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Greatest Hits Vol. 1
Journey, the American Hard Rock band that was formed in 1973 and became a sensation in the early '80s, didn't fully break through until their 1982 hit 'Don't Stop Believin'.
This Classic Rock anthem has been used in many a soundtrack, from Southpark and My Name Is Earl to Bedtime Stories, and most recently with great success as the theme tune for Glee. During their time together - both before and after their sabbatical - Journey has been prolific in their recording.
So much so that one Greatest Hits compilation wasn't enough; Music On Vinyl is now releasing two Greatest Hits albums with 33 of Journey's best songs!
Both volumes will be released on 180 grams audiophile vinyl in a gatefold sleeve.
• 180 grams audiophile vinyl
• Remastered AudioLP1
1. Only The Young
2. Dont Stop Believin'
3. Wheel In The Sky
5. Ill Be Alright Without You
6. Any Way You Want It
7. Ask The Lonely
8. Whos Crying Now
1. Separate Ways (Worlds Apart)
3. Lovin, Touchin, Squeezin
4. Open Arms
5. Girl Cant Help It
6. Send Her My Love
7. Be Good To Yourself
8. When You Love A Woman$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hallowed GroundThe sophomore effort from the Violent Femmes was a departure from their highly acclaimed debut album. Hallowed Ground features more of their folk/punk hybrid that made them so unique from the start but with even more maniacal energy than they had previously displayed. Lead singer and songwriter Gordon Gano explores his love/hate relationship with religion with the same glee he did exploring the teenage/young adult drama of their debut. An under valued classic brought to you by 4 Men With Beards on 180 gram vinyl.1. Country Death Song
2. I Hear The Rain
3. Never Tell
4. Jesus Walking On Water
5. I Know It's True But I'm Sorry To Say
6. Hallowed Ground
7. Sweet Misery Blues
8. Black Girls
9. It's Gonna Rain$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
New OnceZac Nelson blurs the borders of pop nostalgia and experimentalism with unabashed glee throughout the brief and wondrous sound of New Once, his brand new album and first for Brooklyn's New Once flits from four top harmonies and campfire jams to psychotropic passages of blistered ambiance from one rapid minute to the next. The music mirrors the musings of a dosed poet or a Hunter S. Thompson novella, dipping from the exuberance of "Some Are This" to the melancholic duet "Her Daddy Broke" and groove thesis "Ex-Stream-Esque" with brushstrokes unfettered yet Mixed by Rusty Santos (Animal Collective, The Present), New Once is a freak matrimony of chaos and beauty fit for journeys under the sun.)1. Send My Body To Her
2. Some Are This
3. Weak Robe
4. Her Daddy Broke
5. Outey Smoke
6. Let This Unravel
9. Ex-Stream-Esque$14.99Vinyl LP - Sealed Buy Now
Lost VoiceToni Harper's two original albums Toni (1956) and Lady Lonely (1959).
Toni Harper's childhood was made of the magic any aspiring adult artist would kill for: a platinum record, a performance at Carnegie Hall, evenings spent sharing a stage with such performers as Cab Calloway, and invitations to appear on television with Frank Sinatra, Perry Como, Milton Berle, and Ed Sullivan. And all of the magic unfolded before she'd turned 12 years old.
The jazz vocalist, who now goes by the name Toni Dunlap, got her big break in 1945 when she went up against a couple hundred other kids at an audition held by choreographer Nick Castle. Harper, who had been a dance student of Maceo Anderson, passed muster as far as her dancing, but when she sang Waitin' for the Train to Come In, she had the audition sewn up on the spot. Castle cast her in his production of Christmas Follies, which was staged at Los Angeles' Wilshire Ebell Theatre. Harper drew enthusiastic reviews and went on to earn a platinum record when she was eight years old with Candy Store Blues.
Harper paired with Herb Jeffries for You're Too Tall 'n' I'm Too Small, the number for which she later paired live with Calloway at Los Angeles' Million Dollar Theatre. Television beckoned the young singer and she was a guest on numerous programs, among them Sullivan's weekly variety show. When she wasn't appearing on television, she was singing at numerous New York hot spots that included the Apollo, the Strand, and the Paramount. At the age of 11, Harper topped it all off by singing at Carnegie Hall.
Like many child stars, Harper's career slowed down as she began to mature. As a teenager, she was too old for the childhood image that had given her a great start, but too young to effectively take on a more adult image. She attended high school in Los Angeles, involving herself in such extracurricular activities as drama, choir, and the glee club. She continued to take professional singing jobs during the school's summer break. Having completed high school in the mid-'50s, and still hampered by her youth, she sang for the teenaged record-buying public. For a young woman of her age, One Hamburger to Go was more acceptable in the public eye than any of the more sophisticated songs that she would record in later years, such as Love for Sale.
The vocalist got her chance to sing the more adult songs when she recorded for Verve. In addition to Love for Sale, Harper recorded such songs as I Could Write a Book and Bewitched, Bothered, and Bewildered. Backing Harper on her self-titled first recording for Verve were pianist Oscar Peterson, drummer Alvin Stoller, guitarist Herb Ellis, and bassist Ray Brown. The vocalist later signed with RCA Victor, recording for the label for about four years and ending in 1963. Harper quit the business in 1966 after devoting more than 20 years to her singing career.
- Linda Seida (All Music Guide)LP 1 - Toni:
1. Can't We Be Friends
2. I Could Write A Book
3. Gone With The Wind
4. Singin' In The Rain
5. Love For Sale
6. Just A Sittin' And A-Rockin'
7. A Foggy Day
8. You Don't Know Love Is
9. Bewitched, Bothered And Bewildered
10. Little Girl Blue
11. You Took Advantage Of Me
12. Like Someone In Love
LP 2 - Lady Lonely:
1. Lady Lonely
2. In The Dark Of The Night
3. He Was A Man
4. My Heart Is A Lonely Hunter
5. The Lack Of Love
6. Blue It Grows
7. I Love The Blues
8. You Taught Me How To Cry
9. The Velvet Hammer
10. The Other Woman
11. Nobody Home But The Blues
12. Busy Blues
13. Love Has Come, Love Has Gone
14. River Weep$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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
KidsticksBeth Orton has been one of the most unique and beguiling voices in music for the past two decades. Her "folktronica" sound, mixing elements of folk and electronica, has re-emerged as she began experimenting with a series of electronic loops that would eventually come together in this career- redefining new album, Kidsticks.
Co-produced by Beth and Andrew Hung (Fuck Buttons), Kidsticks reframes Beth's unmistakable voice inside ten pure, audacious, playful and kinetic songs. A resolutely focused album, it represents a rare chance to hear an established artist get plugged in and completely rework the songwriting process with wide-eyed, open-minded glee.
Kidsticks is the follow up to Sugaring Season (2012), described by Pitchfork as "ten songs of sweet resilience delivered by a voice of seemingly effortless expression".1. Snow
8. Corduroy Legs
9. Flesh and Blood
10. Kidsticks$19.99Vinyl LP - Sealed Buy Now
Love SwingsNumbered Limited Edition
1961 Album of Standards Established Darin As A Sophisticated Singer
Concept Effort Divided Into Halves That Explore the Emotional Gamut of Romance: One Side Upbeat, the Other Heartbreaking
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): Darins Voice, Torrie Zitos Orchestral Arrangements Set Up Shop In Your Listening Room
Bobby Darin didnt want to be simply known as the singer that scored the novelty hit Splish Splash. Determined to be recognized as a top-tier vocalist on par with the likes of Frank Sinatra and Tony Bennett, the Bronx native set out to put an authoritative stamp on pop standards. And did just that with Love Swings. Divided into two conceptual halves, the 1961 masterpiece is the singers defining statement, a splendidly effective and smartly performed record that addresses the wild emotional fluctuations associated with romance and finds Darin nailing every note.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents Darins buoyant album with all the brassiness, boldness, and lushness any fan of vocal pop music would ever want. His voice is transparent and immediate, the diversified instrumental arrangements are placed in sharp relief, the songs replete with airiness, warmth, and the sough-after breath of life. The sound is so good that this somewhat-forgotten LP should now finally gain the recognition its long deserved.
Yes, love swings, but like a pendulum: back and forth, state the records liner notes, explaining the concept behind a set that is split into two thematically connected halves. On the first side, Darin delves into the giddy feelings and incredible happiness associated with romances first bloom. Infatuation, devotion, and gaiety take hold, Darin conveying every ounce of joy and pleasure tied to gliding, uptempo staples such as Rodgers and Harts I Didnt Know What Time It Was and the lounge-bound sway of Long Ago (And Far Away). Darins voice, and his ebullient support band (conducted by Torrie Zito), epitomize glee, delight, and bliss.
On the flip side, Darin, ever the realist and proving himself capable of sophisticated material, probes loves disillusions and heartache with incredible panache. The pace slows, the mood darkens, and the lights dim. Zitos orchestrations embrace denser, more poignant tones, and Darin delivers sad, aching tunes like In Love In Vain and Something to Remember You By with stunning realism and haunting impact. Its as cohesive of a vocal performance as youll hear from the era, a journey that takes you from the highs to the lows, and everything in between.
Yes, the human voice is the most difficult element to accurately reproduce on record. Yet Mobile Fidelitys Silver Label LP does wonders with this Darin classic, opening up the highs, clearing out a previously foggy midrange, and, as importantly, restoring to print in analog a vocal tour de force. Unavailable on vinyl for eons, Love Swings demands to be heard on this sumptuously remastered LP, which runs circles around its digital brethren.
About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!
This title is not eligible for discount.1. Long Ago and Far Away
2. I Didn't Know What Time It Was
3. How About You
4. The More I See You
5. It Had To Be You
6. No Greater Love
7. In Love Vain
8. Just Friends
9. Something To Remember You By
11. Spring Is Here
12. I Guess I'll Have To Change My Plan$24.99Vinyl LP - Sealed Buy Now
My Friend FishJoseph Campbell describes a shaman as person, male or female, who has an
overwhelming psychological experience that turns him totally inward. It's a kind of
schizophrenic crack-up. The whole unconscious opens up, and the shaman falls
into it. We'll never know the whole truth about what happened when (Foxyen
drummer and former Disney child actor) Shaun Fleming moved from the West
Coast suburbs to New York, but whatever it was fractured his psyche, opened it up,
and gave birth to Diane Coffee.
In 2013, after joining the band Foxygen, Shaun Fleming left the green and golden
fields of his hometown of Agoura Hills, CA to become the third roommate in a 700
square-foot, pre-war, closet-free Manhattan apartment. He was welcomed to The
Big Apple by a nasty flu virus that drained the last bit of California sunshine out of
the skinny, Macaulay Culken-looking 26-year-old's body. As he recovered, cabin
fever supplanted the flu, and his relentless creative drive took over. Low on funds
and bored out of his gourd, he spent the next two weeks alone in his bedroom
writing and recording what would become the debut Diane Coffee LP My Friend
Despite his limited means (using a pseudo drum kit consisting of a snare, one
broken cymbal, and a metal pot, recording parts with an iPhone's voice memo app,
playing a detuned guitar rather than a real bass, etc) My Friend Fish sounds fully
realized and remarkably polished. From a Donovan-esque song about Sriracha,
to experiments with distortion and garage-rock, to songs like All The Young Girls
in which he gleefully channels Tom Jones with sex-bomb confidence, on My Friend
Fish Fleming's spell-casting powers are in full effect, inspiring panty-tossing glee.
After you finish listening, you'll wonder as you stretch out in bed and enjoy a
cigarette, Who is Fish?1. Hymn
2. Never Lonely
3. Tale Of A Dead Dog
4. WWWoman Is A Sin
5. New Years
6. All The Young Girls
7. When It's Known
8. That Stupid Girl Who Runs A Lot
9. Eat Your Love (With Sriracha)
10. Green$16.99Vinyl LP - Sealed Buy Now
Kill Bill Vol. 1 SoundtrackFashion be damned: Pop culture is just one big Hometown Buffet for writer-director Quentin Tarantino. Nowhere has that sensibility been more apparent than on his hand-picked soundtrack choices, and this oft tongue-in-cheek tale of a female assassin's revenge (his first film in six years) is no exception. With dizzy, almost palpable glee, Tarantino evokes the international hall-of-mirrors influences that energize martial arts films and much of Asian pop culture in general. Thus the hip-hop of Wu Tang's RZA (who, along with composer Charles Bernstein, concocts what passes for the score's traditional cues) somehow finds itself but one ingredient in a heady souffle that includes vintage TV and film cue rarities (Al Hirt's main title from The Green Hornet, Bernard Herrmann's haunting theme from Twisted Nerve, the spaghetti western melodrama of Luis Bacalov's The Grand Duel, Isaac Hayes in full blaxploitation mode on Run Fay Run), Charlie Feathers' vintage rockabilly and a pan-kitsch sensibility that encompasses Zamfir, Nancy Sinatra's angst-in-the-pants take Bang, Bang and Santa Esmeralda's disco-era workout of Please Don't Let Me Be Misunderstood. Tarantino's contemporary Japan-Pop selections are no less giddy, ranging from Meiko Kaji's sultry Flower of Carnage to The 220.127.116.11's loopy Woo Hoo. It's everything we've come to expect from a Tarantino score (including dialog excerpts and a few sound fx stingers), with a madcap trip around the pop music world thrown in for good measure. -- Jerry McCulley1. Bang Bang (My Baby Shot Me Down) - By Nancy Sinatra
2. That Certain Female - By Charlie Feathers
3. The Grand Duel (Parte Prima) - By Luis Bacalov
4. Twisted Nerve - By Bernard Herrmann
5. Queen Of The Crime Council - By Kill Bill Soundtrack
6. Ode To Oren Ishii (feat. The RZA) - By Vincent Tempera & Orchestra
7. Run Fay Run - By Isaac Hayes
8. Green Hornet - By Al Hirt
9. Battle Without Honor Or Humanity - By Tomoyasu Hotei
10. Don't Let Me Be Misunderstood - By Santa Esmeralda
11. Woo Hoo - By The 18.104.22.168's
12. Crane/White Lightning - By The RZA/Charles Bernstein
13. The Flower Of Carnage - By Meiko Kaji
14. The Lonely Shepherd - By Zamfir
15. You're My Wicked Life - By Kill Bill Soundtrack$19.99Vinyl LP - Sealed Buy Now
Sylvan EssoSylvan Esso was not meant to be a band. Rather, Amelia Meath had written a song called "Play It Right" and sung it with her trio Mountain Man. She'd met Nick Sanborn, an electronic producer working under the name Made of Oak, in passing on a shared bill in a small club somewhere.
As 2012 slipped into 2013, Sanborn and Meath reconvened in the unlikely artistic hub of Durham, N.C., a former manufacturing town with cheap rent and good food. Sylvan Esso became a band.
A year later, their self-titled debut-a collection of vivid addictions concerning suffering and love, darkness and deliverance-arrives as a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term.
These 10 tunes were realized and recorded in Sanborn's Durham bedroom during the last year, an impressive feat considering the layers of activity and effects that populate them-the dizzyingly crisscrossed harmonies of "Play it Right," the gorgeously incongruous elements of "Wolf," the surreptitiously minimalist momentum of "HSKT." Sanborn's production is fully modern and wonderfully active. He enlists obliterating dubstep stutters and crisp electropop pulses, hazy electrostatic breezes and epinephrine dancefloor turnarounds. But this isn't a workout in production skills or a demonstration of electronic erudition. Instead, his music syncs seamlessly with Meath's melodies, so that the respective words and beats become a string of ready-to-play singles.
The irrepressible "Hey Mami" webs handclaps and harmonies around a flood of bass, a strangely perfect canvas for a tale of dudes hollering at neighborhood tail (and, finally, finding the chivalry not to do so). "Coffee" sparkles and quakes, patiently rising from a muted spell of seasonal affective disorder to a sweet rupture of schoolyard glee. These pop cuts condescend neither to their audience nor their makers.
They are sophisticated, but with none of the arrogance that can imply; they are addictive, but with none of the banality that can entail. There is sensuality and sexual depravity, homesickness and wanderlust, nostalgia and immediacy. Sylvan Esso acknowledges that the world is a tumult of complications by giving you a way to sing and dance with those troubles, if not to will them away altogether.1. Hey Mami
2. Dreamy Bruises
3. Could I Be
9. Play It Right
10. Come Down$16.99Vinyl LP - Sealed Buy Now
Perpetual Motion PeoplePerpetual Motion People was recorded with Furman's current band The Boyfriends - comprising Jorgen Jorgensen (bass), Ben Joseph (keyboards, guitar), Sam Durkes (drums) and saxophonist Tim Sandusky - at studio Ballistico in Furman's home city of Chicago (though he's currently based in San Francisco). The album kicks off with 'Restless Year', about which Consequence Of Sound described as, "a ball of energy, bouncing around genre borders with glee. There's the rebellion of '90s indie rock, a string of sunshine-y '80s pop, and the snarl of '70s punk."
"The opening lines of my records tend to be summary statements," says Furman. "Every year has been restless, physically and even more internally." Hence the title Perpetual Motion People, "That's who it was made by and that's who it's for. People who feel they can never settle. I'm restless in most aspects. I don't tend to live in one place for long. I am always changing the way I present my gender. My religious life is intensely up and down in terms of observance and personal convictions. I've always viewed the idea of truth itself as something wobbly, always slipping out of our grasp. That's what the songs are about: a head that is haunted, a society I cannot join, a lover who is perpetually in the act of leaving. A central idea is the fugitive or runaway, in a hideout built in the midst of an unfriendly or alienated world."
"The other aspect is a feeling of expansiveness, the largeness of emotion, from joy to pain. Some people think life is small or confined, but to me it's just big, and I'd say each song has something to say, to declare themselves large. It's also to do with trying to make something that a lot of people would listen to after Day Of The Dog got some kind of increased attention."
In that, he's done his job, switching from the sinewy jubilance of 'Hark! To The Music' to the wistful heart-ache of 'Ordinary Life', from the power-pop snarl of 'Tip Of The Match' to the wracked country blues of "One Day I Will Sin No More". The waterfront covered marks Furman out as a true original, tapping avenues of music that most others have left alone, or wouldn't have the guts to emulate. "There's rarely been a scene that I've wanted to be part of," he admits. "I'm just not hearing other stuff out there that I wish existed, so that's my goal, to do it myself.
Ultimately, Furman declares, life in perpetual motion is, "a good way to be. If you are never on a sure footing you don't get bored and the world is always new. It causes a lot of pain as well, but it seems worth it, and it is probably the only way I know how to be."1. Restless Year
2. Lousy Connection
3. Hark! to the Music
4. Haunted Head
5. Hour Of Deepest Need
7. Ordinary Life
8. Tip of a Match
9. Body Was Made
10. Watch You Go By
11. Pot Holes
12. Can I Sleep In Your Brain?
13. One Day I Will Sin No More$22.99Vinyl LP - Sealed Buy Now
Christmas Extraordinaire (Out Of Stock)Christmas Extraordinare is another innovative and heartfelt collection of seasonal treasures played on a combination of 18th-century instruments and modern-day synthesizers, drums, and electric guitars. While not the first to marry different ages of musical instruments, Davis and his cohorts use them with imagination and an intensity that gives new life and drama to this rather inert genre.
For material, Mannheim Steamroller asked their fans to choose their favorite holiday selections and vote on their Web site. The results of the poll are a fine mix of old and new--with slightly more emphasis on the modern--ranging from the bracing Fum, Fum, Fum, a traditional Catalan carol, to Tchaikovsky's Faeries from The Nutcracker. Mannheim Steamroller imbues this beloved song with an almost militaristic edge, grounding it with an ominous tuba that gives the usually fey Dance of the Sugar Plum Fairies an edgy tension. Winter Wonderland is a spectacular work, bordering on prog rock, as if Emerson, Lake & Palmer had re-formed to whip up a winter blizzard gone amok.
While most of the Mannheim Steamroller's Christmas albums are largely instrumental, Davis has employed the considerable talents of University of Michigan's Glee Club to sing on O Tannenbaum, respectfully fading their elegant, full vocals around the pristine voice of Johnny Mathis, elevating this German carol to a cinematic peak. -Jaan Uhelszki1. Hallelujah (From The Messiah)
2. White Christmas
3. Away In A Manger
4. Faeries (From The Nutcracker)
5. Do You Hear What I Hear?
6. The First Noel
7. Silver Bells
8. Fum, Fum, Fum
9. Some Children See Him
10. Winter Wonderland
11. O Tannenbaum
12. Auld Lang Syne$19.99Vinyl LP - Sealed Temporarily out of stock
Over-Nite Sensation (Out Of Stock)Mastered from the Original Analog Master Tapes at Bernie Grundman Mastering by Chris Bellman
Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of Camarillo Brillo, Dirty Love, and especially Dinah-Moe Humm leave him on shaky aesthetic ground.
Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in Montana, the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific. -Steve Huey1. Camarillo Brillo
2. I'm The Slime
3. Dirty Love
5. Zomby Woof
6. Dinah-Moe Humm
7. Montana$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Red Letter Year (Out Of Stock)The dozen tunes on Ani DiFranco's new studio album Red Letter Year celebrate existence, profess love and condemn religious fundamentalism with an infectious sense of glee. Joining Ani here are producer Napolitano (Joseph Arthur, The Twilight Singers, Squirrel Nut zippers) and a group of guest artists that includes long-time Ani collaborator Jon Hassell (Brian Eno, Peter Gabriel, Ry Cooder) on trumpet and the Rebirth Brass Band, which shines on the Dixieland instrumental Red Letter Year (reprise).
Ani's band, which features bassist Todd Sickafoose (who also did the string arrangements), vibraphonist Mike Dillon and drummer Allison Miller, is a major source of Red Letter Year's singular personality. On Emancipated Minor, Miller's driving beat tethers to Ani's killer electric guitar hook, while Sickafoose's strings add an otherworldly element to the proceedings. Dillon's vibes on All This are as rich and open-minded as the little folksinger's defiant lyrics.1. Red Letter Year
2. Alla This
4. Smiling Underneath
5. Way Tight
6. Emancipated Minor
7. Good Luck
8. The Atom
9. Round A Pole
10. Landing Gear
12. Red Letter Year (Reprise)
13. Emancipated Minor (Extended Mix)$15.99Vinyl LP - 2 LPs Sealed Temporarily out of stock