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  • The Best Of The Guess Who The Best Of The Guess Who Quick View

    $31.99
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    The Best Of The Guess Who

    The Guess Who are one of the few legendary classic rock bands that have stood the test of time for many decades. Their music penned mostly by founders Randy Bachman and Burton Cummings are compositions that are played all over the world, every hour, every day, thanks to the undying love and support of their signature tunes like American Woman, Laughing, No Time, Hand Me Down World, These Eyes, etc.


    After a string of non-stop hit singles and chart topping albums, RCA Records saluted this great band with their very first 'Greatest Hits' album called The Best Of The Guess Who. This amazing collection grabbed all the hit singles and solid album tracks from their first four albums, and rose to the upper rungs of the pop album charts for weeks throughout 1970 and 1971.


    Side One features the classic line-up of Burton Cummings, Randy Bachman, Jim Kale and Gary Peterson, with tunes from their key albums American Woman, Canned Wheat and Wheatfield Soul. Side Two included the Mark II band with Burton Cummings, Jim Kale, Gary Peterson with the addition of the late great Kurt Winter and Greg Leskiw, featuring songs from the groundbreaking Share The Land album.


    Friday Music is no stranger to The Guess Who and Randy Bachman catalogs of fine music, so it is with great honor they announce the first time ever 180 Gram Audiophile Vinyl release of the mega platinum The Best of the Guess Who. Mastered impeccably by Joe Reagoso and Kevin Gray from the original RCA Records tapes at RTI, this wonderful greatest hits album truly resonates the true rock and soulful performances of The Guess Who at their creative peak.


    As a special limited edition release, Friday Music is very pleased to present this creative masterwork in its original gatefold cover, for the first time in four decades, as well as enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your vinyl in mint shape.

    1. These Eyes (1969) [from Wheatfield Soul]

    2. Laughing (1969) [from Canned Wheat]
    3. Undun (1969) [from Canned Wheat]
    4. No Time (1969) [from American Woman]
    5. American Woman (1970) [from American Woman]
    6. No Sugar Tonight/New Mother Nature (1970) [from American Woman]
    7. Hand Me Down World (1970) [from Share The Land]
    8. Bus Rider (1970) [from Share The Land]
    9. Share the Land (1970) [from Share The Land]
    10. Do You Miss Me Darlin' (1970) [from Share The Land]
    11. Hang on to Your Life (1970) [from Share The Land]
    The Guess Who
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Shakin' All Over! Shakin' All Over! Quick View

    $36.99
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    Shakin' All Over!

    Though they found worldwide fame in 1969, Winnipeg's Guess Who had been scoring scads of hard-rockin' hits in Canada for years, beginning with 1965's ferocious rendition of Shakin' All Over. Now, spurred by the recent unearthing of a bevy of vintage master tapes -and with the help of Guess Who guitarist Randy Bachman-we've gathered 24 of The Guess Who's hardest-hitting, most awesome recordings from '63-'67. With many tracks in true stereo and a handful of cuts that haven't seen daylight for more than 30 years, Shakin' All Over! is the ultimate distillation of the seismic sound of the early Guess Who, and is available on CD and as a double 180 gram vinyl gatefold LP!
    1. Shakin' All Over
    2. Tuff E Nuff
    3. I'd Rather Be Alone
    4. All Right
    5. Baby Feelin'
    6. You Know He Did
    7. Believe Me
    8. Clock On The Wall
    9. It's My Pride
    10. If You Don't Want Me
    11. Baby's Birthday
    12. Made In England
    13. Seven Long Years
    14. Gonna Search*
    15. Stop Teasing Me*
    16. Hey Ho (What You Do To Me)*
    17. One Day*
    18. I Should Have Realized*
    19. Use Your Imagination*
    20. Don't Act So Bad*
    21. As*
    22. Just A Matter Of Time*
    23. Flying On The Ground Is Wrong
    24. Goodnight Goodnight*

    *stereo
    The Guess Who
    $36.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • American Woman American Woman Quick View

    $29.99
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    American Woman

    Mastered impeccably by Joe Reagoso at Friday Music Studios and at RTI with Kevin Gray from the original 1970 RCA Records tapes.


    Friday Music is no stranger to The Guess Who catalog, so it is with great honor to continue the Guess Who 180 Gram Audiophile Vinyl Series with the release of the mega platinum "American Woman." Mastered impeccably by Joe Reagoso at Friday Music Studios and at RTI with Kevin Gray from the original 1970 RCA Records tapes, this monumental masterpiece truly resonates the true rock & soulful performances of The Guess Who at their creative peak. Includes all of their smash number one's like "American Woman," "No Sugar Tonight," "No Time," "When Friends Fall Out" and 5 other smashes.


    This monumental masterpiece truly resonates the true rock and soulful performances of The Guess Who at their creative peak. After a string of non-stop hit singles and chart albums, The Guess Who finally achieved their biggest album yet with the mega classic American Woman. The band was inducted into The Canadian Music Hall of Fame in 1987.

    1. American woman
    2. No time
    3. Talisman
    4. No sugar tonight - New mother nature
    5. 969 -The oldest man
    6. When friends fall out
    7. 8-15
    8. Proper stranger
    9. Humpty-s Blues - American woman epilogue
    The Guess Who
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Party Jail Party Jail Quick View

    $14.99
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    Party Jail

    Party Jail picks up where Jazz Mind left off with a greater focus on making the listener aware that Ed Schrader's Music Beat are not nut jobs who just play their best guess at punk. They wish to reveal that they are secretly a band that write pop songs, whether you know it or not.
    Ed Schrader's Music Beat
    $14.99
    Vinyl LP - Sealed Buy Now
  • Deflorate (Awaiting Repress) Deflorate (Awaiting Repress) Quick View

    $22.99
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    Deflorate (Awaiting Repress)

    Yellow Vinyl


    Combining death metal with anything resembling melody kinda defeats the whole purpose, doesn't it? Guess no one ever bothered to tell the Black Dahlia Murder this heavy metal golden rule, as evidenced by their fourth studio release overall, 2009's Deflorate. But don't be misled: it's not like they're going to be confused anytime soon as power pop champions when it comes to melodic content -- it's a tiny pinch of melody stirred into gallons of brutal extreme metal.


    The album signals the first appearance by new guitarist Ryan Knight, replacing John Kempainen, who played on all of the group's previous studio efforts. However, the slight lineup hiccup has not affected the ferocity of the Black Dahlia Murder's mighty metal attack, especially on such eardrum blasters as Necropolis and Denounced, Disgraced. As with past Black Dahlia Murder releases, Trevor Strnad is one of the genre's most impressive vocalists, as he effortlessly alternates between screechy screams and guttural growls, without ever missing a beat.


    Some bands soften their approaches with experimentation as their discographies grow. Deflorate proves that the Black Dahlia Murder will not be listed in this category anytime soon.


    - Greg Prato (All Music Guide)

    1. Black Valor
    2. Necropolis
    3. A Selection Unnatural
    4. Denounced, Disgraced
    5. Christ Deformed
    6. Death Panorama
    7. Throne Of Lunacy
    8. Eyes Of Thousand
    9. That Which Erodes The Most Tender
    10. I Will Return
    The Black Dahlia Murder
    $22.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • White Mountain White Mountain Quick View

    $18.99
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    White Mountain

    Having played in various bands including Swords of Chaos and in Jónsi's touring band, White Mountain is Úlfur Hansson's debut under his own name. With influences ranging from cult cinema, esoteric literature and contemporary music, Úlfur presents a unique twist on the supernatural. In his own words:


    Every track is a collage of field-recordings made while travelling. I met so many interesting people on the road (for instance, Alexandra of Mountain Man who did amazing vocals for So Very Strange) and I always carry my tape recorder with me like a camera. Some tracks are composed of beats made from my cousin throwing rocks into a pond out in the sticks in Iceland, converging with some birds I met in Chigaco. It makes this album extremely personal to me, remembering things like that and helps me achieve greater depth with the programming aspect of it. I guess i'm searching for a more
    living breathing sound for completely electronic music.


    The title is an homage to Rene Daumal's Mount Analogue, as well as Alejandro Jodorowski's film Holy Mountain, but also something else Each individual sound has a very special memory attached to it, so the album creates these nostalgic nonexistent spaces, hidden places - an amalgamation of instances, situations that couldn't possibly exist. I imagine this White Mountain, an invisible imaginary place - a sacred place on the horizon. Maybe like a connection to the the universe above. An analogy of the journey of Man.

    1. Evoke Ewok
    2. So Very Strange
    3. Black Shore
    4. Heaven In A Wildflower
    5. White Mountain
    6. Knoll of Juniper
    7. Molasses
    Ulfur
    $18.99
    Vinyl LP - Sealed Buy Now
  • Tied To A Star Tied To A Star Quick View

    $17.99
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    Tied To A Star

    J Mascis' Tied to a Star is the follow up to his acclaimed Sub Pop debut
    Several Shades of Why. The album, led by the songs "Every Morning"
    and "Wide Awake," was recorded and produced by Mascis and mixed
    by John Agnello at Bisquiteen in Amherst, MA.


    It makes perfect sense that I was asked to write a bio for J Mascis.
    Let's face it, he and I have a long history. It all started the first time I
    saw him live. It was in New York City. I don't remember when or where,
    but I think he was walking around. I was probably walking around, too.
    The second time was also in New York, at a Mexican restaurant in the
    East Village (the one that takes credit cards now, but didn't used to).
    Years later I actually met him at the SXSW festival though a friend who
    works at Sub Pop. I guess that meeting went well, because when that
    friend from Sub Pop got married, she sat me at the same table as J.
    Sounds unbelievable? I suggest you look at the picture below. Now keep
    staring at that picture until... J's new acoustic
    album Tied to a Star comes out on Sub Pop Records. It features
    appearances by Ken Maiuri (Young@Heart Chorus), Pall Jenkins (Black
    Heart Procession), Mark Mulcahy (Miracle Legion) and Chan Marshall
    (Cat Power). Had I been in the area, I'm sure I would've been asked to
    play on it, too.

    -Todd Barry

    1. Me Again
    2. Every Morning
    3. Heal the Star
    4. Wide Awake
    5. Stumble
    6. And Then
    7. Drifter
    8. Trailing Off
    9. Come Down
    10. Better Plane
    J Mascis
    $17.99
    Vinyl LP - Sealed Buy Now
  • Black Heaven Black Heaven Quick View

    $24.99
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    Black Heaven

    Pressed On Clear & Black Colored Vinyl


    Limited to 2000


    Earthless has a surprise for you. Whereas the band's three previous albums featured anywhere
    from two to four completely instrumental space rock jams, the California trio's fourth
    and latest, Black Heaven, is nothing like that. "It's quite different," drummer Mario Rubalcaba
    says with a laugh. "It has six songs, and most importantly it has vocals on about 70 percent
    of the record. There goes being pigeonholed as an instrumental band, I guess "


    Of Black Heaven's six tracks, only two are instrumental. And one of those instrumentals is
    less than two minutes long. "It wasn't a premeditated thing to do a record with vocals," Rubalcaba
    explains. "On the older records, Mike was responsible for a lot of the riffs that would
    start these jams, but on this one Isaiah really brought his own pizazz and flavor to it. I'd say
    that's one of the major differences on this album: It has more of Isaiah's input. He took a risk
    bringing these ideas to us, not knowing if we'd like them. But as with everything we've done
    in the past, it felt very organic and natural."


    Black Heaven is a game changer for Earthless. Nobody is more aware of this than the band
    members themselves. But they also know this: you'll never get anywhere if you're running
    in place. "I'm sure there will be some people who have come to expect the big gargantuan
    space rock jams, and I don't know if they'll be into this or not," Rubalcaba admits. "But I'm
    ready to deal with a little bit of disappointment from people who just want the freakout stuff.
    At the same time, I think people are gonna enjoy hearing a different side of us. If people really
    listen to what we're doing, it's gonna sound like us. Sometimes it just takes a few listens. And
    that's the kind of stuff that pays off more in the end."

    1. Gifted by the Wind
    2. End to End
    3. Electric Flame
    4. Volt Rush
    5. Black Heaven
    6. Sudden End
    Earthless
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Strange Weather, Isn't It? Strange Weather, Isn't It? Quick View

    $21.99
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    Strange Weather, Isn't It?

    Everyones got a Berlin record in them and I guess we just wanted to see what
    ours would sound like, !!!s lead singer Nic Offer says, with tongue partially in
    cheek, of the groups fourth album, Strange Weather, Isnt It? Following in the
    footsteps of artists like David Bowie, Iggy Pop, and Depeche Mode, who have
    flocked to Berlin in order to mainline the citys legendary dark energy, !!! traveled
    to the German capital to produce a record that is simultaneously brooding and
    somehow their poppiest, most immediate record yet. !!! has also managed to
    create the best distillation of the chaos, fun and intensity of !!!'s live show yet.
    Strange Weather, Isnt It? was co-produced by the band with Eric Broucek,
    who used to be the house engineer for DFA Records. We used everything we
    could MacGyvered it together with a popsicle stick and a rubber band to make
    it work and Eric was definitely instrumental in making that happen, says Offer.
    The result is an album that is leaner and more detailed than any of !!!s previous
    albums. In the early days wed put something deep in the mix, so that kids on
    acid could hear it the 20th time they listened to it, says Offer. Now weve
    learned how to make records better. Its like the deep techno you hear in Berlin;
    its molded down to its most basic essence, almost like a sculpture that you keep
    working on to make it both denser and clearer at the same time. Offer pauses
    for a moment to consider what hes saying. Dont get me wrong, though, you
    should still check the record out on acid. Trust me.
    01. AM/FM
    02. The Most Certain Sure
    03. Wannagain Wannagain
    04. Jamie, My Intentions Are Bass
    05. Steady As The Sidewalk Cracks
    06. Hollow
    07. Jump Back
    08. Even Judas Gave Jesus A Kiss
    09. The Hammer
    !!!
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Soma Records Story: Vol. 3 - A Man's Gotta Be A Man! Soma Records Story: Vol. 3 - A Man's Gotta Be A Man! Quick View

    $24.99
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    Soma Records Story: Vol. 3 - A Man's Gotta Be A Man!

    The record world was a completely different place in 1965.
    Kids wanting to take home a piece of the rock 'n' roll action they frugged to at the Armory dance last weekend or a wild tune they heard the local bossjocks spin on the way home from school, inevitably had to deal with seven-inchers made by independent record labels. The single was the thing in the mid-60's, not the album. In even the hippest big city record emporiums, you could thumb through the entire recorded canon of British Invasion-influenced LPs - no more than a hundred or so - in about five minutes. But, ahhh, those singles. And nobody did them better than the shoebox companies sprouting up like bread mold all over the country, labels who could tap into the best local talent and get their show-stopping songs into the local record shops.


    Just about every sector of the US had its own scene, red hot local chart entries that kids three hundred miles away were destined to never hear. And that's why the legendary indie labels - from International Artists in Houston or Autumn in San Francisco to Dunwich in Chicago or Etiquette in Tacoma - and hundreds more just as groovy, are revered today more than ever.


    The Soma Record Company of Minneapolis caught the national spotlight by releasing hits from the likes of the Castaways and the Gestures. But Liar Liar and Run, Run, Run are just the tip ofthe iceberg. If you've always suspected that thousands of great singles from the '60s that you've yet to hear are lurking in the bushes, guess what? You're right. Step into the dusty Soma vaults with us - brush aside those cobwebs, if you would - point your flashlight towards the strobelight flickering at the far end of the tunnel and keep walking. When the cool Fender 'n Farfisa sounds finally grab you by the shirt collar, just keep telling yourself: This isn't a dream. It's what I was born to do.

    1. The Chancellors / I Can Tell*
    2. The Castaways / A Man's Gotta Be A Man
    3. The High Spirits / (Turn On Your) Love Light
    4. The Gestures / Don't Mess Around
    5. The Del Counts / Let The Good Times Roll
    6. The Titans / Reveille Rock
    7. The Messengers / My Baby
    8. The Gamins / Freeway
    9. The Gestures / Run, Run, Run
    10. The Chancellors / Surf Beat*
    11. The Torres / I've Had It
    12. The Shades / Please Please Please
    13. The Fabulous Rumbles / I'll Be Gone
    14. The Titans / Tchaikovsky Rides Again
    15. The Castaways / Should Happen To Me
    16. The Sounds Like Us / The Other Side Of A Record
    Various Artists
    $24.99
    Vinyl LP - Sealed Buy Now
  • Von Von Quick View

    $29.99
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    Von

    The heaps of praise during 2000 surrounding 1999's Ágætis Byrjun brought surprisingly little attention to Sigur Rós' first record, released in 1997. Remaining available only through the band's Icelandic label, it took some effort to obtain, but those who did get a copy probably found it to be just as adventurous as Agætis. Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. It's remarkable that such a young band would be this experimental at this stage in their lifespan, but the sheer breadth gets to be an albatross. Poking fun at '70s prog rock is just as easy as shooting at cement gargoyles on a suburban rooftop, especially when you're an indie kid or a fan of post-rock. But Sigur Rós makes Yes look like the Minutemen. Whittled down to 40 minutes, Von would be considerably more effective than it already is. As a mood setter, the 10-minute opening track really takes about three minutes to do what it needs, and a few other spots seem to drag on for the sake of sucking time. That doesn't prevent Von from being impressive, veering from Gavin Bryars-style aquatic minimalism to My Bloody Valentine-style dream pop. Varying states of isolationist ambience run throughout, whether evoking unrest or tranquil rest. You can practically envision a stray headboard floating through the Sinking of the Titanic-type passages, and the lush Myrkur comes from a planet where MBV's Kevin Shields and Kitchens of Distinction's Julian Swales are accorded the level or worship that Earth gives to Hendrix and Clapton. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.


    - Andy Kellman (All Music Guide)

    LP 1
    1. Sigur Rós
    2. Dögun
    3. Hún Jörð
    4. Leit að lífi
    5. Myrkur
    6. 18 sekúndur fyrir sólarupprás
    7. Hafssól


    LP 2
    1. Veröld ný og óð
    2. Von
    3. Mistur
    4. Syndir Guðs (Opinberun frelsarans)
    5. Rukrym

    Sigur Ros
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Caer Caer Quick View

    $19.99
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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
  • Major Handy Major Handy Quick View

    $19.99
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    Major Handy

    Major Handy was actually born Joseph Majay Handy, May 15, 1947. He thinks, if he understands what his mother's told him, that his parents had a child before him and named that boy Joseph Majay Handy. That son died near birth, and when the couple had their next child, also a boy, they decided to reuse the name. Eventually, after people had trouble recognizing the correct pronunciation, the middle name Majay morphed into Major. He says he did go by his first name initially. A lot of people called me 'Joe,' but that didn't ring no bell. And so, Major Handy it became.


    Handy was born and raised as the oldest of seven children in St. Martinville, Louisiana, the parish seat of St. Martin Parish and right on the Bayou Teche. It's a rural town about 15 miles southeast of Lafayette and is generally considered the heart of the Creole and Cajun melting pot that makes this specific sub-region unique to anywhere else in the world. It's from right here that so much of the culture - the food, music, swamp life - that people associate with Louisiana comes.


    Like with many people from St. Martinville, Handy's heritage is Creole, meaning it's tangled. I'm like a gumbo - everything. Alligator, fish, shrimp, Indian, Negro, white, whatever...I guess that's what that is. But I was raised as a black person, he says. The only time I ever mingled with white people was the music thing. 'Cause I didn't go to school with white people. I quit school in the ninth grade (just before school desegregation in Louisiana).


    Handy's earliest musical inspiration came from his father, who had an old accordion that he toyed with as nothing more than a pastime, and some cousins who were fooling around with music. I saw that, and I wanted to take it and be better, Handy says. The first thing I picked up was a guitar. And I took it from there. His first professional gig came on bass in a cousin's band. From there it was back to guitar and eventually accordion as a bandleader. In between, he played in the bands of Rockin' Dopsie for many years as well as in the very first incarnation of Buckwheat Zydeco just after Buckwheat had left Clifton Chenier.


    While he'd recorded previously as a bandleader, Handy's 2008 APO Records release Zydeco Feeling marked his first widely distributed release in 25 years.


    This title is not eligible for discount.

    1. Jalapeno Cornbread
    2. Bad Luck And Trouble
    3. Well I Done Got Over It
    4. Zydeco Feeling
    5. Te Ni Nee Ni Nu
    6. Lost My Baby
    Major Handy
    $19.99
    180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
  • Dusty Dusty Quick View

    $25.99
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    Dusty

    Dusty (PMC 7004) shared the same striking cover photo as that UK album, but its contents were completely different. Originally released in November 1964, this well-programmed disc features the US-only single 'All Cried Out' and two of Dusty's signature performances in the ballads 'I Just Don't Know What To Do With Myself,' and 'My Coloring Book.' Several songs such as 'I Wish I'd Never Loved You' and 'Summer Is Over' were B-sides or EP cuts elsewhere, and tracks like 'Guess Who?' would not even see release in the UK until the CD era. Once again, the mono mixes of many of these cuts have not been reissued on vinyl since the 1960s.
    1. All Cried Out
    2. I Wish I'd Never Loved You
    3. Can I Get A Witness
    4. Summer Is Over
    5. Don't Say It Baby
    6. Guess Who?
    7. Live It Up
    8. My Coloring Book
    9. Nothing
    10. Do Re Me (Forget About The Do And Think About Me)
    11. Don't You Know
    12. I Just Don't Know What To Do With Myself
    Dusty Springfield
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Mama Earth Mama Earth Quick View

    $15.99
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    Mama Earth

    The all-star Mama Earth lineup of Joss Stone (vocals), Nitin Sawhney (guitar), Jonathan Joseph (drums), Étienne M'BappÉ (bass/guitar) and Jonathan Shorten (keyboards) will release their debut EP Mama Earth via Mascot/Provogue.


    The project started when British soul singer Joss Stone and her former musical director Jonathan Joseph hit on the Mama Earth concept of an album driven by the dynamic rhythms of Africa. A band was assembled from all corners of the music world. Jonathan's compadre Étienne M'BappÉ, the dazzling Cameroon-born multi-instrumentalist whose rÉsumÉ spans from John McLaughlin to Robben Ford; Jonathan Shorten, who had produced much of Stone's studio catalogue between penning some of the biggest hits for acts including Gabrielle and (again) Joss Stone. Finally, there was Nitin Sawhney: the genre-slipping wildcard and one-man musical tidal wave whose collaborations take in Sting, Paul McCartney, and the London Symphony Orchestra.


    The 5 musicians convened at Stone's house, where the musical squad didn't take long to feel each other out. Music was spontaneously written on the spot, without any preparation. In the meantime, Stone purposefully kept her own creative process separate from the four musicians. I left them to do their own thing with the music in the studio, she reflects, while I was cooking dinner in the kitchen. I deliberately didn't have any input in the music, because I didn't want to affect it - or it'd all come out hip-hop and R&B! Then they'd come across into the house, give me the track and I'd sit in the kitchen writing lyrics and melodies with my mum. So it was, like, 'You guys do you, and I'll do me - then we'll put it together'. And that's the way it worked. I also went down to the river on my own with a pen and paper and write in the grass by the river. Which was a good way to do it, actually, The whole project is about Mother Nature. It's supposed to be from her perspective.


    Just ten days after they came together - and following a powerful co-production from all five band members - the Mama Earth sessions were over. And yet, you sense that the story of this fascinating band is only just beginning. Impulsive, dynamic and sometimes downright dangerous, this is an album unlike anything else in the five musicians' respective CVs, unprecedented in the clinical modern music scene - and sure to make waves upon its release. I guess this album is essentially how I think of music, considers Sawhney. It was all about being open to the moment. I think that's really what I loved about this project. To me, Mama Earth is what music should be about, really...

    1. Mama Earth
    2. Interlude 1
    3. Waterfall
    4. Interlude 2
    5. Spring
    6. Interlude 3
    7. What Would She Say?
    8. Interlude 4
    9. Entanglement
    10. Interlude 5
    11. Breathe
    Project Mama Earth & Joss Stone
    $15.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Driving Towards The Daylight Driving Towards The Daylight Quick View

    $32.99
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    Driving Towards The Daylight

    Import


    On May 21, 2012, internationally renowned guitar superstar Joe Bonamassa will release a brand new solo album 'Driving Towards The Daylight' on Provogue Records. 'Driving Towards The Daylight' was produced by Kevin 'Caveman' Shirley (Black Crowes, Aerosmith, Led Zeppelin). This is their seventh collaboration in six years and Joe's 13th album.


    Recorded at The Village Recorder in Los Angeles, CA and Studio At The Palms in Las Vegas, NV, 'Driving Towards The Daylight' is a balanced back-to-basics album that highlights Bonamassa's signature style of roots blues with rock-and-roll guts, while honouring the traditions of the original blues musicians.


    "We've taken some really traditional old blues songs - the Howlin' Wolf song 'Who's Been Talkin' and the Robert Johnson song 'Stones In My Passway,' and we've tried to imagine how they would do them in a rock context," said Shirley. "It's a very exciting return to the blues in a very visceral way. It's vibrant and it's gutsy and it's really, really rugged."


    The album features five Bonamassa-penned originals including the bruising opener 'Dislocated Boy', the road warrior title track (and first single) 'Driving Towards The Daylight', 'I Got All You Need', 'Heavenly Soul' and 'Somewhere Trouble Don't Go'. Other tracks include Bonamassa's versions of Tom Waits' 'New Coat Of Paint', Bill Withers' 'Lonely Town Lonely Street', and 'A Place In My Heart' by Bernie Marsden. On the album closer, Australian rock singer Jimmy Barnes sings lead vocals on his 1987 hit 'Too Much Ain't Enough Love'.


    To challenge Joe and move him out of his comfort zone, a unique group of musicians was gathered including Aerosmith guitarist Brad Whitford (guitar), Blondie Chaplin (guitar), Anton Fig (drums and percussion), Arlan Schierbaum (keyboard), Michael Rhodes (bass), Carmine Rojas (bass), Jeff Bova and The Bovaland Brass, Pat Thrall (guitar), and Brad's son Harrison Whitford (guitar).


    Brad Whitford, speaking from the studio in Vegas, said, "This is definitely more influenced by the stuff that the guys and musicians in this room love, early '60s English and American rock and blues. I guess we'll never get that out of our system and its fun to come in here and find our own path down that highway."


    Bonamassa's last studio album 'Dust Bowl 'released in March 2011 charted at no.12 in the UK

    1. Dislocated Boy
    2. Stones In My Passway
    3. Driving Towards The Daylight
    4. Who's Been Talking
    5. I Got All You Need
    6. A Place In My Heart
    7. Lonely Town Lonely Street
    8. Heavenly Soul
    9. New Coat Of Paint
    10. Somewhere Trouble Don't Go
    11. Too Much Ain't Enough Love (w/ Jimmy Barnes)
    Joe Bonamassa
    $32.99
    Vinyl LP - Sealed Buy Now
  • Kiss: MTV Unplugged Kiss: MTV Unplugged Quick View

    $34.99
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    Kiss: MTV Unplugged

    Celebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl
    starting in 2014. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
    vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
    been faithfully reproduced for the KISS Army.


    On April 10, KISS will be inducted into the Rock and Roll Hall of Fame - which will be broadcast in May -
    and then will kick off a summer co-headlining tour with Def Leppard starting in June.


    After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. Coming Home delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on Plaster Caster, and the beautiful acoustic medley Goin' Blind. The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune Do You Love Me. Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune Domino. The crowd is really fired up now, next experiencing the charming and soulful power rock ballad Sure Know Something. A World Without Heroes is very subdued and reflective. Rock Bottom is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. Now it gets rough, expresses Stanley, grooving in a racy blues statement. See You Tonight is a romantic and pretty ballad delivered with sweetness, and the group sings, I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside. Then on comes the darker resonance of the band with I Still Love You, expressing grave longing after a grueling breakup. I got to make you see, is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you. The solo during the bridge is reminiscent of the chord structure of the Guess Who's Undun. After this painful, depressing song, new breath is found with Every Time I Look at You, a song of forgiveness, delivered with sincerity and the feeling of hope: Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me. The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. Beth is the most heartwarming song of Kiss' power ballads: Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night. Finally, a Kiss show wouldn't be complete without the ultimate party song, Rock and Roll All Night, a tune still electric without electric guitars.


    - Shawn M. Haney (All Music Guide)

    LP 1
    1. Comin' Home
    2. Plaster Caster
    3. Goin' Blind
    4. Do You Love Me
    5. Domino
    6. Sure Know Something
    7. A World Without Heroes
    8. Rock Bottom


    LP 2
    1. See You Tonight
    2. I Still Love You
    3. Every Time I Look At You
    4. 2,000 Man
    5. Beth
    6. Nothin' To Lose
    7. Rock 'N' Roll All Nite
    8. Got To Choose

    Kiss
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • London Zoo London Zoo Quick View

    $24.99
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    London Zoo

    In Gibson's Neuromancer, when Case and Molly meet the two surviving founders of Zion, there is talk of hearing a mighty dub in the Babel of tongues signaling the final days. If indeed we're living in these end times, as many predict, then there can be no more of an appropriate soundtrack for the coming apocalypse than The Bug's London Zoo.


    The Bug is the main project for Kevin Martin, a producer who has headed a diverse range of projects. He is part of Techno Animal, Ice, and God (all with Justin Broadrick of Godflesh and Jesu), King Midas Sound, Razor X Productions (with The Rootsman), Pressure, and Ladybug; runs his Pathological Records label; and has collaborated with noise jazz outfit 16-17, Pete Sonic Boom Kemper's E.A.R. project, John Zorn, Kevin Shields, El-P, and the Antipop Consortium. He has recorded for Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal, and now Ninja Tune. He has been personally asked to remix Thom Yorke, Grace Jones, Einsturzende Neubauten, and Primal Scream, and compiled jazz and dub compilations for Virgin Records. London Zoo is the fruition of all these activities.


    The album was born of three key moments: an introduction to the thriving dubstep scene (of which The Bug is very much a pioneer from before it carried a name) and its key producers (via Kode 9 and Loefah) where Martin realized there were others on the same sonic trajectory as himself; an introduction to Warrior Queen via his work with Wayne Lonesome on the Razor X Productions project; and a Mary Anne Hobbs Breezeblock session which introduced him to Flowdan (Roll Deep) and Ricky Ranking. All three of these figure heavily in the end result and live presentation.


    The obvious entry point to the album is the dubstep tag, particularly after the success of the three lead-up singles, but London Zoo clearly reaches past, brings together, and celebrates reference points from dancehall, grime, hip-hop, and noise-- it could have only come out of London sound-system culture, while its appeal spans cities and scenes.


    From the opening strains of Angry (featuring reggae legend Tippa Irie) it's clear that the world has been served notice from the heart of the UK capital. The message is further strengthened as Ranking (best known for his work with Roots Manuva), Flowdan, Warrior Queen, Spaceape, Roger Robinson, Killa P, and Aya step up to lay waste to the boombastic rhythms put before them, eventually culminating in Judgement where Ranking leaves us with a prophecy: So much people are losing their minds, because we're living in a serious time. I guess it come in like a judgment sign, the people have killing on their mind. Living in end times, indeed. Best start building the Marcus Garvey tug now.

    Angry ft Tippa Irie
    Murder We ft Ricky Ranking
    Skeng ft Killa P & Flowdan
    Too Much Pain ft Ricky Ranking & Aya
    Insane ft Warrior Queen
    Jah War ft Flowdan
    Fuckaz ft Spaceape
    You & Me ft Roger Robinson
    Freak Freak
    Warning ft Flowdan
    Poison Dart ft Warrior Queen
    Judgement Ricky Ranking
    The Bug
    $24.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Profile: Best Of Emmylou Harris Profile: Best Of Emmylou Harris Quick View

    $21.99
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    Profile: Best Of Emmylou Harris

    Already celebrated as a discoverer and interpreter of other artists' songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs-three of them co-written with Grammy- and Oscar-winning composer Will Jennings-that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons ("The Road") and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle ("Darlin' Kate") and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On "My Name Is Emmett Till" she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim's perspective; on "Goodnight Old World," she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up's world-weariness with a baby's wide-eyed wonder. "Big Black Dog," with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte's Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: "She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I'm making up for lost time now, that's for sure."Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

    Forty years into her career, Harris shares the hard-earned wisdom that-hopefully if not inevitably-comes with getting older, though she's never stopped looking ahead. The candor of Harris's words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she'd previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris's acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves-employing piano, pump organ, and synths as well as playing percussion-conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, "a floaty, dreamy quality.""It's such a beautifully realized sound," says Harris. "We didn't have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on 'My Name Is Emmett Till.' It's a simple part but it just breaks my heart whenever I hear it. It's like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I've been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable."On "The Road,"

    1. One Of These Days
    2. Sweet Dreams
    3. To Daddy
    4. (You Never Can Tell) C'est La Vie
    5. Making Believe
    6. East From Now On
    7. Together Again
    8. If I Could Only Win Your Love
    9. Too Far Gone
    10. Two More Bottles Of Wine
    11. Boulder To Birminham
    12. Hello Stranger
    Emmylou Harris
    $21.99
    Vinyl LP - Sealed Buy Now
  • Freddie Mercury: Messenger Of The Gods - The Singles (Box Set) Freddie Mercury: Messenger Of The Gods - The Singles (Box Set) Quick View

    $139.99
    Buy Now
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    Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)

    Box Set Features 13 x 7" Singles On Colored Vinyl


    Includes Booklet Featuring Previously Unpublished Photos


    Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.


    He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.


    All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.


    From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.


    Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.


    His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.


    As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.


    Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.


    Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.


    In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.


    Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.


    In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.


    But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.


    Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.


    Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.

    Disc 1 - Blue Colored Vinyl
    (a) I Can Hear Music - Larry Lurex (1973)
    (b) Goin' Back - Larry Lurex


    Disc 2 - Orange Colored Vinyl
    (a) Love Kills (1984)


    Disc 3 - Yellow Colored Vinyl
    (a) I Was Born To Love You (1985)
    (b) Stop All The Fighting


    Disc 4 - Red Colored Vinyl
    (a) Made In Heaven [Single Remix] (1985)
    (b) She Blows Hot And Cold


    Disc 5 - White Colored Vinyl
    (a) Living On My Own [Single Edit] (1985)
    (b) My Love Is Dangerous


    Disc 6 - Red Colored Vinyl
    (a) Love Me Like There's No Tomorrow (1985)
    (b) Let's Turn It On


    Disc 7 - Cyan Colored Vinyl
    (a) Time (1986)
    (b) Time [Instrumental]


    Disc 8 - Orange Colored Vinyl
    (a) The Great Pretender (1987)
    (b) Exercises In Free Love [Freddie's Vocal]


    Disc 9 - Clear Colored Vinyl
    (a) Barcelona [Single Version] (1987)
    (b) Exercises In Free Love [Montserrat's Vocal]


    Disc 10 - Gold Colored Vinyl
    (a) The Golden Boy [Single Edit] (1988)
    (b) The Fallen Priest [B-Side Edit]


    Disc 11 - Green Colored Vinyl
    (a) How Can I Go On [Single Version] (1989)

    (b) Overture Piccante


    Disc 12 - Neon Pink Colored Vinyl
    (a) In My Defence (1992)
    (b) Love Kills [Wolf Euro Mix]


    Disc 13 - Yellow Colored Vinyl
    (a) Living On My Own [No More Brothers Radio Mix] (1993)
    (b) Living On My Own [Julian Raymond Album Mix]

    Freddie Mercury
    $139.99
    7 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

    $24.99
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    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."


    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."


    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"


    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."


    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."


    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."


    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."


    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."


    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."


    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    $24.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 Deer Tick Vol. 2 Quick View

    $19.99
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    Deer Tick Vol. 2

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 1 Deer Tick Vol. 1 Quick View

    $19.99
    Buy Now
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    Deer Tick Vol. 1

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rock Steady Rock Steady Quick View

    $24.99
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    Rock Steady


    Ranked 316/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    They say you can never go home again.


    Yet, on their new Interscope Records release and fifth album, Rock Steady, No Doubt has embarked on a globe-spanning musical adventure that proves, once and for all, that home is where the heart is.


    At the heart of the quartet's fifteen-year musical journey is a sound, a style and a sensibility that celebrates their enduring bond with millions of fans worldwide: the sheer pleasure of pure pop - danceable, hummable, instantly accessible songs that have become indispensable additions to the soundtrack of our life and times. And now with Rock Steady, that soundtrack signals a return to some of the key creative elements that have made No Doubt one of today's most popular and enduring bands. Simply put, No Doubt is ready to party.


    "It's the hardest thing in the world just to be simple, to let the music and the words speak for what you're feeling and, hopefully, to share that feeling. And the feeling we all shared on this album turned out to be pretty simple, too: we were in a good mood."


    So says vocalist, lyricist and glorious gamine Gwen Stefani on the inspiration that ignited the dozen deliriously entertaining new tracks comprising Rock Steady. With all-original material penned by Gwen and No Doubt's dynamic songwriting duo of Tony Kanal and Tom Dumont and a roster of producers that pretty much covers the cutting edge of the studio art, Rock Steady, recorded in such far flung locations as London and Los Angeles, San Francisco and Jamaica, is without question the most eclectic, wide-ranging and stylistically diverse offering in the band's extraordinary career. It is also a loving tribute to the musical roots that have nourished No Doubt from their very inception.


    "We were on tour pretty much all of last year," explains drummer Adrian Young, "and whenever we had some down time, we found ourselves listening to lots of dancehall. It was kind of like getting back to where we once belonged." Dancehall, the exuberant evolution of reggae, ska and calypso currently rocking the clubs and studios of Jamaica, proved a potent point of departure for the group when they convened in early 2001 to begin work on a new album. "We were part of the whole ska revival back when we first got together," continues Adrian. "The fact is, we had to work hard to prove we had a wider range, and I guess we did that. Because this time around we didn't feel like we had anything to prove. The whole point was to follow the music, wherever it led."


    "Following the music" would lead the quartet to a variety of exotic locales as they indulged their instincts and experimented with sounds and settings that would capture the sensational new music beginning to emerge. "This album was less about technique and more about attitude," asserts Tony. "We took it one day at a time and it became a very spontaneous process. Tom had set up a studio at his place in L.A. and we'd meet there just to try out different ideas. Whereas before we'd write everything with a guitar or bass, this time we started with just beats and grooves and keyboards and built from there. After a week or two of songwriting, Gwen had a trip planned to London. Since we were having such a good time we just packed up and followed her over there. We knew we were onto something."


    "It felt like starting over," is Tom's assessment. "We had spent two years working on Return Of Saturn because we felt it was important to prove we could do a record that had depth and substance. Once we got that out of our system it was time to have some fun."


    Return Of Saturn, the group's smash 2000 release, did indeed establish No Doubt's ability to fashion songs of substance as well as style. It also conclusively demonstrated that the group's 1995 breakthrough release, Tragic Kingdom was more than a flash in the pan, although it was a distinctly dazzling flash that elevated the group to world class status with a solid string of hit singles. "We'd already done most of what we'd set out to accomplish," continues Tom. "We wanted try something fresh."


    Something fresh and, as it turned out, something tried and true. "With all the dancehall we'd been listening to it was only natural that some of that rhythm would seep into our new songs," Gwen adds. "We ended up going to Jamaica without really knowing exactly what we'd find when we got there. That was the whole plan from the beginning not to have a plan."


    What No Doubt found in the lush musical environs of the island was a creative collaboration with some of Jamaica's most revered producers including the legendary team of Sly & Robbie who sat behind the board for the album's debut single "Hey Baby" and "Underneath It All," a tune written by Gwen with Eurthymics mainstay Dave Stewart during the group's London sojourn. They would also go on record with the fast rising dancehall duo of Steely & Clevie, who worked their magic for the incendiary selection, "Start The Fire." Remarks Tom, "Going to Jamaica and working with the great artists there had always been a dream of ours. Having that opportunity is one the best things about having some success. It's more important than any amount of fame or fortune."


    As the spring of 2001 turned to summer the pace of recording stepped up, along with the group's increasingly bold ventures into new creative territory. In Los Angeles they added hip-hop to the mix with the streetwise sensibilities of The Neptunes, co-writers on the album's opening track, the scorching "Hella Good." Next they huddled with high-profile mixmaster Nellee Hooper on Rock Steady's title track as well as such standout selections as "In My Head," "Running," "Detective" and the above mentioned "Hella Good." Along the way they logged time with William Orbit for "Making Out," Ric Ocasek on "Platinum Blonde Life" and "Don't Let Me Down," and the inimitable Prince who co-produced and provided backing vocals on the drop dead gorgeous "Waiting Room."


    But mixing and matching songs and producers was only part of the creative evolution that took place with Rock Steady. Says Tony, "Our attitude from the beginning was that we'd do whatever it took to make the music work. We've always been a very self-contained unit. This time we wanted to open it up, to find out what other people could bring to the party."


    "The whole album was an exercise in spontaneity," adds Gwen, "and that challenged me to write more directly from my thoughts and feelings. I threw away my thesaurus and put aside my influences, everyone from Joni Mitchell to Sylvia Plath. I wanted to write songs about how it felt to be alive right now and that feeling, despite everything that going on in the world, is optimistic and full of hope. This is a time to affirm what's good and positive in our lives and if we can convey even a small part of the fun and excitement we had making this music, then we've done what we set out to do."


    Hot on the heels of Rock Steady's release comes news of an extensive touring schedule that includes select dates with U2 as well as an extensive itinerary of international headlining dates. "We're primarily a live band," comments Tony. "That's how we started and that's how we maintain contact with our fans. Over the past couple of years, as the No Doubt machine got bigger, it's been more difficult to maintain that connection. But this time around,we're determined to stay true to the spirit of the music. It's about having a good time, about dancing in aisles and singing along. We all need that and it's what this tour is going to be about."


    "After fifteen years together you naturally create all kinds of rules about how things should be," concludes Gwen. "There comes a time when you've got to throw the rules out and start all over again. That's what keeps it fun and interesting. For us that time has come."


    It's a sentiment that gets to the heart of the brilliant music on Rock Steady, an album that finds No Doubt comfortable at home with the risks and rewards of true originality. It's also proof positive that, when No Doubt throws a party, everyone's invited.

    LP1
    1. Intro
    2. Hella Good
    3. Hey Baby
    4. Making Out
    5. Underneath It All

    6. Detective
    7. Don't Let Me Down


    LP2
    1. Start The Fire
    2. Running
    3. In My Head
    4. Platinum Blonde Life
    5. Waiting Room
    6. Rock Steady

    No Doubt
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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