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  • Johnny Cash: Forever Words Johnny Cash: Forever Words Quick View

    $24.99
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    Johnny Cash: Forever Words

    Johnny Cash: Forever Words is a collaborative album consisting of 16 songs created from Johnny Cash's unknown poetry, lyrics, and letters set to music by an astounding array of contemporary artists including Chris Cornell, Ruston Kelly & Kacey Musgraves, Rosanne Cash, Alison Krauss & Union Station, Brad Paisley, Kris Kristofferson & Willie Nelson, John Mellencamp, Elvis Costello, and more.


    For nearly 60 years, the words of Johnny Cash have reached across cultural, spiritual and ideological borders. He was not only a singer of great songs, but a teller of universal truths about justice, faith, love, and independence. It was in this spirit that Johnny Cash: Forever Words, was created.


    Recorded primarily at The Cash Cabin Studio in Hendersonville, Tennessee and co-produced by John Carter Cash and Steve Berkowitz, Johnny Cash: Forever Words is also the musical companion to the best-selling Forever Words: The Unknown Poems, a volume of Cash's unpublished writing edited by Pulitzer Prize-winning poet Paul Muldoon.

    1. Forever / I Still Miss Someone - Kris Kristofferson & Willie Nelson
    2. To June This Morning - Ruston Kelly and Kacey Musgraves
    3. Gold All Over the Ground - Brad Paisley
    4. You Never Knew My Mind - Chris Cornell
    5. The Captain's Daughter - Alison Krauss and Union Station
    6. Jellico Coal Man - T Bone Burnett
    7. The Walking Wounded - Rosanne Cash
    8. Them Double Blues - John Mellencamp
    9. Body On Body - Jewel
    10. I'll Still Love You - Elvis Costello
    11. June's Sundown - Carlene Carter
    12. He Bore It All - Dailey & Vincent
    13. Chinky Pin Hill - I'm With Her
    14. Goin', Goin', Gone - Robert Glasper feat. Ro James, and Anu Sun
    15. What Would I Dreamer Do? - The Jayhawks
    16. Spirit Rider - Jamey Johnson
    Various Artists
    $24.99
    Vinyl LP - Sealed Buy Now
  • School's Out School's Out Quick View

    $31.99
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    School's Out

    Originally produced by Bob Ezrin, this multi-platinum effort forever etched the word superstar to Alice Cooper, as this legacy recording has truly stood the test of time. Aside from the smash title track, the album contained equally strong album tracks like Public Animal #9, My Stars and Alma Mater. This major release has also been one of the most influential hard rock recordings of its time, as well as being one of the biggest albums of Cooper's amazing career. Remastered from the original Warner Bros. vault tapes by Joe Reagoso (David Lee Roth, Deep Purple, Thin Lizzy), this stunning album now has the most impeccable sound ever, complete with a very sharp gatefold cover with the original art elements, and poly sleeve.
    1. School's Out
    2. Luney Tune
    3. Gutter Cat Vs. The Jets
    4. Street Fight
    5. Blue Turk
    6. My Stars
    7. Public Animal #9
    8. Alma Mater
    9. Grande Finale
    Alice Cooper
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Definitely Maybe Definitely Maybe Quick View

    $34.99
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    Definitely Maybe

    Remastered Reissue Of The Classic Debut Album


    In 20 years' time, people will buy Definitely Maybe and listen to it for what it was. That's what is important." Noel Gallagher, August 1994. Remarkably
    confident words from a guitarist on the eve of his band's debut album release. But Oasis were always certain in their abilities - and the public were just as
    clear the five-piece were on the right track.Let's get the statistics out of the way. On its release in August 1994, Definitely Maybe sold a record-breaking
    86,000 copies in its first week, the highest first-week sales for a debut album in Britain. It has since gone on to sell 5 million around the world. Over the
    course of their eight albums until disbanding in 2009, Oasis sold over 70 million albums. More importantly, the songs sound as fresh and relevant today as
    they did 20 years ago. A hunger to escape will always sound vital, especially if it's sung as mesmerically as Liam Gallagher and written with the urgency
    of Liam's older brother Noel. Its four singles - Supersonic, Shakermaker, Live Forever and Cigarettes And Alcohol - are established classics. Even more
    impressively, songs that were never released outside of the album's confines such as Rock 'N' Roll Star and Slide Away also remain anthems and radio
    staples known to every generation of music fan.

    1. Rock N Roll Star
    2. Shakermaker
    3. Live Forever
    4. Up In The Sky
    5. Columbia
    6. Supersonic
    7. Bring It On Down
    8. Cigarettes & Alcohol
    9. Digsys Dinner
    10. Slide Away
    11. Married With Children
    Oasis
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Times They Are A-Changin' The Times They Are A-Changin' Quick View

    $49.99
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    The Times They Are A-Changin'

    The Times They Are A-Changin' on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Stark, Austere, Acoustic Record Dylan's First With All-Original Material


    Title Track, The Lonesome Death of Hattie Carroll, With God on Our Side Establish Dylan as Voice of Social Consciousness


    The Bard Addresses Issues Such as Equality, Racism, and Poverty and Helps Ignite 1960s Political Movements


    Faithful to the Source: Information-Rich 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Immediately distinguished by the you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version delivers the landscape-shifting music in reference-quality sound that practically transports you to Columbia's Studio A. Reflecting the austerity of the topics and Dylan's mood, the sonics are direct and unadorned-each word hitting with weight, each phrase lingering until it pulls you under, each storyline echoing as fact. The hollow body of Dylan's guitar, internal mechanisms of his harmonica, and graininess of his throat come across in full-on detail. Wider grooves mean more information reaches your ears.


    Marking a shift from the looseness and comedy that pepper the preceding The Freewheelin' Bob Dylan, The Times They Are A-Changin' skirts any attempt at humor, sarcasm, or goofiness in favor of utmost seriousness and severity. Seemingly anticipating the dark events surrounding President Kennedy's assassination and the turmoil that followed, Dylan eliminates with conjecture and disguise. Akin to dispatches from the typewriter of literary icons John Steinbeck and William Faulkner, his songs give voices to the voiceless, challenge cultural precepts, upend traditional beliefs with rapier wit and truths, and underline tragedies swept under the rug.


    In doing so, Dylan creates stinging protest music that rallies against unchecked authority, discrimination, brutality, and division. A testament to the power of great art, The Times They Are A Changin' is a righteous assault on ignorance and agent for sweeping action, a necessary impetus for transformation and enlightenment. Via bold originals such as the nonfiction "The Lonesome Death of Hattie Carroll," assertive "Restless Farewell," and semi-autobiographical "North Country Blues," Dylan casts hardships, greed, and victimization in such relatable terms it's impossible to turn away and ignore their implications.


    As correctly relayed by Dylan expert and cultural critic Greil Marcus, "[The record] forever fixed Bob Dylan in the popular imagination: the protest singer, the young man 'able to see through metal' (again, from Chronicles), to see through the lie and find the truth, then to hammer the truth into words and send them out with a voice that would never break."


    This title is not eligible for discount.

    1. The Times They Are A-Changin'
    2. Ballad of Hollis Brown
    3. With God on Our Side
    4. One Too Many Mornings
    5. North Country Blues
    6. Only a Pawn in Their Game
    7. Boots of Spanish Leather
    8. When the Ship Comes In
    9. The Lonesome Death of Hattie Carroll
    10. Restless Farewell
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Times They Are A-Changin' (Mono) The Times They Are A-Changin' (Mono) Quick View

    $49.99
    Buy Now
    x

    The Times They Are A-Changin' (Mono)

    The Times They Are A-Changin' on Numbered Limited Edition 180 Gram 45RPM Mono Vinyl 2LP from Mobile Fidelity


    Stark, Austere, Acoustic Record Dylan's First With All-Original Material


    Title Track, The Lonesome Death of Hattie Carroll, With God on Our Side Establish Dylan as Voice of Social Consciousness


    The Bard Addresses Issues Such as Equality, Racism, and Poverty and Helps Ignite 1960s Political Movements


    Strictly Limited to 3,000 Copies and Mastered from the Original Master Tapes, Mobile Fidelity's 45RPM Mono Vinyl Set Presents Dylan's Voice, Guitar, and Harmonica in Superlative Sound


    Immediately distinguished by the direct mono sound and you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner like few albums before or since.


    Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's restored 45RPM analog version delivers the landscape-shifting music in reference-quality mono sound that transports you to Columbia's Studio A. Reflecting the austerity of the topics and Dylan's mood, the sonics are direct and unadorned-each word hitting with weight, each phrase lingering until it pulls you under, each storyline echoing as fact. The hollow body of Dylan's guitar, internal mechanisms of his harmonica, and graininess of his throat come across in full-on detail. Wider grooves mean more information reaches your ears.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.


    Marking a shift from the looseness and comedy that pepper the preceding The Freewheelin' Bob Dylan, The Times They Are A-Changin' skirts any attempt at humor, sarcasm, or goofiness in favor of utmost seriousness and severity. Seemingly anticipating the dark events surrounding President Kennedy's assassination and the turmoil that followed, Dylan eliminates with conjecture and disguise. Akin to dispatches from the typewriter of literary icons John Steinbeck and William Faulkner, his songs give voices to the voiceless, challenge cultural precepts, upend traditional beliefs with rapier wit and truths, and underline tragedies swept under the rug.


    In doing so, Dylan creates stinging protest music that rallies against unchecked authority, discrimination, brutality, and division. A testament to the power of great art, The Times They Are A-Changin' is a righteous assault on ignorance and agent for sweeping action, a necessary impetus for transformation and enlightenment. Via bold originals such as the nonfiction The Lonesome Death of Hattie Carroll, assertive Restless Farewell, and semi-autobiographical North Country Blues, Dylan casts hardships, greed, and victimization in such relatable terms it's impossible to turn away and ignore their implications.


    As correctly relayed by Dylan expert and cultural critic Greil Marcus, [The record] forever fixed Bob Dylan in the popular imagination: the protest singer, the young man 'able to see through metal' (again, from Chronicles), to see through the lie and find the truth, then to hammer the truth into words and send them out with a voice that would never break.


    This title is not eligible for discount.

    1. The Times They Are A-Changin'
    2. Ballad of Hollis Brown
    3. With God on Our Side
    4. One Too Many Mornings
    5. North Country Blues
    6. Only a Pawn in Their Game
    7. Boots of Spanish Leather
    8. When the Ship Comes In
    9. The Lonesome Death of Hattie Carroll
    10. Restless Farewell
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • Supermoon Supermoon Quick View

    $13.99
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    Supermoon

    Recorded primarily during the perigee-syzygy (also known as the super moon) of August 2014,
    the Supermoon EP from S. Carey is a study in scale, space, and proximity. These songs are a new
    and closer look into existing works from both S. Carey's renowned full-lengths, 2010's All We
    Grow and 2014's Range of Light. With Supermoon, Carey has broken these songs down to their
    essential, acoustic parts with his forever humming vocals laid over top, lilting yet percussive
    piano, and a subtle swath of harmonic strings. You can hear Carey's breath between words and
    the pat of his fingers on the keys; you can hear the living room in which his family's baby grand
    piano sits. These songs are beautiful, intimate and so potently personal. This collection is a stark
    presentation of S. Carey laid bare, an open invitation for the listener to climb into his world.


    One particularly poignant piece is the re-imagined Range of Light closer, Neverending
    Fountain, perhaps an apt metaphor for the life of the songs themselves. Says Carey, The longer
    you spend with a song, the more you can see it in its pure form. Supermoon also features a
    heartrending cover of Bullet Proof.. I Wish I Was from Radiohead's classic album The Bends,
    and a new song, the EP's namesake, Supermoon, which takes its inspiration, like much of
    Carey's work, from the natural world around him.


    Another source of inspiration quoted by Carey is the excitement of working out arrangements
    for pre-existing songs on the spot, for various sessions on tour. He brought that spirit to the
    recording of Supermoon, which took place over the course of a single weekend. Already known
    as an artist of impeccable craft, S. Carey worked with long-time friends and collaborators (Mike
    Noyce played viola, Zach Hanson engineered, mixed, and mastered) to add a chapter to the still
    unfolding story of Sean Carey as an artist. We can hear the songwriting, singing and
    performance for what it truly is; understated, true and pure beauty.

    1. Fire-scene (alt. version)
    2. We Fell (alt. version)
    3. Supermoon
    4. In the Stream (alt. version)
    5. Neverending Fountain (alt. version)
    6. Bullet Proof.. I Wish I Was
    S. Carey
    $13.99
    Vinyl EP - Sealed Buy Now
  • IV IV Quick View

    $19.99
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    IV

    LETTER CONCERNING THE RECORD 'IV' AND A POST SCRIPT TO FANS


    A lot can happen in twelve years. It is beyond probable (if not brutally unavoidable) that such a period of time could render a man nearly unrecognizable to his older self. I would not categorize the young man who made three records under the pen name 'Darling' (incidentally, me) as unrecognizable, but I can say perhaps that we are vaguely disassociated. Those 3 albums, written between 1999 and 2005 and recorded anywhere except a recording studio (the bulk being tracked in my bedroom and parents' garage) follow the exceedingly lonesome course of a kid barely out of high school through a shaky introduction to manhood. They were recorded alone (with cheap microphones) composed alone (with expensive sentimentality), defined by loving befuddlement, and darkened by an all-consuming breakup. I look at them now with an appreciation for where I was, with no small measure of gratitude that I am no longer there. What has not changed however, is that there are still songs that come along which make sense in my mind as fitting only on a 'Darling' record. Truthfully, in the decade-plus that has passed since I last released a solo piece, there have been many songs of this nature. Consequently I have written, designed, edited, and put this record out many times in my mind. Inevitably, however, life would change and the conceptual direction would change with it. It is changing now as I write this. But after twelve birthdays, twelve New Year's Eve's, and twelve winters, I have a portrait I am compelled to commit to the canon of self-portraits.


    I am no longer the kid with all that worry, that blaring hurt and rum-fueled uncertainty. I am somewhere else now. But I still sit in my bedroom, quietly following songs where they take me, using them to process what is happening in my life. I have often declared to myself, that I would not leave the 'Darling' moniker forever tied to what I now regard as a time of young (albeit sincere) melancholy. And while this fourth installment is by no means an offering of pure and bright optimism, it is a statement less heavy with heartache, and hopefully a bit more even-keeled in its manner - whatever the emotional narrative. More importantly, it is a honest glimpse into my story alone and a faithful rendition of what I believe to be a notable chapter.


    For those interested in the Darling project:


    To say that activity of one form or another relating to my solo work is infrequent would be a bit of an understatement. In truth, as time goes, I am thankfully occupied primarily by the joys of my family and the pleasure of making music with my brother and some of my dearest friends. When, however, there are endeavors of the Darling variety on the horizon, I would be honored to let anyone interested know about it. If you count yourself among this set, please feel free to share your email address below. I can say, as someone who religiously declines giving my email out when a cashier asks for it, and as someone who somehow spends more time unsubscribing from email lists than answering emails, I will ONLY pass the word along when there is a word to pass meaning something significant like an upcoming album or confirmed performance(s). Once again, I realize that giving any part of your contact information out is a significant action, and I believe it should be seen as such. In other words, I won't be arranging for emails to go out about anything but relevant 'Darling' news. As always, thank you for your time and care.


    Sincerely,


    Timothy Seth Avett

    1. Disappointing You
    2. Should We Move
    3. Samuel And The Baler
    4. Songbird
    5. Weakness And A Strength
    6. Faith Undefined
    7. Your World
    8. Are You Thinking Of Me
    9. In These Boots
    10. My True Story/A Life To Live
    11. Waiting For Something To Die
    Timothy Seth Avett As Darling
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bringing It All Back Home (Awaiting Repress) Bringing It All Back Home (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    Bringing It All Back Home (Awaiting Repress)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Numbered, Limited Edition


    Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?


    More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Woman To Woman Woman To Woman Quick View

    $14.99
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    Woman To Woman

    I was sitting in a hotel room in Spearfish, SD learning to play a Townes Van Zandt tune called Loretta, and as I was singing the words, I started to get angry, says Esme Patterson on the inspiration behind her new album 'Woman to Woman.' I started thinking how one-sided and aubjective a lot of 'love songs' are, and how a lot of women immortalized in songs might tell a different side of the story if anyone ever asked.


    That realization inspired Patterson to write an album of response songs that aims to give voice to seven women from popular music: Jolene (Dolly Parton), Alison (Elvis Costello), Loretta (Townes Van Zandt), Caroline (The Beach Boys), Eleanor Rigby (The Beatles), Evangeline (The Band), and Irene (Leadbelly).


    They are archetypes from songs, frozen forever in black and white, she says. I did my best to add some color and give them some humanity.


    Well known for her work as a vocalist for Denver, CO's Paper Bird, Patterson also appeared on Anais Mitchell's 'Hadestown,' has performed on both Letterman and Leno as a backup singer for Tennis, and has collaborated with artists like Shakey Graves, Nathaniel Rateliff, Nick Jaina, and Reed Foehl. 'Woman to Woman' is her second solo release.

    1. Valentine (Elvis Costello - 'Alison')
    2. Never Chase A Man (Dolly Parton - 'Jolene')
    3. Tumbleweed (Townes Van Zandt - 'Loretta')
    4. The Glow (The Beach Boys - 'Caroline, No')
    5. Bluebird (The Beatles - 'Eleanor Rigby')
    6. Louder Than the Sound (The Band - 'Evangeline')
    7. A Dream (Leadbelly - 'Goodnight Irene')
    Esme Patterson
    $14.99
    10 Colored Vinyl LP - Sealed Buy Now
  • Burden Of Proof Burden Of Proof Quick View

    $17.99
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    Burden Of Proof

    It's taken him some time, but, at 47 years old, iconic and revered Austin singer-songwriter Bob Schneider is finally, begrudgingly, hesitatingly ready to admit something: He s not a kid any more. The writing's on the wall for the man the Austin Chronicle has repeatedly called the hardest working man in Austin show business; he's getting older and his tastes are starting to change. So it's little surprise to hear, then, that when Schneider talks about Burden of Proof, his whopping 12th solo release since 1998, adult is one of two words he constantly finds himself using to describe it.


    As a musician, you can act like a kid forever, he says. Look at The Rolling Stones. Those guys are almost 70 and
    they re still running around like they're kids. But I think it looks silly for me to act like I m a 12-year-old. Because I'm just not. So, yeah, this record has a more adult feel.


    The other word Schneider repeatedly references in describing Burden of Proof? Strings. That much is immediately obvious within the first seconds of the album, which features the soaring string work of Austin's Tosca String Quartet throughout its 12 tracks, all of which are intentionally cinematic in scope. But if that much implies that Burden of Proof is a departure for Schneider, well, it should and it shouldn't.


    Yet this is Schneider a man who once belted out songs with such titles as Pussy Fever and Big Butts and BJs
    during his days fronting his adored Austin funk-rock outfit The Scabs. Grown-up or not, he remains a man who can t help himself. There s no ignoring the double entendre going on in Burden of Proof s Wish The Wind Would Blow Me
    ballad, nor the sexual aggression behind the late-night booty call-inspired Unpromised Land, the latter of which is the most rocking cut on this release, which somehow retains Schneider's genre-hopping ways almost in spite of itself.


    Turns out, the more Schneider changes, the more he stays the same.

    Side 1
    1. Digging For Icicles
    2. Wish The Wind Would Blow Me
    3. Hop On The World
    4. Swimming In The Sea
    5. Unpromised Land
    6. Best Day Ever


    Side 2
    1. The Effect
    2. Please Ask For Help
    3. Weed Out The Weak
    4. John Lennon
    5. The White Moon
    6. Tomorrow

    Bob Schneider
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blonde On Blonde (Box Set) (Awaiting Repress) Blonde On Blonde (Box Set) (Awaiting Repress) Quick View

    $84.99
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    Blonde On Blonde (Box Set) (Awaiting Repress)

    Ranked 9/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians


    Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles


    Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.


    Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.


    The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.


    As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.


    Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.


    Given the sonic and artistic merit of this album, we anticipate huge demand.



    This title is not eligible for discount.

    1. Rainy Day Women #12 & 35
    2. Pledging My Time
    3. Visions of Johanna
    4. One of Must Know (Sooner or Later)
    5. I Want You
    6. Stuck Inside of Mobile With the Memphis Blues Again
    7. Leopard-Skin Pill-Box Hat
    8. Just Like a Woman
    9. Most Likely You Go Your Way (And Ill Go Mine)
    10. Temporary Like Achilles
    11. Absolutely Sweet Marie
    12. 4th Time Around
    13. Obviously 5 Believers
    14. Sad Eyed Lady of the Lowlands
    Bob Dylan
    $84.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 3 LPs Sealed AWAITING REPRESS Buy Now
  • For The Cause (Pre-Order) For The Cause (Pre-Order) Quick View

    $24.99
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    For The Cause (Pre-Order)

    Release Date: June 15, 2018*


    Pressed on Clear Vinyl


    Maintaining urgency, authenticity and integrity has never been an issue for New York City's hardest, and hardest working band, MADBALL. Twenty-five years along as a recording and touring entity, MB brings forth its ninth aural chapter, »For The Cause«; a signature collection of lionhearted, groove-laden, street-level New York Hardcore as only MADBALL can bring it.


    The aptly titled album doesn't so much revisit where the group has been since 1994 - although MADBALL released its first EP, »Ball Of Destruction« as a virtual AGNOSTIC FRONT side-project back in 1989 - but forges forward and represents where the fellas find themselves collectively and personally a quarter-decade down the road.


    Throughout the band's storied history, MADBALL has asserted its mission; carrying forth a simple yet righteous cause, and this time around, they've chosen to define that cause more succinctly than ever before. Tornadic vocalist/front man Freddy Cricien explains, "If you're not fighting for a cause, you're not participating in life. Simple as that. Speak up, fight, educate yourself, make a difference and make sacrifices for what's important to you." Words to live by.


    »For The Cause« sees the return to the fold of guitarist Matt Henderson, who hasn't appeared on a MADBALL album since 2000's »Hold It Down«, for which Henderson also served as producer. "To have him record with us again was really special," offers Freddy. He adds, "Matt's been playing 'commemorative' shows and tours with us on-and-off over the years, so, obviously, the love and friendship is there. He'll always be an honorary member A MADBALL lifer."


    Unique to this album is the stellar production work by RANCID's Tim Armstrong, who clearly helped express MADBALL's distinctive voice powerfully and dynamically without stepping on the trademark formula the band has forever carried, yet constantly seeks to improve upon. "It's a tricky thing, producing. You can truly enhance something, but you could also ruin a record if a band lets you," says Cricien. Freddy continues, "Tim has always respected our band and how we do what we do. He knew we had a vision for how this album should sound, so he let us do our thing, but was there every step supporting and cheering us on. Whenever he did chime in, it was well thought out and he made strong suggestions. He even helped write the hook on 'For You.' He was there for us in a non-meddlesome role, which for this particular record, was the best-case scenario." Danish studio veteran Tue Madsen (MESHUGGAH, DARK TRANQUILLITY, SICK OF IT ALL) skillfully handled mixing duties on »For The Cause«.


    Also, noteworthy on »For The Cause« are the various cameo appearances by some of MADBALL's friends, as well as several artists with whom the group shares a mutual respect; namely PSYCHO REALM's Sick Jacken on the track 'Rev Up,' THE BUSINESS' Steve Whale and producer Armstrong on 'The Fog,' plus legendary emcee Ice-T on the hardcore banger 'Evil Ways.' Freddy discloses, "Jacken is our homie. He just came through to say what's up and check out the spot and I happened to be recording 'Rev Up.' He was really digging the song and just freestyled. It really drove the message of the song home. As for Ice-T, he added a good flavor to 'Evil Ways.' It was a real honor to work with someone I've been following and have respected since I was a kid. He genuinely supports our band and the scene we come from. Tim and Steve jumping on 'The Fog' happened organically like everything else with this record." The UK Oi! legend provided the spoken intro and a guitar lead to the street punk-tinged anthem.


    What's maybe most notable on »For The Cause« is its various twists and turns both musically and vocally to keep MADBALL's brand of NYHC fresher than it has ever been. Freddy presents, "How do you grow as a band or as a person if you don't take chances? We feel obligated to ourselves and everyone else to evolve, at least somewhat. We took more 'chances' on this record than on any previous one, and we're happy about that! We're proud that it's still very much us; it's real and honest. There is plenty on there to satisfy the people that support us from every era of this band."


    As for MADBALL's astounding longevity in the hardcore game: "We don't know how to do anything else at this point. We raise our families to the best of our ability; we do MADBALL to the best of our ability So far so good, and we don't feel that we've reached our full potential in either of those areas just yet."


    *Please note that release dates are subject to change.

    1. Smile Now Pay Later
    2. Rev Up
    3. Freight Train
    4. Tempest
    5. Old Fashioned
    6. Evil Ways (feat. Ice T)
    7. Lone Wolf
    8. Damaged Goods
    9. The Fog (feat. Tim Timebomb)
    10. Es Tu Vida
    11. For You
    12. For The Cause
    13. Confessions
    Madball
    $24.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Freewheelin' Bob Dylan The Freewheelin' Bob Dylan Quick View

    $49.99
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    The Freewheelin' Bob Dylan

    Ranked 97/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylans 1963 Sophomore Effort Marks the Beginning of a Cultural Sea Change


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop


    Includes Masters of War, Blowin in the Wind, and A Hard Rains A-Gonna Fall


    Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity


    Its the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. Its the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. Its the sound of change, the feeling of ground shifting beneath ones feet, and the entrance of an entirely new way of thinking. Its the effective beginning of whats arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation. Its The Freewheelin Bob Dylan.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of The Freewheelin Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such clarity, openness, body, or realism.


    With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether its the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surface enhancing the listeners experience and taking them inside Columbia's Studio A where history was made by leaps and bounds.


    Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rains A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin in the Wind), and multiple angles of unrequited love (Girl From the North Country, Dont Think Twice Its All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.


    Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deserves as much as you deserve a fidelity that makes as closely intimate as possible the musics connection with you. You deserve this edition.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Blowin in the Wind
    2. Girl From the North Country
    3. Masters of War
    4. Down the Highway
    5. Bob Dylans Blues
    6. A Hard Rains A-Gonna Fall
    7. Dont Think Twice, Its All Right
    8. Bob Dylans Dream
    9. Oxford Town
    10. Talking World War III Blues
    11. Corrina, Corrina
    12. Honey, Just Allow Me One More Chance
    13. I Shall Be Free
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Familial Familial Quick View

    $22.99
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    Familial

    When you're the same age as the Prime Minister, you think, I'd better get on with this, Philip Selway grins as he acknowledges the new sea change in British politics but popularity is generally a passing phase while your first album, that's forever. Knowing time waits for no one, he has delivered Familial, a collection of sublimely fragile, haunting, and heartfelt songs that will surprise many, and not only because drummers traditionally don't do this kind of thing. Familial is so persuasively good, it sounds like Selway has always been a singer-songwriter.


    It's a sideline solo project, mind. The morning he talks about his record for the very first time, he still has to leave for a rehearsal down the road by an acclaimed Oxford-based band, named Radiohead, for whom Selway has drummed immaculately and imaginatively for the last 20 years. And with the admission, It's a cardinal sin for drummers to come in to rehearsals with the comment I've got this song'! he knows the time has come for his songs, put on ice when drumming took over in his late teens, to emerge into the light.


    Listeners to Familial will immediately recognize the ring of absolute truth, melodies and words fired by emotions, and not a whiff of dilettante posturing. In truth, what truly ignited Selway's efforts to record wasn't Britain's political transformation but the loss of his mother in 2006. It was one of those watershed moments that shake everything up, and you get a greater sense of urgency on what you want to do in life, he says.

    1. By Some Miracle
    2. Beyond Reason
    3. A Simple Life

    4. All Eyes on You

    5. Don't Look Down
    6. Broken Promises
    7. The Ties That Bind Us
    8. Patron Saint
    9. Falling
    10. The Witching Hour
    Philip Selway
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • V V Quick View

    $19.99
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    V

    The emergence of Swedish duo JJ in March 2009 was both meaningful and mysterious. A debut single, 'jj no.1', enchanted the music press, simultaneously existing across indie-pop and hip-hop spectrums, excitingly new and yet frustratingly vague in its presentation. This was a taste, a scent, something intangible, an impression made without force. The music was here, but little else - its makers remained anonymous. Pitchfork's Best New Music review for the band's debut album, summer 2009's 'jj no.2', spoke first of their enigmatic qualities, rather than precisely what this music was: another sumptuous menagerie of styles, blended by an expert hand, intoxicating and otherworldly. Both Elin Kastlander and Joakim Benon appeared in the Marcus Söderlund-directed video to 'Let Go'. Cover, broken.


    We didn't mean to be anonymous, to begin with, says Kastlander. We just knew we needed to put our music out.


    I'd say we've been working on this album our whole lives, says Benon of 'V', the band's third long-player. It's the thing I've always wanted to do. I feel that we've been working on this album ever since we began to record music. We have never really had any other plan than to make this V shit happen and at the same time we never knew what it was - the story presented itself to us - and it's a story that's always been clear. It's only grown in its own way. And now we're finished, we look at it and back at it, and can begin to realize what it really is, what we have done, because it's something you don't necessarily decide for yourself, even though you've made it. And the songs... we don't write them, we just do our best to catch them forever, for real. JJ have, with new album 'V', realised the definitive expression of their experiences to date, and are finally comfortable with being a press-welcoming, tour-ready outfit.


    As Benon explains, everything the pair has produced in the past has been part of this journey, to a zenith that they always sought to reach. But just as 'My Boyz' exists exclusively in and of itself, so too does the new album's material, always envisioned as a whole, separate from other projects despite carrying over select DNA from its pop progenitors.


    Tracks like the gorgeously understated 'Be Here Now' and subtle strings of 'When I Need You' float into clarity, coming together from vaporous beginnings. The latter number is one of several on 'V' that showcase how Kastlander has grown as a vocalist. Hers is no indiscernible mumble, no vulnerable presence set to music that fizzes like a beachside cocktail on 'Fågelsången' and soars on digital wings on 'All White Everything'; rather, it's a mix-spearing confirmation that, whatever the bruised heart or open sexuality behind the lyrics, she's intent on connecting without compromise. Words are crisp, intonation perfect. There's still a hard thud on occasion, too: 'Hold Me' opens with lean-flavoured raps, before twisting into a stained-glass confessional of absolute gravity, and 'All Ways, Always' packs substantial swagger beside its rock riffs.


    We do it now, sings Kastlander on 'I'. And now really is the time for JJ, as acknowledged by Benon. At last I have music that I really want to listen to, that I want to hear from a stage. In a way, we've made this music quite selfishly, to appeal primarily to ourselves and I really haven't felt this way about our material before. This is the moment. It's for real now.


    And why do anything to restrict the sharing of that joy? Evidently at the top of their game in 2014, JJ are ready to, in Benon's words, communicate with the world, quite unlike they've ever done so before. They're embracing, not retreating. Besides, mysteries are more frustrating than fascinating without resolution.

    1. V
    2. Dynasti
    3. Dean & Me
    4. All White Everything
    5. When I Need You
    6. Fågelsången
    7. Full
    8. Inner Light
    9. Hold Me
    10. I
    11. Be Here Now
    12. All Ways, Always
    JJ
    $19.99
    Vinyl LP - Sealed Buy Now
  • Caer Caer Quick View

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    Caer

    Twin Shadow, the project of George Lewis Jr., is back to announce his new album. Caer (pronounced: ka-air) is the artist's fourth album to date, and is set for release via Warner Bros. Records.


    About Twin Shadow and Caer:
    Sometimes I feel like I have to take a fall to essentially get to the next phase of my life, Lewis says
    about Caer. It's happened over and over. I've been through so many musical phases and through
    so many relationships with friends and lovers. I always feel like I'm standing on the edge of a cliff,
    looking down and thinking, 'This is the only way forward: onto the next thing.' It's sort of destructive,
    but I guess I thrive on rebirth.


    Falling is a theme that surfaces throughout the album, which is why Lewis called it Caer - the
    Spanish word for to fall. The album serves as a powerful lens through which Lewis explores his
    own personal sense of falling, as well as what he has observed about a world that feels as if it's
    declining. On a larger scale, Caer feels extraordinarily current, given what's going on culturally and
    politically right now. The patriarchy is falling apart, Lewis says. Our perceptions of who we are as
    human beings, because of technology and machines, are falling apart. We're living at a breaking
    point, and a lot of the themes on the album are talking about these fault lines. Lewis refers to such
    fissures on Saturdays (which features Haim). It's a love song, he says. 'Saturdays' is the heaven
    place you go to when you're in love or even with friends, feeling your youth. But it's also about my
    feeling that the world is starting to tear itself apart and maybe we're falling through the cracks. But
    when you're laying in bed next to someone you care about, none of that seems real.


    Lewis feels that Caer is something of a sister record to his 2010 debut album, the lush, gauzy
    Forget, in that it's a record with hidden doorways and secret passages more is revealed the more
    time you spend inside of it.


    Lewis is part of a lineage of artists who constantly experiment but still manage to create the
    soundtrack to people's lives, like Prince and David Bowie. Those are the artists who just keep
    giving it to you forever. It's 'forever' music. To me, that's the greatest thing in the world.

    1. Brace (feat. Rainsford)
    2. Saturdays (feat. Haim)
    3. Sympathy (feat. Rainsford)
    4. 18 Years
    5. Little Woman
    6. When You're Wrong
    7. Twins Theme (Interlude)
    8. Littlest Things
    9. Too Many Colors
    10. Rust (Interlude)
    11. Obvious People
    12. Runaway
    13. Bombs Away (RLP)
    Twin Shadow
    $19.99
    Vinyl LP - Sealed Buy Now
  • New Morning New Morning Quick View

    $34.99
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    New Morning

    Sublime 1970 Album Among Loosest, Jovial of Dylan's Career


    Includes Hit Single If Not for You and The Man In Me, Featured in the Film The Big Lebowski


    Dylan's Phrasing and Piano Playing Parallel Efforts of His Crack Backing Band


    Stunning Reissue Boasts Phenomenally Open Sound: New Morning Has Never Enjoyed Better Fidelity


    The album might have saved Bob Dylan's career. At the least, it proved the icon still relevant, and his wits still in tact. And it immediately followed what remains the artist's biggest disaster, the yet-unexplained and forever puzzling Self Portrait, a nearly unlistenable attempt that caused many to wonder whether Dylan had lost his mind. If intended as a joke, it bombed, making the sublime New Morning all the more important to restore faith in the singer's creativity and songwriting prowess. It did all this and more, and stands as his finest studio effort during a five-year span.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored analog version spotlights the open, woozy sound that welcomes wholeheartedly Dylan's piano, several eager guitars, female background singers, Al Kooper's organ, and snappy drumming into a world of their own. New Morning remains one of Dylan's loosest and jovial affairs, the instruments retaining an off-the-cuff sensibility relating to a nightclub atmosphere or live stage feel. On this reissue, notes naturally dangle and fade, allowing the playful vibes and humor to come through like never before. Consequently, the album can be experienced with a new perspective. Wider grooves mean more information reaches your ears.


    "Many of the songs seem to have been made up on the spot, with confidence in the ability of first-rate musicians to move in any direction at any time," wrote Dylan expert and cultural critic Greil Marcus in his original review for the New York Times. "The riffs, inventions, and studio jams of New Morning have their own personality the full joy of anticipating the right move and the exhilaration of hitting it square and bouncing off a chord into a new lyric."


    These observations hold true today, for the 1970 effort claims a daring flair Dylan rarely exhibited on albums before or since. Enthusiasm and excitement surround his singing, and his work on the 88s underlines the liberating arrangements. Offbeat and eclectic, the record frolics and swings, with the Bard and his crack band pursuing jazzy steps ("Sign on the Window"), shuffling spoken-word experiments ("If Dogs Run Free"), and soulful rock ("The Man In Me," used to wonderful and prominent effect in the Coen Brothers film The Big Lebowski).


    Throughout, Dylan's phrasing communicates joyousness and simplicity seemingly carried over from the stripped-down John Wesley Harding and Nashville Skyline. The record's dominant sentiments trace to the lead track, "If Not For You," one of the singer's all-time greatest singles, stitched with country threads and warmth that pervades everything that follows. Yes, New Morning may lack the iconic status of some of Dylan's better-known records. Yet the underdog stature makes repeat listens all the more rewarding.


    This title is not eligible for discount.

    1. If Not for You
    2. Day of the Locusts
    3. Time Passes Slowly
    4. Went to See the Gypsy
    5. Winterlude
    6. If Dogs Run Free
    7. New Morning
    8. Sign on the Window
    9. One More Weekend
    10. The Man In Me
    11. Three Angels
    12. Father of Night
    Bob Dylan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Anyway You Love, We Know How You Feel Anyway You Love, We Know How You Feel Quick View

    $21.99
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    Anyway You Love, We Know How You Feel

    The Chris Robinson Brotherhood have announced the release of their fourth studio album, Anyway You Love, We Know How You Feel, via Robinson's own Silver Arrow Records. The band relocated to northern California for the sessions, recording on the side of a mountain overlooking the foggy Pacific Ocean and channeling the natural majesty of their surroundings into the album's eight sprawling tracks. Having spent the prior two years touring relentlessly, the CRB were road-tested and in peak form to capture their kinetic chemistry and immersive sound, which Uncut Magazine called, " a celebration of how American musical traditions can be at once honored and psychedelically expanded."


    "It was an opportunity to see where our expression could take us. For us, when it comes to making records, the looser it gets the better," says Robinson. "It's all about taking our intuition and following it to where our ideas can really manifest themselves. This turned out to be the most spontaneous record I've ever been a part of."


    Indeed, when the Chris Robinson Brotherhood entered the studio to begin recording the album, no one knew just what to expect. These would be the band's first recordings with new drummer Tony Leone (Ollabelle, Levon Helm) and their first time producing themselves. Robinson purposely left as much open-ended as possible. Rather than coming into the studio with a collection of finished songs as he had in the past, he would present the group with sketches-a verse and melody here, a chorus and chord progression there-and let the band follow its collective muse to bring the music to life. They'd lean into the improvisational nature that makes their live shows such enthralling spectacles and thrive on the unexpected.


    "All it takes is one good, small idea, and then if everyone's focused and in the moment, a few hours later, you can have something that you realize you'll be playing for as long as you're making music," Robinson continues. "I think when everyone's aware that that's the sort of magic that we're looking for. More than any other session that I've ever been a part of, that's how all of these songs were done."


    The album kicks off with "Narcissus Soaking Wet," a psychedelic toe-tapper that marks Robinson's first co-write with keyboardist Adam MacDougall. It touches on everything from Dylan and Parliament Funkadelic to psych rock and Chicago rhythm and blues. "Ain't It Hard But Fair" calls to mind the soulful Americana of The Band, while "Oak Apple Day" is a mediation on life in the CRB, and "Forever As The Moon" came together in a stream of consciousness between The CRB's lead guitarist Neal Casal and Robinson. "Leave My Guitar Alone" was a song Robinson had been sitting on for nearly 15 years, but only once he presented it to the rest of the band did it roar to life in a way that had eluded him for more than a decade. Some of Robinson's finest writing to date arrives in the album's final minutes, with the country-soul, gospel-tinged closer "California Hymn," which finds him singing "Glory glory hallelujah / It's time to spread the news / Though my good words may sound profane to some."


    The Chris Robinson Brotherhood emerged in 2011 by playing close to 50 shows over nine weeks in California before ever leaving the Golden State or officially releasing music. Their introduction on the national stage came in 2012 when they'd release not one, but two acclaimed full-length albums within a few months of each other. Critics hailed their sprawling debut, Big Moon Ritual, as a revelation, with The Independent raving that Robinson had "finally found the ideal vehicle to indulge his taste for 'Cosmic California Music.'" The reviews were similarly ecstatic for its immediate follow-up, The Magic Door, which was praised by Relix as "classic rock in the finest sense." The band's epic tour schedule brought their shimmering acid-Americana around the world for a staggering 118-date tour, firmly establishing the CRB as the new standard-bearers of the psychedelic roots torch. In 2014, they returned to the studio for Phosphorescent Harvest, a masterful collection that showcased the blossoming songwriting partnership between Robinson and Neal Casal. Rolling Stone raved that the album was "electrifying boast[ing] a vintage rock vibe that's at once quirky, trippy, soulful and downright magnetic," and Guitar World called it "a treasure trove of soul that advances the band's bluesy, kaleidoscopic sound."

    1. Narcissus Soaking Wet
    2. Forever As the Moon
    3. Ain't It Hard But Fair
    4. Give Us Back Our Eleven Days
    5. Some Gardens Green
    6. Leave My Guitar Alone
    7. Oak Apple Day
    8. California Hymn
    Chris Robinson Brotherhood
    $21.99
    Vinyl LP - Sealed Buy Now
  • What A Way To Die What A Way To Die Quick View

    $24.99
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    What A Way To Die

    The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.


    The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
    Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"


    The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.


    That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."


    The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."


    "The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."


    Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."


    A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."


    Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."


    After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."


    The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.


    The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."


    - Mike & Anja Stax (Ugly Things magazine)

    1. Intro By DJ The Lord
    2. Gotta Get Away
    3. Never Thought You'd Leave Me
    4. Light Of Love
    5. Good Kind Of Hurt
    6. What A Way To Die
    7. Elevator Express
    8. Locked In Your Love
    9. White Pig Blues
    10. Brain Confusion
    11. Where Have You Gone
    12. Mr. Power
    The Pleasure Seekers
    $24.99
    Vinyl LP - Sealed Buy Now
  • Trick (Awaiting Repress) Trick (Awaiting Repress) Quick View

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    Trick (Awaiting Repress)

    TRICK is the latest album to be physically released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G.


    In their extensive profile, The FADER, wrote that Alex G is "the type of artist to make a person go all Garden State", as anyone who attended Alex's sold out London show last November would have witnessed. An enrapt audience hushedly singing along word-by-word to album track 'Change' was one of many magical moments. Alex himself acknowledges that this song, like much of his repertoire, "resonates with a lot of people, probably because the lyrics deal with growing away from people you love [ ] something that everyone experiences."


    Trick features many of the fan favourites that Alex has been playing at shows recently, including the infectious off-kilter anthem 'Forever', the dreamy and surreal 'Animals' and the aforementioned, charmingly lo-fi 'Change'. Trick is soaked in the distinctive personality that is Alex G; the professionally mastered versions of these tracks affirming that underneath all the unconventional guitar lines and scrawls of fuzz, Alex has a serious knack for melodic songwriting.

    1. Memory
    2. Forever
    3. Animals
    4. String
    5. Advice
    6. People
    7. Whale
    8. Trick
    9. Kute
    10. So
    11. Mary
    12. Change
    13. Clouds
    Alex G
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Concrete Confessional The Concrete Confessional Quick View

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    The Concrete Confessional

    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $24.99
    Vinyl LP - Sealed Buy Now
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