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Fly By Night'
Fly By Night (Awaiting Repress)200 Gram Vinyl
Remastered From The Original Analogue Masters
In 2014 UMe/Mercury reissued RUSH's self-titled debut on heavy-weight vinyl in celebration of the album's 40th anniversary. Now in 2015, let the RUSH 40 celebration continue with 12 Months of RUSH reissues - in chronological order - starting with Fly By Night. During the 12 Months of RUSH all 14 Mercury albums will be remastered on 200-gram heavy-weight vinyl at legendary Abbey Road, all from original analogue masters. The 1975 release of Fly By Night was the first to feature drummer Neil Peart, who also became the band's lyricist. The singles included the title track and "Making Memories. Fly By Night reached #113 on the Billboard chart, going platinum in both the U.S. and Canada.1. Anthem
2. Best I Can
3. Beneath, Between & Behind
4. By-Tor And The Snow Dog
5. Fly By Night
6. Making Memories
8. In The End$29.99200 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Upstairs At United, Vol. 5 (Keane) (Awaiting Repress)On June 21st, 2012, Keane, recorded a gut wrenching recording session, in what would become Volume 5 of the Upstairs at United series. The band recorded four songs from their catalog in a stripped down fashion that included only vocals, piano/organ, guitar, & stripped down percussion. The songs recorded that day were It's Not True, Sea Fog, Silenced By The Night, and Fly To Me.
Each song in this session was recorded in a single take direct to ¼ inch tape then cut at 45 RPM for the ultimate listening experience.1. It's Not True
2. Sea Fog
3. Silenced By The Night
4. Fly To Me$15.9912 Vinyl LP 45RPM - Sealed AWAITING REPRESS Buy Now
Let The Record PlayWe can come together, we won't give up on the fight, sings Nashville's Moon Taxi on their smash single Two High, a song that catapulted them to the top of the streaming charts and the forefront of the national stage. Filled with emotive vocals, a percussive beat and some unexpected, infectious horns, it's a track that shows the band - which has been together for over a decade - venturing into more adventuresome territory than ever. Fearlessly melding rock with pop hooks, clever synths and roots touchstones gleaned from their home in Music City, Moon Taxi's forthcoming fifth record and first for RCA will find the five-piece doing what they do best: coming together and fighting for music that triumphs above all.
Two High, the band's newest single, has been taking Moon Taxi - Trevor Terndrup (vocals, guitarist), Spencer Thomson (lead guitarist and producer), Wes Bailey (keyboardist), Tommy Putnam (bassist) and Tyler Ritter (drummer) - to new heights, topping over 60 million streams on Spotify and making heavy rotation on SiriusXM. Written in response to the push for peace, but not reacting to the politics, of the Women's March this past January, it's a song that encourages listeners to keep looking for a positive way forward - from their own internal battles, to the ones suffered by the world at large.
It's perhaps due to Moon Taxi's inspired, inclusive worldview when it comes to their music that they've been able to have songs featured as the soundtrack to multiple commercial and TV placements - from BMW, Nashville, MLB, NFL to HBO Sports - but it's their infectious live performances that keep fans coming back night after night. Touring for the better part of the decade, they're the kind of band that inspires a loyal following willing to drive miles and miles (or fly many more) to catch them again and again.1. Let the Record Play
2. Not Too Late
3. Good as Gold
4. Two High
5. No More Worry
6. Moving to the City
7. Nothing Can Keep Us Apart
8. Keep Me Coming
10. The Way$19.99Vinyl LP - Sealed Buy Now
ADAD-AST-9614xDots Will Echo
Drunk Is The New Sober/Stupid Is The New DumbDrunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"
"I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.
Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.
"A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"
In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.
The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.
Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."
At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.
Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.
Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."1. Untitled
2. I Like It
3. Untitled II
4. I'm a Monkey
6. Be a Friend
7. Whatcha Tryin to Do
8. Rocket Girls
10. Run Away Anna
11. History's Grave
12. Sweet Sweet Sanity
14. Who Left You Here
15. The Future
16. Untitled III
17. Peace in Your Life
18. Our Little Part of the World
19. Untitled IV
20. Gates of Eden
21. Visions of Light
22. Seven Deadly Sins
23. So Deep the Night$24.99Vinyl LP - 2 LPs Sealed Buy Now
While You Were SleepingJosÉ James has announced a his new album, While You Were Sleeping, his fifth studio album and his second album for Blue Note Records. While You Were Sleeping is the follow-up to his widely acclaimed R&B and jazz steeped No Beginning No End, and signals a new creative direction for the versatile singer-songwriter. The album was recorded in Brooklyn, NY, and was produced by JosÉ and Brian Bender.
That creative shift is heard in the rock edge of tracks like "EveryLittleThing" and "Anywhere U Go" and is evidenced in a change in JosÉ's band which adds guitarist Brad Allen Williams to the stellar line-up of keyboardist Kris Bowers, bassist Solomon Dorsey and drummer Richard Spaven. The influence of Jimi Hendrix can be heard throughout the album as much as R&B forefathers like Al Green. Special guests on While You Were Sleeping include vocalist Becca Stevens who duets with James on her song "Dragon," as well as trumpeter Takuya Kuroda who is featured on the cover of Green's classic "Simply Beautiful" that closes the album.
This album is a synthesis of everything I love about music," says JosÉ, "from contemporary artists like Frank Ocean, James Blake, and Junip to groundbreaking artists I grew up with like Nirvana, Radiohead, and Madlib. It's also a love letter to many late nights spent in East London clubs like Plastic People and Cargo, watching new movements unfold in electronic music. I want people to feel the joy of discovery that I experience night after night onstage, reaching for something new.
NPR Music raved about No Beginning No End, proclaiming "James makes utterly contemporary music," adding that he "skirts categories with ease, fitting in with current R&B innovators like Frank Ocean or Miguel, yet maintaining a strong awareness of a lineage that stretches from Ray Charles to Marvin Gaye to Lou Rawls to Maxwell."
Pitchfork noted that "While he's always been one to try stuff out - he successfully collaborated with Flying Lotus on Blackmagic - on No Beginning No End he finds a way to make an eclectic approach feel unified and whole. With previous releases, he's earned his heroic acclaim in the tough, tried-and-trusted lanes of contemporary jazz. With No Beginning No End, he's built his own road out."1. Angel
2. U r the 1
3. While You Were Sleeping
4. Anywhere U Go
6. 4 Noble Truths
7. Dragon feat. Becca Stevens
9. Without U
12. Simply Beautiful feat. Takuya Kuroda (Al Green)$19.99Vinyl LP - 2 LPs Sealed Buy Now
Heads & Tails (Featuring Taxi) (Awaiting Repress)
First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation
Mastered Impeccably By Joe Reagoso
Features His All Time Classic Masterpiece Taxi
Heads & Tails was the debut smash Lp from the late singer/songwriter and human rights activist Harry Chapin. Shortly after its release in 1972, and thanks in part to Johnny Carson for asking the artist to come back a second night after he blew the audience away with his storytelling classic hit Taxi, Harry Chapin was on soon on his way to the top rungs of the charts.
Radio programmers both rock and pop also took the cue and began to play the 7 minute single in tandem, as Taxi would soon become one of the biggest success stories of the time.
The album was filled with 8 more Chapin classics like his stellar Greyhound, Could You Keep Your Light On Please and the beautiful harmony filled Any Old Kind Of Day. With his amazing stories and masterful musicianship, Harry Chapin would go on beyond the musical landscape and become one of the leading human rights activists of his time with his food outreach programs, which are still in the works to this day (The Harry Chapin Foundation)
Friday Music is very honored to announce the limited edition release of late great Harry Chapin's Heads & Tails. This first time 180 Gram Audiophile Vinyl was mastered impeccably by Joe Reagoso at Captiol Records and will also be presented in a stunning gatefold cover to further enhance your listening experience.
This is a wonderful album for his old fans to revisit for the first time in the audiophile vinyl domain, as well as to share with others who may never have heard the amazing stories and songs that tru
ly made this sorely missed artist a musical pioneer.
I Go Flying So High1. Could You Put Your Light on, Please
3. Everybody's Lonely
4. Sometime, Somewhere Wife
7. Any Old Kind of Day
9. Same Sad Singer$26.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
REDI-SUN-5366xThe Love Exchange
The Love Exchange
Mastered From The Original Analog Tapes
Features Complete Original Cover Art
Limited Edition Of 1000 Copies
Both adventurous and appealingly innocent, the Love Exchange's eponymous 1968 album stands as a perfect example of Aquarian-age sunshine pop. Boasting a swirling, jangly sound and a distinctive lead singer in 16-year-old Bonnie Blunt, the Los Angeles quintet burned briefly but brightly. They remained together together long enough to make this album, which remains a favorite of '60s aficionados.
Led by the buoyant, infectious psych-folk-pop single "Swallow the Sun," The Love Exchange perfectly captures the open-minded, open-hearted spirit of its era. Such tunes as "Flying High," "Meadow Memory," "Saturday Night Flight 505" and a take on Allen Toussaint's classic "Get Out of My Life Woman" are distinguished by the band's male/female vocal blend, by Walt Flannery's now-sound organ work and by the interplay of guitarists Dan Altchuler and Fred Barnett. It's music that plays like the perfect soundtrack for a Griffith Park Love-In.
Pressed on 180-gram vinyl, mastered from the original analog tapes and featuring complete original cover art, this Sundazed edition is limited to only 1000 copies!1. Get Out Of My Life, Woman
2. Swallow The Sun
3. Flying High
4. Meadow Memory
5. Saturday Night Flight 505
6. Give Up On Love
8. Ballad Of A Sad Man
9. Nothing At All
10. Mrs. Ansel Griffith$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Newport Uproar (Pure Pleasure)
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.
There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.
All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.
- Lionel Hampton (vibraphone, piano, drums)
- Illinois Jacquet (tenor saxophone)
- Snooky Young, Wallace Davenport (trumpet)
- Al Grey, Benny Powell (trombone)
- Jerome Richardson, George Dorsey, Ed Pazant (reeds)
- John Spruill, Milt Buckne (piano)
- Billy Mackel (guitar)
- George Duvivier (bass)
- Steve Little (drums)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Turn Me Loose
2. Thai Silk
3. Tempo's Birthday
4. Greasy Greens
5. Greasy Greens (Encore)
6. Meety Benny Baily
Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
8. Misunderstood Blues
9. Flying Home$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sub Rosa (Discontinued)Produced by Harris and drummer Bill Dobrow, the new album will feature 14 gorgeous tracks recorded and mixed between November 2011 and March 2012 during a series of extended trips down to Rio De Janeiro where Harris encamped at Monoaural, a recording space built into an old house in the city's Baixo-Gavea section.
Sub Rosa pulls in the talents of long-time friends and cohorts, Norah Jones, Melody Gardot, Conor Oberst, and noteworthy Brazilian artists such as 27-year old keyboardist/arranger Maycon Ananias (Maria Gadu, Milton Nascimento) and Dadi, co-producer and bassist for Marisa Monte, who also plays with Jorge Ben (and who has the esteemed honor of having a Caetano Veloso song written about him). Also in the mix are singer Maria Gadu, jazz guitar legend Bill Frisell, singer/songwriter/multi-instrumentalist Vinicius Cantuaria (who let Jesse and Bill crash at his house the entire time), guitarist Guilherme Monteiro (Forro In The Dark, Bebel Gilberto) and guitarist Nick Zinner, as well as ensembles of strings and horns with players ranging from members of Bon Iver to Brooklyn Rider. The album is a masterpiece of modern record making, striking the perfect balance between the spontaneity of live sessions and high fidelity and the craft of great songs and arrangements.
Probably best known for his 2003 Song Of The Year Grammy win for Jones' "Don't Know Why," Harris has been arguably one of the most prolific singer/songwriter/musicians in the country for nearly two decades now. Sub Rosa marks the eleventh in a fairly rapid succession of albums, most recently 2005's Mineral, 2007's Feel, 2009's Watching The Sky, and 2010's double-release of Through The Night and an instrumental album, Cosmo.
Prior to the lone wolf efforts, Harris released a pocketful of records with his noteworthy group, the Ferdinandos and yet another album prior to those with Once Blue, a duo with Rebecca Martin, in 1995. Nearly countless sessions later with friends and music-makers, piles of successful co-writes, covers of his songs, and shared stages with the likes of Jones, American Music Club, Bright Eyes, Joshua Radin and Ani DiFranco, Sub Rosa is clearly Harris' brass ring.
"I Know It Won't Be Long," is the kick off with a foot stomp two/four and a horn section holding down the choruses with Maria Gadu's lilting harmonies flying throughout. "Rocking Chairs," co-written with Dadi, is a whisper of powerful words, a perfume breeze that goes right to your memory and won't let you go, featuring Jones' backing vocal. "I Won't Wait" gives us an almost tarantella rendering this time with Oberst on backing vox, Zinner on tremolo guitar and an incredible string arrangement by Ananias. That's Frisell on guitar and Cantuaria playing maracas on "It's Been Going Around" and Gardot providing backing vocals for "Tant Pis." The list goes on-another pocketful of perfect songs the heartbeat of which can be felt just as powerfully on Coney Island as it can on Copacabana Beach.1. I Know It Won't Be Long
2. Rocking Chairs
3. All Your Days
4. It's Been Going 'Round
5. Waltz Of The Rain
6. Sad Blues
7. Afternoon In Kanda (Instrumental)
8. I Won't Wait
10. The Maiden
11. Tant Pis
12. Rube And Mandy At Coney Island
13. You Used To Call Me (Instrumental)
14. Let It All Come Down$19.99Vinyl LP - Sealed Buy Now
The Nat King Cole StoryAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52
The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle
...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010
One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.
His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.
A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.
Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.
Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.
This title is not eligible for discount.1. Straighten Up And Fly Right
2. Sweet Lorraine
3. It's Only A Paper Moon
4. (Get Your Kicks On) Route 66
5. (I Love You) For Sentimental Reasons
6. The Christmas Song (Merry Christmas To You)
7. Nature Boy
8. Lush Life
9. Calypso Blues
10. Mona Lisa
11. Orange Colored Sky
12. Too Young
14. Somewhere Along The Way
15. Walkin' My Baby Back Home
17. Blue Gardenia
18. I Am In Love
19. Answer Me, My Love
21. Darling, Je Vous Aime Beaucoup
22. The Sand And The Sea
23. If I May
24. A Blossom Fell
25. To The Ends Of The Earth
26. Night Lights
29. Send For Me
30. St. Louis Blues
31. Looking Back
32. Non Dimenticar (Don't Forget)
34. Oh, Mary, Don't You Weep
35. Ay, Cosita Linda
36. Wild Is Love (spoken intro and song)
37. Ramblin' Rose
38. Those Lazy-Hazy-Crazy Days Of Summer$149.99200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
First Rays of the New Rising Sun (Awaiting Repress)Cut from the Analog Masters by Legendary Engineer George Marino at Sterling Sound and Pressed on 180-gram Vinyl at RTI!
First-Ever Audiophile Edition of this Seminal Collection, Hendrix's Final Studio Album!
The Hendrix Family is Committed to Bringing you the Best Sound Quality Possible: Do Not Miss This Collection!
Set Joins Exquisitely Remastered Versions of Are You Experienced?, Axis: Bold As Love, Electric Ladyland, and the previously unreleased Valleys of Neptune!
Hendrix Has NEVER Sounded Better on Any Format or Pressing!
First Rays Of The New Rising Sun, the last graceful gesture by pioneering guitarist Jimi Hendrix, is the first album prepared under the supervision of his family. It compiles 17 songs whose creation span from March of 1968 to the last sessions at Electric Lady Studios in August of 1970, and which Hendrix inteded for release on this album, which was being made at the time of his tragic death. The material finds Hendrix expanding upon the parameters of his voice, concentrating on his singing while also embracing soul music more than he had on his other recordings. Hence, listeners hear funkier, bluesier, and R&B-slanted elements on this staggering set, which in no way comes off as a cheaply thrown-together posthumous release. Rather, given the level of experimental psychedelic exploration and dreamlike tones throughout, First Rays of the New Rising Sun rightly takes its place as Hendrix's final studio album. And it's never sounded so amazing.
Mastered from the original analog tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this LP is a sonic knockout on par with the very best audiophile recordings. It's no wonder that this release helps spearhead Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history. Albums don't get more essential than this.
Originally released in 1997, First Rays Of The New Rising Sun boasts many of Hendrixs most creative musical achievements, including Night Bird Flying, Angel, Dolly Dagger, Hey Baby (New Rising Sun), and In From The Storm. Finally, here is the link that connects Hendrix's involvement with the Isley Brothers with his own groundbreaking solo fare, now on a truly glorious-sounding pressing. An absolute must for any music fan.1. Freedom
3. Night Bird Flying
5. Room Full Of Mirrors
6. Dolly Dagger
7. Ezy Ryder
10. Stepping Stone
11. My Friend
12. Straight Ahead
13. Hey Baby (New Rising Sun)
14. Earth Blues
15. Astro Man
16. In From The Storm
17. Belly Button Window$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Briefcase Full Of Blues
Celebrate The New Year With Their Classic # 1 Mega Platinum Debut Album
First Time Audiophile Vinyl Release
Mastered Impeccably From The Authorized & Original1978 Atlantic Records Tapes By Joe "i Got The Blues" Reagoso
After their phenomenal success on Saturday Night Live and a number of smash comedy movies already in
their resume, John Belushi and Dan Akroyd dove headfirst into their love of soul, blues and r & b and began
the Blues Brothers duo, netting them a number one album, top hit singles, a box office smash and acclaim
from purists and blues lovers from all over with their first LP, Briefcase Full Of Blues.
Recorded in 1978 at the Universal Amphitheater in Los Angeles, the late great John Belushi and Dan
Akroyd opened a set before comedian and good friend Steve Martin. To the crowd's amazement, the duo
blasted them a blistering rock 'n' blues performance which was captured on tape for their first album Briefcase
Full Of Blues. They later appeared on SNL and the rest as they say is history, as this stunt became reality in no
time and thus began a short lived but amazing piece of rock and blues history.
Released during the holiday season, the album became a number one smash and netted two smash singles
with the classic nod to the Stax sound with Sam & Dave's "Soul Man" as well as the '50s doo wop
classic, "Rubber Biscuit."
With a stellar musician lineup of classic R & B and traditional blues purists like Steve Cropper and Duck
Dunn from Booker T. & The M.G.'s, Chess Records sideman to the stars Matt "Guitar " Murphy,
saxophone champion Tom Scott and a handful of New York City's finest on the reeds, rounded out with Paul
Shafer on keys, The Blues Brothers were a force to reckon with as their albums would go on to sell in the
millions making them one of the biggest bands in the late seventies into the eighties.
With a stunning set list of righteous blues and soulful interpretations, this masterpiece is filled with nonstop classics like the hard boppin' opener Hey Bartender, blues belters like Junior Wells' "Messin' With The
Kid" and Big Joe Turner's "Flip Flop Fly," plus southern rockers like Delbert McClinton's "'B" Movie Box Car
In addition to these legendary performances, this unique concert recording yielded more with powerhouses
like the smash I Don't Know, King Floyd's Groove Me, and the blues thriller Shot Gun Blues.
Friday Music is no stranger to the blues. Therefore, it is with much honor to announce the first installment
in our Blues Brothers 180 Gram Audiophile Vinyl Series with their brilliant masterwork Briefcase Full Of Blues.
For the first time ever on 180 Gram Vinyl, this limited edition classic was mastered impeccably and
faithfully from the original 1978 Atlantic Records tapes by their Atlantic Records label alumni Joe Reagoso
(John Lee Hooker/ Muddy Waters/Johnny Winter) at Friday Music Studios and Capitol Records in Hollywood,
To enhance your Jake and Elwood experience even further, this stunning limited anniversary edition also
includes the original album cover art, Miami Mitch Glazer's funny liner notes as well as the 12 brilliant tunes
you will truly forever enjoy in the audiophile vinyl domain.
Blues Brothers .Briefcase Full Of Blues The Anniversary Edition, A first time Audiophile Vinyl
Experience . Authorized and Live ..Exclusively from your friends at Friday Music .
I'M A SOUL MAN!!!1. Opening / I Can't Turn You Loose
2. Hey Bartender
3. Messin' With The Kid
5. Rubber Biscuit
6. Shot Gun Blues
7. Groove Me
8. I Don't Know
9. Soul Man
10. "B" Movie Box Car Blues
11. Flip, Flop & Fly
12. Closing / I Can't Turn You Loose$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
SanctuaryNow heavily influenced by the earth-shaking creations of two master musicians -John Coltrane and Ravi Shankar-the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillman's swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimensionwas as outspoken and defiant as the man, himself. Acreative zenith in the Byrds' career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio sweetening-strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. EIGHT MILES HIGH
3. RYDER (I Know My Rider)
4. JOHN RILEY I
5. 2-4-2 FOX TROT (The Lear Jet Song)
6. PSYCHODRAMA CITY
7. JOHN RILEY II
8. WILD MOUNTAIN THYME
9. HEY JOE (Where You Gonna Go)
10. I SEE YOU
11. WHAT'S HAPPENING?!?!
12. CAPTAIN SOUL(30 Minute Break)$28.99Vinyl LP - Sealed Buy Now
Another DimensionNow heavily influenced by the earth-shaking creations of two master musicians (John Coltrane and Ravi Shankar)the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillmanï¿½s swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimension was as outspoken and defiant as the man, himself. Acreative zenith in the Byrd's career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio Sweetening of strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. Eight Miles High
3. Ryder (I Know My Rider)
4. John Riley I
5. 2-4-2 Fox Trot (The Lear Jet Song)
6. Psychodrama City
7. John Riley II
8. Wild Mountain Thyme
9. Hey Joe (Where You Gonna Go)
10. I See You
11. What's Happening?!?!
12. Captain Soul (30 Minute Break)$24.9910 Vinyl LP Gatefold Set - 2 LPs Sealed Buy Now
That's The Way It IsImport
3-Fold Gatefold Sleeve
13 Tracks Previously Unreleased
LP 1 & 2 = The Original Album (Plus Singles And Outtakes)
LP 3 & 4 = August 12 - Dinner Show
Originally released in November 1970, Elvis: That's The Way It Is combined eight studio tracks, recorded in Nashville, and four live concert performances recorded in Las Vegas during Presley's 1970 'Summer Festival' season at The International Hotel in Las Vegas. Elvis played dozens of times at The International Hotel in 1969 and 1970 over several number of weeks. Elvis was on a roll and making big plans - including a feature film and studio time in Nashville.
When Elvis arrived at RCA's Studio B in Nashville on June 4, 1970, producer Felton Jarvis had assembled a hot new session band featuring Elvis' on-stage guitar legend James Burton. Five nights of recording generated material for no less than three future albums and four singles, including Elvis: That's The Way It Is.
This brand new 4LP version, That's The Way It Is (Expanded Edition) centers on one show at The International which was recorded and partially filmed by MGM. These show recordings are released for the first time in their entirety. The original RCA album is expanded with four single sides from the period, and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the album.
With remastered audio and packed in a triple gatefold sleeve, this 4LP set includes a 16 page booklet with rare pictures and new liner notes.LP1
1. I Just Can't Help Believin'
2. Twenty Days And Twenty Nights
3. How The Web Was Woven
4. Patch It Up
5. Mary In The Morning
6. You Don't Have To Say You Love Me
7. You've Lost That Lovin' Feelin'
8. I've Lost You
9. Just Pretend
10. Stranger In The Crowd
1. The Next Step Is Love
2. Bridge Over Troubled Water
3. I've Lost You (single Version)
4. The Next Step Is Love (single Version)
5. You Don't Have To Say You Love Me (single Version)
6. Patch It Up (single Version)
7. How The Web Was Woven (take 1)
8. I've Lost You (take 1)
9. You Don't Have To Say You Love Me (take 2)
10. Patch It Up (take 1)
11. Bridge Over Troubled Water (take 1)
1. That's All Right
2. I Got A Woman
3. Hound Dog
4. Heartbreak Hotel
5. Love Me Tender
6. I've Lost You
7. I Just Can't Help Believin'
8. Patch It Up
9. Twenty Days And Twenty Nights
1. You've Lost That Lovin' Feelin'
2. Polk Salad Annie
4. Blue Suede Shoes
5. You Don't Have To Say You Love Me
6. Bridge Over Troubled Water
7. Suspicious Minds
8. Can't Help Falling In Love$69.99180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
Golden SkiesIt speaks volumes for how long we've been waiting for the debut Brainfeeder album from Mono/Poly that when Flying Lotus first got in touch with him about doing something for the label, it was via Myspace. The wait, though, has been worth it. Specializing in a kind of beat-driven cosmic soundscape which he describes as "electronic-classical-alchemy music," Mono/Poly aka Charles Dickerson has drawn on the lessons he's learned from collaborating on last year's Thundercat album as well as the Flash Bang Grenada hip hop project with Busdriver and Nocando, and made a beautifully realized, endlessly expansive record.
From the first orchestral trills of "Winds of Change" you know you're in for something special. As the track builds the listener notices not only the content but also the production chops - this is a record which sounds exactly as big, glossy and up front as its creator wants it to. Rebekah Raff adds scintillating harp work to "Transit to the Gold Planet," but it's the way Dickerson integrates it and builds on it which is really special. "Ra Rise" sounds like sunbathing in space, Niki Randa's abstracted topline vocal warming you right through. Title track, "Golden Skies" uses a looping piano riff reminiscent of Bach, Thelonious Monk and Wu Tang on E, all at once, without sounding like any of them. Add sternum- thrumming bass to that and you know exactly what's what. "Alpha & Omega" does something clever with slowed down d&b licks and tweaked vocal snips. "Empyrean" features Mendee Ichikawa (of the band Free Moral Agents), an ethereal, ghostly presence. "Night Garden" sounds like a drive through the dark streets of an alternate LA. "Euphoria" uses a simple, military-style snare and then twines keyboard lines over it until it's lifted into the sky. Thundercat joins in on last track, "Gamma," and adds some perfectly-judged low-end riffing to anchor Dickerson's keyboard swirls.
Mono/Poly has been a name to watch since his debut, The George Machine, back in 2009. His 2011 EP release for Brainfeeder, Manifestations, was supported by artists as diverse as Radiohead and Erykah Badu and his work on Thundercat's Apocalypse established once and for all the quality of his productions. With Golden Skies he has laid down a marker to any other "beat maker" out there. Because with a genuine producer with this much talent, everyone else needs to aim a little bit higher - up towards the golden skies.1. Winds Of Change
2. Transit to the Golden Planet
3. Ra Rise
4. Golden Gate
5. Golden Skies
6. Light Age
7. Alpha & Omega
9. Empyrean (feat. Mendee Ichikawa)
11. Night Garden
13. Gamma$24.99Vinyl LP - Sealed Buy Now
Front Porch SessionsSouthern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.
That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.
"It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."
The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."
I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."
We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.
"We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."
That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.
Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.
"This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."
The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"
Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.
"In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.
"Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."
The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.
"I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."
With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.
"I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."1. We Deserve a Happy Ending
2. When My Baby Left Me
3. Shakey Shirley
4. What You Did to the Boy Ain't Right
5. One Bad Shoe
6. It's All Night Long
7. One More Thing
8. Flying Squirrels
9. Let Your Light Shine
10. When You Lose Your Money
11. Cornbread and Butterbeans$18.99Vinyl LP - Sealed Buy Now
Deadweight (Awaiting Repress)Pressed On Colored Vinyl
WAGE WAR If you think that you've already heard it all when it comes to heavy music, you just haven't heard Wage War. The group - which is composed of vocalist Briton Bond, guitarist/vocalist Cody Quistad, guitarist Seth Blake, bassist Chris Gaylord and drummer Stephen Kluesener - formed in Ocala, Florida, in 2013 and instantly started playing all over the area, quickly getting signed to Fearless Records the old fashioned way: By sending a song to the label. From there the group linked up with the production team of Andrew Wade (Neck Deep, Motionless In White) and A Day To Remember vocalist Jeremy McKinnon who produced their 2015 debut Blueprints together and returned to produce the sophomore full-length Deadweight, which the band started writing immediately after they finished their debut.
"I'm very proud of Blueprints but a lot of those songs were written seven years ago so who we are as people and musicians these days is drastically different," Quistad explains - and a listen to Deadweight confirms that statement. "I think a big strength of this new record is the continuity of sitting in a room together and playing instead of trying to send files back and forth," he continues. "We were truly grinding out songs and I think this album still sounds like Wage War but, at the same time, it has some of our most melodic moments as well as some of the heaviest." The latter is evidenced on songs like "Stitch" which is certain to incite frenzied mosh pits for years to come and displays an aggression that the band has only hinted at in the past.
"We really tried to not overthink things on this record and just do whatever worked for the song, even if it was something that people might not necessarily expect," Quistad says. For this reason, the band decided it made sense to enlist the aforementioned producers who truly understood Wage War on a deep level. "There were so many early mornings and late nights making this record and it was such a pleasure to work with Andrew and Jeremy again because you could tell that they really cared about it and would go to any ends to make it the best that it could be." From the explosive production to the alternately screamed and sung vocals of "Don't Let Me Fade Away," all seven of the people involved in the making of TBA worked as one unit in working toward the same collective goal.
Lyrically, Deadweight sees the band exploring both personal to political issues in a way that's as raw and honest as the music that supports them. "This record is very much a snapshot of the past year; we are all very positive people but in 2016 we went through so much from seeing the world for the first time to scraping the bottom at some point emotionally or with relationships," Quistad admits. From 3 a.m. run-ins with refugees in Europe to flying home only to be confronted with the aftermath of the Pulse nightclub shooting in Orlando, there was no shortage of content to draw from this time around. "We didn't hold anything back when it came to this record, so hopefully it's as therapeutic for listeners as it was for us."
In a heavy music scene that's increasingly formulaic, Wage War pride themselves on the fact that they listen to a diverse range of music. "I'm a big fan of country music which surprises a lot of people and other guitarist Seth is really into pop music," Quistad explains. "We have an appreciation for all kinds of stuff and I think that all of it bleeds into the album in some way even if it's not always blatant." Take the song "Johnny Cash" which recalls the country tradition of paying homage to a pioneer of a genre while still retaining the heaviness of the act. "We get called metalcore a lot but we've never pledged allegiance to any genre because we always want to do something beyond that in the sense that we just listen to what we love and try to incorporate that into Wage War."
More than anything though, the band can't wait to get back on the road and start playing the songs from Deadweight live. "We played three hometown shows at the end of last year where we would include a new song and it was so cool to see the crowd react to the new material," Quistad says - and it's obvious that palpable excitement goes both ways. "This album is the truest representation of Wage War in the sense that we wanted to put every part of us under the microscope and come up with something that we're not only proud of but also encompasses what we want to be as a band and the kind of musical statement we want to lay down," he summarizes. "I would say this is a defining album for our band."1. Two Years
3. Don't Let Me Fade Away
8. Never Enough
11. My Grave Is Mine To Dig
12. Johnny Cash$18.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now