brilliant and eclectic four-part concept album The Alchemy Index: Fire and Water (2007) and Earth and Air (2008), the visceral and raw masterpiece, Beggars (2009), and a grunge-inspired follow-up album, Major/Minor (2011). After a three-year break from writing and touring, the Southern California quartet are back with their first studio album in almost five years.1. Hurricane
2. Blood On the Sand
3. The Window
4. Wake Up
5. The Long Defeat
7. Black Honey
8. Stay With Me
9. Death From Above
11. Salt and Shadow$21.99Vinyl LP - Sealed Buy Now
Rough Guide To Blind Willie JohnsonBlind Willie Johnson was a fire-and-brimstone guitar evangelist who played sacred songs so mean that his legacy has gone down in blues history. Revel in the mesmerizing bottleneck guitar playing of the Texas blues preacher on remastered classics as
'Dark Was The Night, Cold Was The Ground', and 'God Moves On The Water'.1. God Moves On The Water
2. Dark Was The Night, Cold Was The Ground
3. Keep Your Lamp Trimmed And Burning
4. Jesus Make Up My Dying Bed
5. John The Revelator
6. It's Nobody's Fault But Mine
7. I Know His Blood Can Make Me Whole
8. Mother's Children Have A Hard Time
9. You're Gonna Need Somebody On Your Bond
10. Lord I Just Can't Keep From Crying
11. God Don't Never Change
12. Bye And Bye I'm Going To See The King$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-FAN-5165xJoe Henderson & Alice Coltrane
The ElementsThe Elements is an album by American saxophonist Joe Henderson, originally released in 1973 on Milestone.
1970 began a decade of discovery for Joe Henderson; a time to set aside the post-bop instrumentation and repertoire he was identified with and branch out into other realms. One of the most successful and challenging of these efforts that the Milestone label documented was the present four-part improvisation on the basic themes of Fire, Air, Water and Earth.
Assisting the tenor saxophonist was a group of sympathetic explorers--Alice Coltrane on piano and harp, violin original Michael White, bass giant Charlie Haden, and the multifaceted percussionist Kenneth Nash.
Latin American, Indian, and Native American strains enter the mix as Henderson applies the heat and mercurial invention of his more conventional work to these open-ended settings. While the music is enhanced with overdubbing in spots, the true magic of The Elements emanates from the musicians' collective genius at listening and responding to each other.1. Fire
4. Earth$24.99Vinyl LP - Sealed Buy Now
WyomingWater Liars, the duo of Justin Kinkel-Schuster and Andrew Bryant, present their sophomore album Wyoming. Recorded in their now-hometown of Water Valley, MS in late September, Wyoming will be Water Liars' second LP released in just under a year. At the core of the album are stories of specific, intimate moments that can't help but ring universally true. The band favors simplicity and ample space in their songs, while Justin Kinkel-Schuster's clear, plaintive vocals add to Wyoming's warm yet heartsick expanse. The album ranges musically from contemplative, bluesy waltzes (Backbone) to lonely, tempered howls (Fake Heat); from soulful, heartached swings (Cut A Line, You Work Days I Work Nights) to upbeat, but wistful resignations (Linens). These 11 uncluttered songs resonate all the way from the breezy, buzzing opener Sucker to the closing feedback of Fire.1. Sucker
2. Fake Heat
4. Back bone
5. Cut A Line
6. How Will I Call You
8. You Work Days I Work Nights
9. Fine Arts
10. Bird Of Song
11. Fire$16.99Vinyl LP - Sealed Buy Now
REDD-FRI-6945xEarth, Wind & Fire
Gratitude180 Gram Translucent Blue Colored Vinyl With Gatefold Cover
Mastered Impeccably By Joe Reagoso
Manufactured At R.T.I.
During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.
After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.
Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.
In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.
A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).
Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.
The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.
The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.
During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.
The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.
Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."
The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."
The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.
In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.
In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."
Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."
In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.
Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."LP 1
2. Africano/ Power Medley
3. Yearnin' Learnin'
5. Sun Goddess
7. Sing A Message To You
1. Shining Star
2. New World Symphony
7. Can't Hide Love$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
The Lost TapesIn concert in the late '60s and early '70s, Muddy Waters was still tearing it up in his grand old style, as is evident on this previously unreleased concert recording from 1971. Muddy had not yet begun to bring the younger generation into his band, so bona fide Chicago blues vets like pianist Pinetop Perkins and drummer Willie Big Eyes Smith are on hand to provide that classic '50s Chess sound on a program of gems from Muddy's glory days. The urgency and fire of his earlier recordings is replaced here by a more seasoned, understated approach but instead of detracting from the performances, it adds a deeper level of ominous insinuation to Muddy's sultry tales of lust.1. Honey Bee
2. Hoochie Coochie Man
3. Walking Thru The Park
4. Trouble No More
5. Just To Be With You
6. Muddy's Introduction To 19 Years Old
7. She's 19 Years Old
8. Long Distance Call
9. Mannish Boy
10. Crawlin' Kingsnake
11. Got My Mojo Working$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Hawk RelaxesLike a fine wine, Coleman Hawkins proves on The Hawk Relaxes that good things only get better with age. Joined by six-string maestro Kenny Burrell, the
legendary tenor saxophonist grooves in a mellow mood in this quintet setting alongside pianist Ronnell Bright, bassist Ron Carter, and drummer Andrew
Cyrille. A high water mark in his later career, The Hawk Relaxes showcases the understated sophistication of Hawkins' playing as he makes instant
classics out of tunes from the Great American Songbook in a style befitting of an evening by the fire, the calm ocean, or a late night with a sweetheart
over candles and wine. This quintet, quite possibly the most unique Hawkins ever fronted, delivers a supple, relaxed, and sophisticated affair on par with
anything he ever did during this period. Recorded by the inimitable Rudy Van Gelder, this classic jazz album has now been newly reissued on VINYL and
is a must-have for both the casual fan and the hard-core jazz aficionado.1. I'll Never Be The Same
2. When Day Is Done
3. Under A Blanket Of Blue
4. More Than You Know
6. Just A Gigolo
7. Speak Low$21.99Vinyl LP Reissue - Sealed Buy Now
Marigolden"The body remembers what the mind forgets," Chris Porterfield reminisces on his acclaimed band Field Report's sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.
The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.
The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).
Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.
Marigolden's second track, the surprisingly catchy radio single "Home," finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. "Leave the lights on," he asks, "it might be nighttime when I get there, but I'm on my way home." While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In "Summons," the penultimate track, he recalls this thought, repeating, "I'll be coming home to you" like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in "Decision Day" and ends full circle with another in "Enchantment."
Whether reconsidering sobriety in "Pale Rider," sticking to tonic water in the bars of "Summons," or cashing in a 30-day chip for a kiss in "Enchantment," Porterfield's relationship with alcohol runs through the current of nearly every song. Most notably in "Ambrosia," where he find himself face to face with the reality of where his drinking is destined to lead.
The album runs the musical gamut, from the Traveling Wilburys-esque pop of "Home," to the Neil Young-inspired piano ballad "Ambrosia," to the electronic sonic landscape of "Wings." While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.
Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.1. Decision Day
2. Home (Leave The Lights On)
3. Pale Rider
4. Cups and Cups
10. Enchantment$16.99Vinyl LP - Sealed Buy Now
Ride The LightningKill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well -- more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill 'Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious Fight Fire with Fire, or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica's sound, like the nine-minute, album-closing instrumental The Call of Ktulu, or the haunting suicide lament Fade to Black. The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn't seen this kind of ambition since Judas Priest's late-'70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill 'Em All was the manifesto, Ride the Lightning was the revolution itself.
- Steve Huey (All Music)1. Fight Fire With Fire
2. Ride The Lightning
3. For Whom The Bell Tolls
4. Fade To Black
5. Trapped Under Ice
7. Creeping Death
8. The Call Of Ktulu$17.99Vinyl LP - Sealed Buy Now
BirdsSeth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.
Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.
Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.
The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.
Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.
The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.
Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.
Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.
For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.
I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.1. Sunshine
2. Water On Fire
4. Just Because I Can
5. People Like Us
6. Like I Do
7. For What It's Worth
8. Too Much Water
9. Justice For All
10. Hasn't Hit Me Yet
11. I'm Still Looking$19.99Vinyl LP - Sealed Buy Now
Quazarz: Born on a Gangster Starspeaking of air and darkness, Born on a Gangster Star cameinto the world in a big damn hurry, like nightfall on an island.You can see it happening, but then again it's so gradual that thenext thing you know-it's dark.
Imbued with the energy and ideas from all the creative embersfloating in the atmosphere like fireflies, Shabazz Palacesrecorded this entire album over the course of two weeks withBlood in Seattle. New gear and new equipment disintegratedcomfort zones into dust and a new path appeared in the rubble.
Herein the Palaceer continues the tale of Quazar, a sentientbeing from somewhere else, an observer sent here to Amurdercato chronicle and explore as a musical emissary. What he finds inour world is a cutthroat place, a landscape where someone likehim could never quite feel comfortable amidst all the brutalityand alternative facts and death masquerading as connectivity.
Inspired by days on end spent in the waves-water and light,both-of Southern California, the work came to the Palaceer in aflash, like being picked up by something and carried. Alwaysdribbling with his head up, he can see what's going on aroundhim and react to it, rather than starting in a certain direction andhoping to achieve something upon arrival.
What's good?-the kids ask. What does it even mean, and whatdoes it even matter? Who is behind these choices? We are all ofus sitting under a waterfall of all. this. shit. But it's the excessthat is casting us into ruts.
The Palaceer stays away from the fleeting and the superficialnonessential. Stay away from your device-your phantomlimb-and stay away from your image-your phantom self; thatis his decree. Considering the motions behind the things you liketo consume artistically, rather than just the way something looksor sounds, and thinking in layers, and trying to be more considerateand not so self-oriented-this is his medicine for combat.
Born on a Gangster Star flirts with a pop sensibility, but throughthe prism of Shabazz Palaces's fire and fury. For the Palaceer,that sense is all about how the groove is moving, and thesupernatural telepathy that occurs amongst his cohort. Appearinghere, in body or in spirit, are Julian Casablancas, Thundercat,Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac,Ahmir, Jon Kirby, Sunny Levine, and Blood. The storybelongs to Quazarz, but the air and darkness belong to us.
And so we shine a light on the fake.1. Since C.A.Y.A
2. When Cats Claw
3. Shine a Light (feat. Thaddillac)
4. Dèesse Du Sang
5. Eel Dreams (feat. Loud Eyes Lou)
6. Parallax (feat. The Palaceer Lazaro)
7. Fine Ass Hairdresser
8. The Neurochem Mixalogue
9. That's How City Life Goes
10. Moon Whip QuÄz (feat. Darrius)
11. Federalist Papers$19.99Vinyl LP - Sealed Buy Now
A Mad And Faithful TellingThis four-piece multi-instrumental outfit fuses gypsy, Greek, Slavic and mariachi with American punk and folk roots. Directors Jonathan Dayton and Valerie Faris chose DeVotchKa to score Little Miss Sunshine in 2006, the breakout indie film of the year, garnering four Academy Award nominations and earning DeVotchKa a Grammy nod for Best Soundtrack. Their stage set up is fortified by sousaphone, accordion, piano, violin, a bouzouki, upright bass, percussion, trumpet, drums and a Theramin. The band has toured with similar maverick acts such as Calexico and Flogging Molly and will also appeal to fans of Arcade Fire, Neko Case, and David Byrne.
On their first album since scoring the massive indie film hit, as well as their first for the higher-profile indie label Anti Records, Denver's boundary-pushing DeVotchKa stick to their guns. Rather than watering down their blend of Eastern Europe and the American Southwest, A Mad & Faithful Telling actually puts these elements out in front of the trio's more traditional indie-rock side on songs such as the lengthy, eclectic Basso Profundo. Melodramatic ballads like Blessing In Disguise and New World are still the band's stock in trade, and A Mad & Faithful Telling perfectly showcases their quirky but effective mix of influences.1. Basso Profundo
2. Along the Way
3. Clockwise Witness, The
4. Head Honcho
5. Comrade Z
7. Blessing In Disguise
10. New World$19.99Vinyl LP - Sealed Buy Now
BeulahBeulah. It's a small, complicated word with a tangle of meanings.
It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.
Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."
Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."
And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."
Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.
"Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."
Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."
White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.
One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.
At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.
The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."
Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."
Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."1. Black Leaf
2. What's So
3. The Once And Future Queen
4. Make You Cry
5. Fight For You
6. Hope I Die
7. I've Been Over This Before (Feat. The Secret Sisters)
8. The Martyr
9. Hate The Way You Love Me
10. I'll Get Even$18.99Vinyl LP - Sealed Buy Now
Wayne CochranWayne Cochran! The exclamation point is there for a reason. Known as "The White Knight of Soul," Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who's ever witnessed a fire-and-brimstone southern gospel service can see the connection between gospel's passion and r&b's groove.
Issued by Chess Records in 1967, Wayne Cochran! captured the outrageous energy of his live show within the album's grooves. This explosive collection of songs proved that Cochran deserved to share the label home of r&b greats like Etta James, Howlin' Wolf and Muddy Waters. Rather than a traditional artist portrait, the front cover features an outline of his white pompadour against a black background. Simple and direct, it stood in stark relief against the sea of day-glo, psychedelic imagery of the day. To put it another way, the cover art clearly conveyed that this album was all killer, no filler.
The original mono version of this LP is incredibly rare and changes hands for princely sums. However, there is no need to empty the savings account now that Sundazed Music has prepared a righteous reissue, in glorious mono! Sourced from the original analog master tapes, this Sundazed edition is 180gm of concentrated soul. Just add a turntable and watch the party spring to life!1. Get Ready
2. Boom Boom
3. The Peak Of Love
4. You Don't Know Like I Know
5. Some-A' Your Sweet Love
6. I'm Leaving It Up To You
7. You Can't Judge A Book By The Cover
8. Big City Woman
9. Little Bitty Pretty One
10. I'm Your Hoochie Coochie Man
11. Get Down With It
12. When My Baby Cries$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Use MePlated And Pressed At RTI
Cut By Bernie Grundman On All Analogue Tube Cutting System Using All Upgraded And Modified Vintage Sculley Cutting Lathes
Mastered Direcly From The Original 30 ips 1/4 Inch Analogue Master
The album introduces and throws the spotlight on the fantastic voice of Singaporean vocalist Vanessa Fernandez. The song selection includes tunes by Marvin Gaye, Curtis Mayfield, Isaac Hayes, Earth Wind & Fire, Bill Withers, Al Green and others. Top musicians playing on the album include the great bassist Lee Sklar (Phil Collins, Rita Coolidge, Bonnie Raitt, Linda Ronstadt, Lyle Lovett), acoustic guitars Tim Pierce (Bruce Springsteen, Michael Jackson, Celine Dion, Roger Waters, Tina Turner, Eric Clapton), electric piano Jim Cox (Willie Nelson, BB King, Aaron Neville, Ringo Starr, Lyle Lovett), drums Victor Indrizzo (Macy Grey, Marianne Faithfull, Meatloaf, Emmylou Harris), percussion Rafael Padillo (Julio Iglesias, Celine Dion, Pavarotti, Gloria Estefan), and harmonica Stanley Behrens (Willie Dixon, Canned Heat, Ruth Brown).
This is a great group of top LA musicians backing superlative performances by a great new singer!!!
Test Pressings of the album were demo-ed extensively at the Munich High End Show as well as at THE Show in Newport Beach and reaction has been overwhelmingly positive.
There are many records and labels who declare themselves to be of audiophile quality. Groove Note records all of their albums at the best studios in Hollywood (Oceanway, Record One, Cello, Sunset Sound) using a top Grammy nominated recording engineer, Michael C. Ross. All of our albums are recorded 100% analogue and the production masters are also mixed by 100% analogue by MC Ross. All albums are cut by one of the greatest mastering engineers in the world, Bernie Grundman, on an all analogue tube cutting system using all upgraded and modified vintage Sculley cutting lathes. All LPs plated and pressed by RTI on 180g audiophile vinyl.
This title is not eligible for discountLP1
1. I Just Wanna Be With You
2. Be Thankful For What You Got
3. Distant Lover
4. Hard Times
5. That Loving Feeling
6. Simply Beautiful
1. Use Me
2. I Love You More Than You'll Ever Know
3. Cool Cat
4. Here But I'm Gone
5. Be Thankful For What You Got (Alternate Mix)$44.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Great Chicago Fire (Out of Stock)A Chicago band known for its muddy work boots, anarchic stage shows and fondness for committing musical "pure butchery" (the New York Times' words, not ours) may seem an odd match for the stylish craft and classicism of a Nashville songwriting treasure, but that's just what came to be on the Great Chicago Fire.
Great Chicago Fire is a happy collaboration borne out of label mates, Paul Burch, a progenitor of the '90s Nashville Lower Broad scene, and the Waco Brothers, the Lenin-esque statue in the Square where the avenues of punk, country and rock 'n' roll intersect, sharing pitchers of Guerro's margaritas in Austin, TX at SXSW. Maybe it was the salt, maybe it was the heat, maybe it was the parade of cowboy boot shoppers and industry moguls passing before their eyes on South Congress Avenue, but two distinct creative energies decided to explore what music they could make together. Sharing songwriting, performing and production credits, it's the Wacos' first new material since 2005's Freedom and Weep and puts Paul's voice at the front and center of their mighty sonic assault; it's a willing collision of energy and ideas, of different voices, possibilities and permutations.
It turns out that the spit of the Waco Brothers, so at home in the blue collar and punk rock dives of Chicago, share an emotional camaraderie with the polish of the traditionally minded and archetypal stories and songs Nashville's Paul Burch has skillfully produced in his career, with both styles benefiting in surprising ways. The anthemic bluster of the Wacos, exemplified on the title song, with the whiff of T. Rex in its grooves, adds muscle to the thoughtful eloquence of the Burch penned "Monterey" and the galloping "Transfusion Blues," while the Appalachian echoes in "Up On The Mountain" move from the holler to the pub.
On the flipside, Jon Langford's jittery first-wave punk urgency on "Cannonball" is tempered by Burch's deft touch with the piano and hand jive percussion; don't even get us waxing about the tremolo guitar and those saucy sweet backing vocals by Tawney Newsome and Bethany Thomas. With Burch's inborn pop leanings as a polestar, the Wacos show they not be all fistfight energy, as with their closing time wistfulness on the gorgeous and lush "Flight to Spain." Similarly, Deano's meaty hooks and rust belt lyricism on "Give In" and "On The Sly" would fit right in at the Nashville watering hole shrine Tootsie's Orchid Lounge. Wrapping it all up with the sun's about to come up and it's time to go home giddiness of a night spent jamming with friends is a bleary and joyful singalong version of Bob Dylan's "Hard Rain's Gonna Fall."1. Great Chicago Fire
2. Give In
3. Wrong Side of Love
4. Flight to Spain
7. Someone That You Know
8. Transfusion Blues
9. On The Sly
10. Up On The Mountain
11. Hard Rain's Gonna Fall$16.99Vinyl LP - Sealed Temporarily out of stock
Heavy Ghost (Out Of Stock)Heavy Ghost communicates a startling range - from earnest yearning to heartbreak, shimmering hopefulness to the brink of existential despair. Stith's ethereal voice communicates the unfathomable - mysticism, the commingling of water and fire, waking dreams, spiritual torment - with such reckless abandon that is rarely seen in many albums, let alone a debut work. Includes appearances by Sufjan Stevens, Shara Worden of My Brightest Diamond, Osso, and Rafter.1. Isaac's Song - 1:38
2. Pity Dance - 4:21
3. Creekmouth - 4:10
4. Pigs - 4:54
5. Spirit Parade - 2:23
6. BMB - 2:43
7. Thanksgiving Moon - 3:59
8. Fire Of Birds - 5:13
9. Morning Glory Cloud - 3:56
10. GMS - 2:35
11. Braid Of Voices - 5:26
12. Wig - 2:35
Includes curtain speech EP.
13. Around The Lion Legs - 3:38
14. Curtain Speech - 1:38
15. Just Once - 7:23
16. Hoarse Sorrows And The Whole Blind Earth... - 2:46
17. Abraham's Song (Firebird) - 1:50$19.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
The Sinking Ship (Out Of Stock)The second full length release from this Boston, MA four-piece and the follow up to 2005s Above the City. Gritty, melodic punk/hardcore for fans of Dillinger Four, Avail and Hot Water Music.1: What Separates Us All
2: The Patty Hearst Syndrome
4: This Sinking Ship
5: Irish Handcuffs
6: Little Bohemia
7: Ill Be Gone
10: Life Imitating Art
12: Folding the Pages$12.99Vinyl LP - Sealed Temporarily out of stock