- Lowest Price
- Highest Price
Hard Days Night'
A Hard Days Night (Awaiting Repress)Ranked 388/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Pressed on 180g Vinyl
Cut from the original master tapes at Abbey Road Studios!
And for the first time, the North American LP debut in stereo
A Hard Days Night is the 3rd studio album from The Beatles and was accompanied by a film of the same name. This album really showcases the bands Rock and Roll instrumentation and song structure and also spawned some of their most famous songs, A Hard Days Night, with its pulse pounding and recognizable opening chord, to the previously released "Can't Buy Me Love" .
The album is a landmark for the band seeing as how it is the first Beatles record to feature all original songs, some of which ended up on the movie of the same name. With Lennon handling most of the songwriting doing a total of ten out of the thirteen tracks, this is also one of 3 albums to not feature a Ringo Lead song. The album is also considered as opening up the flood gates for more British rockers like the Rolling Stones and The Kinks to sweep there way to the U.S.
A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.1. A Hard Day's Night
2. I Should Have Known Better
3. If I Fell
4. I'm Happy Just To Dance With You
5. And I Love Her
6. Tell Me Why
7. Can't Buy Me Love
8. Any Time At All
9. I'll Cry Instead
10. Things We Said Today
12. When I Get Home
13. You Can't Do That
14. I'll Be Back$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
All American MadeA lot can change in a year: markets boom and bust, trends come and go, presidents
get elected. In 2015, Margo Price was a country underdog just trying to keep
enough gas in the tank to get to the next gig, but by the end of 2016, she was one
of the genre's most celebrated new artists and a ubiquitous presence on late night
television and at major festivals around the world.
It's the kind of year most musicians can only dream of, and the arrival of Price's
spectacular sophomore album, "All American Made," proves that she hasn't taken a
moment of it for granted. Delivering on the promise of her debut and then some, the
record finds Price planting her flag firmly in the soil as a songwriter who's here for
the long haul, one with the chops to hang with the greats she so often finds herself
sharing stages with these days.
A prolific writer with a knack for candid self-reflection, Price has never had to look
too far for inspiration, and on 'All American Made,' she and her songwriting partner/
husband, Jeremy Ivey, continue to depict the trials of everyday life with unflinching
honesty, painting poetically plainspoken portraits of men and women just trying to
Highs and lows, long nights and hard days, wild women and cocaine cowboys,
politics and sexism, it's all in there, singularly filtered through Price's wry, no-bullshit
perspective. Throughout the album, her contemporary take on classic sounds is at
once familiar and daring, an infectious blend of Nashville country, Memphis soul,
and Texas twang that tips its cap to everyone from Waylon and Willie (who makes
a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the
cookie-cutter pop that dominates modern country radio. Rich with swirling pedal
steel, honky-tonk rhythms, and Price's stop-you-in-your-tracks vocals, 'All American
Made' is deeply reverent of tradition even as it challenges conventions, a nuanced
exploration of conflicted emotions for our deeply conflicted times.1. Don't Say It
3. A Little Pain
4. Learning to Lose
5. Pay Gap
6. Nowhere Fast
7. Cocaine Cowboys
8. Wild Women
9. Don't Say It
10. Do Right By Me
12. Don't Say It$17.99Vinyl LP - Sealed Buy Now
TookahTookah is Emiliana Torrini's fourth album and it follows 2008's critically acclaimed Me And Armini. It sees Emiliana back in the studio with her long-time producer/collaborator Dan Carey.
'Tookah' was written at different stages over a 3 year period, the oldest song being "When Fever Breaks" which was written having come off a tough two year tour which took it's toll in many ways.
"The only way to deal with things is to go into the studio and do music, it is like brain scrambling. You come out of the session clearer as you get to step out of yourself take a look and deal with it."
Other songs like 'Autumn Sun' were written in Iceland.
"We had done that before, gone on a week's writing trip to Iceland, wrote five songs in that week which all made it onto ´Me and Armini´. We were kind of expecting the same to happen. It didn´t. We only wrote 'Autumn Sun'. It was extremely frustrating. Lyrics were hard to write for this album and I spent day and night trying to finish it - with Dan standing over me in military mode. The only time in my life I did not like him much."
On the airplane we realized Dan had left his computer at the airport - it had the only copy of the song. He ran out to find it and just made it back just before the doors closed. We had a terrifying landing that almost ended badly. We grabbed each other and the only thing we said was "Nooo the song! It will be lost forever!"
This record was my sound journey. I had not long had my baby and was getting my head around this huge love I had for him and then being absolutely devastated that I might have dragged him out of a world where he was wild and free, riding horses, swimming in rivers and eating over open fires, to this world where the bad is too much to handle. I had a new identity to figure out and the record was the tiger in the rowing boat. It was going nowhere. I did not like the music we were doing because we had done it before. We knew how to craft that. I needed a challenge, proof that something in me had shifted and it had to be musically as well. I was driving myself too hard.
Dan told me I was not ready to make a record, that I should forget about it for a while, just hang out.
So, we started hanging out, in the studio. In my head the difference was we were not making a record. I discovered the Oberheim on Youtube and that changed everything. That and the Swarmatron Dan had bought. We knew we would plaster it all over the record before we knew what the record was.
I pulled some friends together I was writing with Simon Byrt, ("Blood Red", "Elísabet"), Ian kellett (´Elísabet) and Matt Robertson who are real synth nerds and we started playing around and having fun. We went to Dan´s and jammed and started doing some synth symphonies.
After you have a baby there comes a time where you need to go out with your girlfriends and dance. I went to the studio with Dan and did a dance track "Speed of Dark." We danced. It had to be on the record it was a part of the journey. From that the sound of the record was born, it was a challenge bringing it all together.
The sound was worked very visually. There are almost two stories to each song there is the lyrical visual and then there is a whole different visual that comes with the instrumental and that is how the sound was often directed. "Home" is a very good example of how the sound was built from a visual. When we were writing it, it was clear it had to have a very certain feeling. ´I wanted it to have the visual of you standing in snow blinding white, watching your breath in the cold, not feeling the cold. You look to your left and a lake stretches out frozen and huge. You walk over it to the other side into a forest, you lose direction. Completely lost and helpless. Fireworks start lighting up the sky and you feel a wave of relief. You walk towards them. In the king blue sky they start changing into jelly fish in neon flashing colours, leading the way to home.´ We did not stop until we saw that when playing it.
'Tookah' is a made up word. It came when I was improvising and I connected with that word or name in a very deep blissful way. It is the core of you. The 'you' you were when you were born, before life decorated you like a Christmas tree with all the baggage. It is what connects us with everyone and everything.
It is what the sufis spin for, what we are looking for all our lives. It is the sudden thankfulness you feel when doing nothing in particular, where everything is gently perfect for a moment. God has many names. I call mine 'Tookah'.
- Emiliana Torrini1. Tookah
3. Autumn Sun
6. Animal Games
7. Speed of Dark
8. Blood Red
9. When Fever Breaks$18.99Vinyl LP - Sealed Buy Now
NVMLike a fluorescent-lit snack-aisle oasis in some desolate interstate road stop, brimming with Skittles and limited-edition Sno Balls, Tacocat's Easter-egg-hued pop-punk-pop is bubblegum-sticky with hooks, bound to brighten up the most drab stretch of bummer backroad.
The band's four-person, seven-layer-burrito came together organically: Lelah Maupin (drums) and Eric Randall (guitar) met in their native Longview, WA-two hours south of Seattle, the very town that Green Day named their breakout debut single after. Lelah's family room was wallpapered with framed Magic Eye posters, hence Stereogram, the cross-eyed love letter to that bizarre '90s optical fad. She met lanky Eric while both worked at Safeway, wearing the chain's distinctive navy aprons before breaking north to Seattle. Eric's band The Trashies practiced and played in the basement of the 24/7 House in the Central District, where Long Beach, CA native Bree McKenna (bass) was living, amongst the dust, boxes, and spiders. Lelah met Butte, MT native Emily Nokes (voice, tambourine) in one excruciatingly early/boring graphic design class, slipping her a doodled-upon note; she soon noticed Emily's big voice while she sang along with R. Kelly on the radio. Emily and Bree hit it off one sloshy night at the Comet. Eric impressed Emily with his reenactments of scenes from Anaconda. Sometime around 2007, via countless raucous house party shows, the legend of Tacocat was born.
The foursome would quickly make a name for themselves with their simply energizing power pop, drawing on classic Northwest energy with an uncommonly upbeat, surfy swag that could only come from gray skies and hydroponic sunshine. Their sly and unabashed '90s revivalism has, in the past, found the band pondering Evan Dando and Waterworld-and Bree herself explains finding about riot grrrl via Napster and Julia Stiles in 10 Things I Hate About You. They've described themselves variously as Feminist sci-fi and Equal parts Kurt and Courtney; oh well, whatever NVM.
NVM-Tacocat's second full-length album and first for Hardly Art, opens up like some mystery shoebox, wistful, instantly nostalgic: snapshots of mortifying exes (You Never Came Back) and sketchy party situations (Party Trap), maybe a postcard with an alien smoking a joint. Cigarette cellophane-wrapped weed nugs, pain pill crumbs and wrapped tampons (all the girls are surfing the wave, surfing the crimson wave today"), all serve as a roadmap through Tacocat's bong-ripped reminiscences, scenarios all-too familiar and hilariously improbable. There's the notoriously inconsistent #8 Metro line (F.U. #8) and the accountability-allergic, black-clad brick-heavers of This Is Anarchy. The protagonist of Psychedelic Quinceañera-based on Bree-just wants to dance with rainbows, mind-expansion style, instead of having to wear a frilly dress in front of her whole family. Emily daydreams of a Bridge to Hawaii, where even the destitute could walk their asses to paradise-before being snapped out of it by cat-calls from construction workers, business dads, and drunk hobos (Hey Girl); sweaty jerks telling her that she should smile!
NVM all that, though: you should, and will, smile-either a wry little corner-lifter or a big ear-to-ear equator-and shake what's yours, when you hear the whippet-smart latest album from the world's favorite palindromic band. Text a friend.
--Larry Mizell1. You Never Came Back
2. Bridge to Hawaii
3. Crimson Wave
5. Pocket Full of Primrose
6. Psychedelic Quinceañera
7. Time Pirate
8. This is Anarchy
9. Hey Girl
10. Party Trap
11. F.U. #8
12. Alien Girl
13. Snow Day$13.99Vinyl LP - Sealed Buy Now
Navigated Like The SwanYoung Moon aka Trevor Montgomery is a craftsman. By day he's a skilled tile setter, a job taxing to both the mind and body. By night he's an equally meticulous and hard working musician, coaxing just the right tones out of his vintage drum machines and synths to carry his tales of love and redemption. As a tile setter and as a musician, his job is the same: assembling things of beauty to fill empty spaces. It's those exact skills that are employed to great effect on this 13-song collection entitled Navigated Like The Swan.1. The Crystal Text
2. Walk in White
3. Winds Light
4. Northern Earth
6. A Reason
7. Ages of Youth
8. Cold Day Solstice
9. On the Verge
10. Summit and Blue Air
11. Emma Jane
12. The Ponds
13. Painting on Waves$18.99Vinyl LP - Sealed Buy Now
Long Players 92-99 (Box Set)Limited To 1000 Copies
Pressed By Gotta Groove On 150 Gram Vinyl
Contains 5 Original LPs Released From 1992-1999
Includes An Additional "Rarities" LP Only Available With This Box Set
In 1992, Dean Wareham followed the posthumous buzz of Galaxie 500 by forming a new band: Luna. Initially joined by Justin Harwood (of the Chills) and Stanley Demeski (of the Feelies), the group went on to sign to Warner Brothers sub-label Elektra, tour with the Velvet Underground, collaborate with Tom Verlaine and Sterling Morrison and ultimately release five stunning albums over the course of the 90s.
Deemed "the best band you've never heard of" by Rolling Stone, Luna remained under the radar for most of their career despite gathering a rabid cult following. It's not hard to see why this is the case, as the three albums featuring the original lineup (plus guitarist Sean Eden on the latter two) act as a perfect synthesis of the members past bands, blending the simplicity of Galaxie, the heavenly pop melodies of the Chills and the quick and intensely precise drumming of the Feelies into one fluid package. This is particularly evident on 1995's fan-favorite Penthouse, in which the band created a masterpiece of lush, late night music that's now considered one of the best of the 90s.
Following Penthouse, the band saw the replacement of Stanley with Lee Wall on drums but no slump in quality. The psychedelic textures of 1997's Pup Tent and the clean and beautiful pop of 1999's Days of Our Nights proved that Luna was a consistently reliable band and not one that would wane with age. Elektra didn't feel the same way, though, and eventually decided not to release Days of Our Nights after paying for the recording.
This box set gathers together those five albums from the 90s as well as a compilation of demos and B-sides recorded contemporaneously, all housed in a beautiful textured canvas box. Accompanying the records is a 12" x 12" book featuring archival imagery, an interview with Dean Wareham conducted by Noah Baumbach and an oral history with the band and their producers. As the majority of these records were never released on vinyl outside of limited pressings, this is a boon to longtime fans and new listeners alike.LP 1: Lunapark (1992)
3. Slash Your Tires
4. Crazy People
7. I Can't Wait
8. Hey Sister
9. I Want Everything
10. Time To Quit
12. We're Both Confused
LP 2: Bewitched (1994)
1. California (All The Way)
2. Tiger Lily
3. Friendly Advice
5. This Time Around
6. Great Jones Street
7. Going Home
8. Into The Fold
9. I Know You Tried
10. Sleeping Pill
LP 3: Penthouse (1995)
2. Sideshow By The Seashore
3. Moon Palace
4. Double Feature
5. 23 Minutes in Brussels
6. Lost in Space
7. Rhythm King
10. Freakin' And Peakin'
LP 4: Pup Tent (1997)
2. Beautiful View
3. Pup Tent
4. Bobby Peru
5. Beggar's Bliss
6. Tracy I Love You
8. City Kitty
9. The Creeps
10. Fuzzy Wuzzy
LP 5: The Days of Our Nights (1999)
1. Dear Diary
2. Hello, Little One
3. The Old Fashioned Way
4. Four Thousand Days
5. Seven Steps To Satan
6. Superfreaky Memories
7. Math Wiz
8. Words Without Wrinkles
9. The Rustler
10. U.S. Out Of My Pants!
11. The Slow Song
12. Sweet Child O' Mine
LP 6: Rarities
1. Egg Nog
2. Indian Summer
3. Ride Into The Sun
4. That's What You Always Say
5. Anesthesia (Demo)
6. In The Flesh
7. Bonnie And Clyde
8. I Know You Tried (Demo)
9. Roll In The Sand
10. Dear Paulina$188.99Vinyl LP Box Set + Book - 6 LPs Sealed Buy Now
Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.
The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!
- Sonny Cohn (trumpet)
- Thad Jones (trumpet)
- Henry Coker (trombone)
- Benny Powell (trombone)
- Marshall Royal (alto saxophone,clarinet)
- Billy Mitcheel (tenor saxophone, clarinet)
- Charles Fowlkes (bassoon, bass clarinet, flute)
- Count Basie (piano)
- Freddie Green (guitar)
- Eddie Jones (bass)
- Sonny Payne (drums)
Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider
Production: Teddy Reig
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.1. Vine Street Rumble
3. Miss Missouri
4. Jackson County Jubilee
5. Sunset Glow
6. The Wiggle Walk
7. Meetin' Time
8. Paseo Promenade
9. Blue Five Jive
10. Rompin' At The Reno$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
We're All Young TogetherNot wasting much time since The Walkmen announced their hiatus (and then reneged that announcement for a night), the band's multi-instrumentalist and co-writer Walter Martin has revealed details of his debut solo outing. Entitled We're All Young Together, the record is due out in 2014 from Family Jukebox.
The label name is especially apt as the spark for the album came when Martin's wife was pregnant with their first child. "It wasn't that I wanted to write songs to suit my new situation as a parent," Martin said in a press release. "It was more parenthood made relevant writing the kind of songs I've always loved most." He continued, "I began to imagine a record I really wanted to hear: something new and original that captured the essence of early rock 'n' roll - innocent but mischievous, romantic but funny, and unabashedly sweet."
Martin brought in the help of some big name friends for the record, including Yeah Yeah Yeahs' Karen O and Nick Zinner, The National's Matt Berninger, Clap Your Hands Say Yeah's Alec Ounsworth, and - proving that their are no hard feelings - The Walkmen's own Hamilton Leithuaser and Matt Barrick.
Subject matter ranges from sibling similarities ("Hey Sister") to a treatise on the difference amongst The Beatles ("The Beatles (When Ringo Shook His Mop)"). Our first taste of the record, however, comes in the form of the acoustic lullaby "Sing To Me", featuring Karen O.
- Ben Kaye (Consequence Of Sound)1. We're All Young Together ft. Alec Ounsworth
2. We Like The Zoo ('Cause We're Animals Too) ft. Matt Berninger
3. I-M-A-G-I-N-A-T-I-O-N ft. Kat Edmonson
4. Rattlesnakes ft. Karen O and Nick Zinner
5. Sing To Me ft. Karen O
6. The Beatles (When Ringo Shook His Mop) ft. Hamilton Leithauser, Nick Stumpf, Josh Wise, and Matt Iwanusa
7. If I Were a Tiger ft. Martin McAlevey & Nina Dhongia
8. Costa Rica
9. Hey Sister ft. Kat Edmonson
10. It's a Dream$19.99Vinyl LP - Sealed Buy Now
Includes CD With Bonus Tracks
The March entry in our 25th anniversary reissue series is Bloomed, the 1994 debut album
from Richard Buckner. The album will be remastered and released on 180-gram
vinyl and will include a CD containing 11 bonus tracks of radio sessions, live
performances, and original recordings of songs that appeared on future releases.
Spin magazine described Buckner as "equal parts Bay Area bohemian and dust bowl
traditionalist" and named Bloomed one of its best albums of 1994, while Pitchfork
wrote, "It's a traditional outsider-country record in the lineage of Townes Van Zandt.
Buckner's voice is all honey and oak, his guitar style elaborately twanging, his constant
subject matter heartache."
Richard Buckner provides some background on the album:
Bloomed was originally (erroneously?) released on an unnamable German label in 1994.
I was living in San Francisco at the time, having just moved out of a residential hotel
and into the 1906 hilltop prefab that adorns the cover. At the time, I was heading a
band called The Doubters. We were playing high profile events such as The Covered
Wagon Saloon's Musical Barstools, but weren't making much headway. We had been
turned down consistently every year by SXSW, but I was somehow finagled in as
an unannounced guest onto an already unofficial SXSW showcase created by Butch
Hancock at his gallery in downtown Austin. There, I met up again with Lloyd Maines,
who agreed to produce my first record.
Maines and I met in Lubbock, TX, a few months later, where we worked with
Lubbock musicians in a small recording studio walled in wooden shingles Sharpied
with bible passages from various church groups that also enjoyed working there.
It was 112°F the morning I arrived under the suspicious (Californians are merely
B-grade yankees) gaze of downtown's Buddy Holly statue. That first night there, it
hailed so hard that heaven's angry pellets were storming in under my motel door. It
only let up for a few moments that first night, allowing me to run across the street to
get a butter burger and fries to go. We finished four days later and I flew back to San
Francisco, dismembered the band, and embarked on a tour that would last about 20
years (or a few days, if you count what I actually remember).
Nothing's changed. I'm still dodging the sky and busking to strangers.LP
1. Blue and Wonder
5. Six Years
6. This is Where
7. Gauzy Dress in the Sun
10. Up North
11. Surprise, AZ
12. Cradle to the Angel
1. The Last Ride
2. Settled Down
3. The Worst Way
5. Hutchinson (Recorded in 1995 at Black Eyed Pig in San Francisco by Kyle Statham)
6. Surprise, AZ (Recorded in 1996 at World CafÉ)
7. Blue and Wonder (Recorded in 1997 at KCRW)
8. Still Lookin For You-Townes Van Zandt (Recorded in 1997 at World CafÉ)
9. Up North
10. Six Years
11. Gauzy Dress in the Sun (Recorded live at The Starry Plough, Berkeley CA 2/25/1995)$19.99180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
XXX: 30 Years of Girls, Girls, GirlsLimited Edition 30th Anniversary Blue Marble Vinyl
Girls, Girls, Girls is the fourth studio album by the American heavy metal band Mötley CrÜe, originally released on May 15, 1987.
The album contains a more blused riffed style than their previous albums. The record contains the hits Wild Side and Girls, Girls, Girls. The record also reflects the band's hard-living lifestyle, and pays homage to their love of riding Harley Motorcycles, drinking whiskey, drug use, life on the Sunset Strip, and spending nights at strip clubs. However, there are darker sides to the album as well, notably Dancing on Glass and Wild Side. The power ballad You're All I Need tells the story of the death of a lover, and the song Nona is a tribute to Nikki Sixx' grandmother, who died during the recording of the album. Pressed on limited edition 30th Anniversary blue marble vinyl.1. Wild Side
2. Girls Girls Girls
3. Dancing On Glass
4. Bad Boy Boogie
6. Five Years Dead
7. All In the Name Of...
8. Sumthin' For Nuthin'
9. You're All I Need
10. Jailhouse Rock (live)$19.99Colored Vinyl LP - Sealed Buy Now
Good News For Modern Man
First Time On Vinyl For This 1999 Solo Album From Ex Husker Du Drummer/songwriter!
No one has to ask what the hell happened to Grant Hart? anymore. When last heard from in 1994, he was releasing his second LP with Nova Mob. His absence since was perhaps atypical, but here he is again, resuming his solo career for the first time in ten years. The good news is that Good News doesn't sound like Nova Mob or 1991's visceral Last Days of Pompeii, nor does it repeat his more introspective 1989 solo LP Intolerance or 1988's accomplished 2541 EP. Production-wise, this is the most pleasant Hart has come across. A sugar rush is added to his pronounced hooks, adding warmth without robbing the attack of vitality. It's hard to describe -- the first thought might be the exuberance of Cheap Trick on Surrender, only not so thumping. Songs such as Nobody Rides for Free and Seka Knows are not traditional power pop as much as vaguely restrained, crunchy-under-the-surface melodic rock songs with slight '60s influence. This steady, understated exhilaration is consistent with Hart's affable personality. You see it most on the lightest selection, Run Run Run to the Centre Pompidou, a jaunty pop romp to nowhere in gay Paris. But it's just as prevalent in the slower, demure tracks such as You Don't Have to Tell Me Now and, most unique of all, the Chills-like New Zealand hush of Teeny's Hair. Hart's control now is as impressive as when he was contrarily blistering the night with such incredible intensity behind the drums in 1984. His best LP since he parted company with Bob Mould and Greg Norton? Very likely!
- Jack Rabid (All Music Guide)1. Little Nemo
2. Think It Over Now
3. Nobody Rides For Free
4. Run Run Run To The Centre Pompidou
5. You Don't Have To Tell Me Now
6. Teeny's Hair
7. A Letter From Anne Marie
8. In A Cold House
9. Seka Knows
10. Remains to Be Seen
11. Let Rosemary Rock Him, Laura-Louise$16.99Vinyl LP - Sealed Buy Now
The Cats (Pre-Order)In 1957, the greatest year for recorded music including modern jazz, Detroit was a hot spot, a centerpiece to many hometown heroes as well as short-term residents like John Coltrane and Miles Davis. It was here that Trane connected with pianist Tommy Flanagan, subsequently headed for the East Coast, and recorded this seminal hard bop album. In tow were fellow Detroiters -- drummer Louis Hayes, bassist Doug Watkins, and guitarist Kenny Burrell, with the fine trumpeter from modern big bands Idrees Sulieman as the sixth wheel.
From the opening number, the classic Minor Mishap, you realize something special is happening. Flanagan is energized, playing bright and joyous melody lines, comping and soloing like the blossoming artist he was. Coltrane is effervescent and inspired, hot off the presses from the Miles Davis Quintet and searching for more expressionism. The other hard bop originals, Eclypso and Solacium, easily burn with a cool flame not readily associated with East Coast jazz. Flanagan himself is the catalyst more than the horns -- dig his soaring, animated solo on Eclypso as he quotes Jeepers Creepers. The near 12-minute blues Tommy's Tune is the perfect vehicle for Burrell, a prelude for his classics of the same period All Day Long and All Night Long. The lone trio session, on the standard How Long Has This Been Going On?, is regarded as quintessential Flanagan, and quite indicative of the Midwestern Motor City flavor Flanagan and his many peers brought into the mainstream jazz of the day and beyond. One yearns for alternate takes of this session.
The Cats is a prelude to much more music from all of these masters that would come within a very short time period thereafter, and cannot come more highly recommended. It's a must-buy for the ages.
-Michael G. Nasto (All Music Guide)1. Minor Mishap
2. How Long Has This Been Going On?
5. Tommy's Time$21.99Vinyl LP - Sealed PRE-ORDER Buy Now
UNIM-BMX-9984xThe Band Perry
The Band PerryDaddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest. - Kimberly Perry
Inheriting a cross-pollinated love of country and rock & roll from their parents, The Band Perry - siblings Kimberly, Reid, and Neil Perry - say that they bleed the bright red blood of American music. The three have always felt the drive to perform and create music, sweating out the summers in Mobile, Alabama playing in any dusty roadhouse or church that would have them. Kimberly strapped on her first Gibson - and fronted her first high school band - at age 15, employing Reid, then 10, and Neil, only 8, as her roadies. Changing guitar strings and polishing cymbals for their big sister lost its charm after awhile, so the brothers formed their own band, opening for Kimberly's band.
My bass and I've been attached at the hip since I was 10 years old, says Reid. While most of my friends were playing little league, I was sitting in my room learning Rolling Stones' and Beatles' bass lines. It's really all I've ever known. Even as the three worked in different bands, the siblings would spend nights at home playing together: I remember sitting out on our front porch singing old Hank Williams and Bobbie Gentry songs in three-part harmony, hoping to channel the spirits of old country through musical sÉance while fighting off the southern Alabama mosquitoes, says Kimberly. We always knew we'd take the stage together - all we were waiting on was the right moment. That moment came in July of 2005, when - after years of writing together - the siblings decided to join forces as one band. The Band Perry was then invited by the Coca-Cola Bottling Company to open all of the dates on their New Faces Of Country Tour that year.
In the summer of 2008, after spending a few years on the road honing their sound, TBP met longtime Garth Brooks manager Bob Doyle. Partnering with Bob and Josh Pegram, The Band Perry spent the fall and winter of 2008 writing in Nashville and collecting songs for their first country recording session.
The three of us bring different strengths into the writing room, Neil points out. Kimberly carries in a bag of melodies and lyrics, Reid always has some really great musical ideas in his back pocket, and I bring in a sense of humor and some thread that ties it all together.
The new recordings caught the ears of Scott Borchetta and Jimmy Harnen, the CEO and President of Republic Nashville, signing to the new label in the summer of 2009.
When talking about The Band Perry, each member of the trio stresses how much family figures into the mix: Reid, Neil and I share genes and a musical pedigree, Kimberly explains. We read the same classics and cook from the same recipes. With all of our likenesses though, I believe it's our distinctions that stir up the magic when we create. When the three of us sit down to write songs together, we pull from all of our individual perspectives and happenstances to create the most interesting song concoctions.
There's a tightness between the three of us that goes way beyond even best friends, Neil adds. Family vocal harmonies can't be fabricated. And, besides - the three of us know that through the thick and thin of life and the music business, we're watching after each other.
Blood runs thick. The music business can be hard, but the three of us are committed not only to our lives in music, but to living them together, Reid says. I think the security of knowing that about each other allows us to be uninhibited when we create. It's a democracy. It's a safe haven.
We've walked a long way to find your ears, Kimberly Perry finishes with a grin. So play us long and play us loud. The Band Perry is here, and we just have so darn much to say.1. You Lie
2. Hip To My Heart
3. If I Die Young
4. All Your Life
5. Miss You Being Gone
6. Double Heart
7. Postcard From Paris
8. Walk Me Down The Middle
10. Quittin' You
11. Lasso$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Strangers AlmanacWhiskeytown, a highly acclaimed founding band of the alt-country/No Depression scene, launched the solo career of four-time Grammy®-nominated singer-songwriter-guitarist Ryan Adams as well as that of fiddler-singer-songwriter Caitlin Cary. Now the groups 1997 major label debut album, an overlooked gem from a band considered one of the genres most promising, is being released for the first time ever on vinyl.
1997's Strangers Almanac was Whiskeytown's major-label debut and the album that first introduced Ryan Adams to a wide audience, but at the same time it marked the beginning of the end for the group. When Whiskeytown went into the studio to record Strangers Almanac, the band had undergone the first of what would become a long line of personnel shakeups, and in addition to Ryan Adams, the only proper members of the group on hand for the sessions were violinist and vocalist Caitlin Cary and guitarist Phil Wandscher; session musicians filled out the lineup, while the new rhythm section, Jeff Rice (bass) and Steve Terry (drums), was hired only two weeks before recording began. Despite its chaotic creation, Strangers Almanac sounds stronger and more cohesive than its ragged but forceful indie predecessor, Faithless Street, and there's a deeper resonance in Ryan Adams' tales of wasted nights and wasted lives, such as Inn Town, Losering, and Dancing with the Women at the Bar. Strangers Almanac doesn't rock as hard as Whiskeytown's earlier material, but when the guitars kick into high gear on Yesterday's News and Waiting to Derail, it reveals just how good a match Ryan Adams and Wandscher were, and Excuse Me While I Break My Own Heart Tonight and 16 Days are as strong and moving as their country gestures got. Strangers Almanac captures Whiskeytown when they still had some business calling themselves a band rather than just Ryan Adams' backing musicians, and the glorious world-weariness of its best moments makes it a far more satisfying listen than most of what would follow once Ryan Adams struck out on his own.1. Inn Town
2. Excuse Me While I Break My Own Heart Tonight
3. Yesterdays News
4. 16 Days
5. Everything I Do
6. Houses on the Hill
7. Turn Around
8. Dancing with the Women at the Bar
9. Waiting to Derail
12. Somebody Remembers the Rose
13. Not Home Anymore
Live in the Studio Radio Performances September 1997 Houses on the Hill*
14. Nurse with the Pills*
15. I Dont Care What You Think About Me*
16. Somebody Remembers the Rose*
17. Turn Around*
*previously unreleased$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Spreading RumoursSpreading Rumors is Grouplove's second full-length album.
Hannah Hooper met Christian Zucconi late one evening on the lower east side of Manhattan. They had both been living in New York for years and had never crossed paths before. But from that night forward the two could hardly be pulled apart. Soon after their connection Hooper was invited to an art residency in Greece on the island of Crete and Hooper insists without any hesitation she invited Zucconi to join her on this journey. Seriously, we had only known one another for a few days but are both so inspired and alive when we are together that going to Greece seemed like a magical and natural thing to do recalls Zucconi.
On Crete, in a small remote mountain village, Hooper and Zucconi met the members of their future band Grouplove a year before it was officially formed. Sean Gadd, a natural songwriter and guitar player, born and bred in London instantly bonded with the two eccentric New Yorkers. Their relationship became apparent through the music they were making day in and day out. Andrew Wessen, a pro surfer and musician from Los Angeles and his childhood friend Ryan Rabin, an accomplished drummer and producer, were also at the residency and quickly joined in with the musical trio. These five musicians make up the members of what we now know as Grouplove.
Like all good things, the summer and the residency came to an end and the five friends scattered back to their homes all over the globe. With Sean in London, Christian and Hannah in Brooklyn and Ryan and Andrew in Los Angeles Grouplove was faced with the challenge of what to do now. We all understood how rare it is for five strangers to feel as close as family and create passionate music together. We couldn't just return to Brooklyn and let the music we all made fade into a memory of that summer we had in Greece, explains Zucconi. Everyone pulled their funds together and Sean, Christian and Hannah made their way to Ryan Rabin's studio in LA to record their album. We seriously had the best time of our lives doing that record, says Zucconi. And the result is an incredibly special album where soaring harmonies coupled with sweeping anthems lead you through their powerful journey. Like the members of Grouplove, their music is diverse in influence and style but bonded together by an undeniably creative kinship.
Their experience back together and recording together was so potent that Hooper and Zucconi packed up their lives in Brooklyn and moved to LA to live and play their music.
We never could have dreamt this up says Zucconi, but at the same time we're not at all surprised - GROUPLOVE is meant to be. Our story a testament to fate, and our music is something we are ready to share.1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$20.99Vinyl LP - Sealed Buy Now
MTV Unplugged - Summer SolsticeIn the land of the midnight sun, the clocks tick slightly different than they do elsewhere. This is especially true during the summer solstice, when the sun hardly sets at all, bathing the small Norwegian island of Giske - where a-ha played their first ever two acoustic concerts - in an eerie twilight.
Giske is a tiny island in close proximity to the city of Ålesund on the shore of the North Atlantic Ocean - a popular city much frequented by day trippers arriving on huge cruise ships during Norway's short yet intense summer season. But a-ha's audience didn't get to Giske on such boats. Coming from destinations all over the world, for them getting to Giske meant embarking on a plane to Oslo and from there to Ålesund. And from there you finally have to drive through a series of seemingly endless and frighteningly deep undersea tunnels to reach Giske, an island so beautiful and, well, remote, that one immediately wonders why a-ha handpicked this specific location to play their long awaited first MTV Unplugged shows on the night of the 2017 summer solstice, right where the world seems to end.
Pål Waaktaar-Savoy: "Choosing Giske is like most of the things we do: It's been 50% chance and 50% planned. We were discussing many different places to play these special shows - among them Manaus in the Amazon jungle, Berlin, London and New York. At the end of the day it was the Ocean Sound Recordings studio in Giske that made the difference. We knew that we could rehearse undisturbed in an extremely good sounding facility."
a-ha booked the Ocean Sound Recordings studio, which looks out onto the ocean, to revisit their own back catalogue for two weeks together with producer Lars Horntveth, who had already been working on the acoustic arrangements for more than half a year. The nearby Øygardshallen (Giske Harbour Hall) turned out to be the perfect venue to stage their two first ever acoustic shows: They simply had to lay cables from A to B and then were able to use the studio at Ocean Sound Recordings to capture the shows perfectly. a-ha performed in front of an audience of just 250 people - the Øygardshallen's glass front allowed the audience to gaze out into the pale night and onto a number of LED video steles that had been set up behind the band, serving as a minimalist backdrop to the concert. Suffice to say, the concerts were sold-out within minutes, as a-ha were to play "concerts so close to our audience like never before". As Magne Furuholmen puts it: "These were by far the most intimate concerts we've ever given."
Yet the beauty of the North Atlantic Ocean, the light of the midnight sun and the exclusivity of the concerts are only one half of the story. The other half is that the idea of a-ha playing their vast catalogue of world hits stripped down to their very essence is indeed a promising endeavor.
Pål: "We've talked about this idea for so many years. And in many of our concerts we've also played some acoustic songs. But if you consider that we don't use much technology at all when we write the songs, the idea an entirely acoustic show makes total sense. Playing all these songs now in their acoustic versions is like returning to their origins."
Magne expands the thought in a more universal direction: "Most of our songs draw inspiration from a childhood directly exposed to Norwegian culture, even the folk music tradition, perhaps more so than we thought. We were constantly faced with questions from journalists implying how our 'Norwgian-ness' was a unique part of our sound, even though we lived and worked in London.
As a creative person it is almost easier to tap into this nordic mindest from a distance. History is full of good examples of how iconic Norwegians in the past did their best work away from home; The writer Henrik Ibsen wrote on universal topics with a strong Norwegian tone while living in Italy, Edvard Munch's melancholic force defined expressionism while living in Berlin - yet he simply couldn't be from anywhere but this country. And of course there is Edvard Grieg, who took a lot of inspiration directly from folk music. His music always felt particularly resonant in our ears growing up. With such strong figures and influences defining what it is to be a Norwegian, it becomes part of what you are. Our darker, melancholic streak definitely harks back to these early influences. We feel connected to all that, which is why we thought returning home for this project was a very natural step.
Morten Harket stresses the fact how crucial it was to have arranger/producer Lars Horntveth on board as a catalyst and fearlessly driving force behind the scenes: "He confronted our music by presenting completely new arrangements, also taking out 'untouchable' parts, which easily came across as being disrespectful. I say this as a compliment, by the way... And of course we hated it! But we also needed it! This was exactly what we had asked of him. We needed someone who would boldly question everything that we stood for as a band - someone who could stand up to us. Of course it led to shouting matches. It's part of the creative process. Lars deserves the credit for bringing the band closer together than we have been for a very long time."
For the MTV Unplugged shows, a-ha played 17 songs in completely new arrangements as well as two new songs and two cover versions on vintage acoustic instruments, accompanied by a backing band featuring Karl Oluf Wennerberg on drums, Even Ormestad on acoustic bass, Morten Qvenild on piano and various acoustic keyboards, Lars Horntveth on multiple instruments and Madeleine Ossum on violin and vocals, Tove Margrethe Erikstad on cello and Emilie Heldal Lidsheim on viola and backing vocals. Furthermore, a total of four guest stars served as duet partners for Morten Harket. Most notably, Echo & The Bunnymen's Ian McCulloch had been invited by Magne Furuholmen to sing "Scoundrel Days" and Ian's very own "The Killing Moon" on the first of the two shows. On the second night, a-ha were joined by Alison Moyet of Yazoo fame to duet with Morten on "Summer Moved On". Highasakite's Ingrid Helene Håvik guested on "The Sun Always Shines on TV" on both nights, while, last but not least, American singer Lissie did the same on "I've Been Losing You".
"In the cacophonic world of popular music, with its high-impact effects and productions, the music is often somewhat lost as it ends up being premeditated." Morten Harket addresses the subject of subtlety: "The world of pop is a world where everything always has to be more than anything else."
Attending the concerts and the last full day of the rehearsals, you could tell that the whole group and especially Morten did indeed try to reveal the soul of each and every song performed. During the last run-through on the day before the first night the band took things extremely seriously. Songs were started, stopped and deconstructed. Discussions between Morten and the group as well as with the recording engineers dealt with the tiniest details of sound, cohesiveness and attitude. As a result, the two shows benefited profoundly, both in terms of microstructure (the new arrangements reveal so much of the songs' essences), as well as in that the overall dramaturgic arc of the concerts, which steadily built towards a climax that would astound even the most dedicated follower of the group. During the encore, a-ha would play - "as usual" - their first and biggest hit to date, "Take On Me". But an unexpected chord change in the chorus and the skeletal arrangement not only allowed a new perspective on the song's lyrics, it also left the audience with tears in their eyes.
Magne: "When you rearrange songs for an acoustic rendition it is also an opportunity to do more than to just simplify them. I especially like what happened when we took a fresh look at Take on me, which went from being an uptempo syntheziser-driven popsong to a much more melancholic, yearning ballad in this slowed down arrangement, it shows with much more clarity how the song at its core is not some standalone upbeat track, but belongs squarely inside our catalogue alongside more thoughtful, darker songs like scoundrel days etc.
There are only a few bands in the world who can look back on similarly close ties with the music channel MTV as a-ha. Alongside the likes of Duran Duran and Yello, in 1985 a-ha were worldwide pioneers who immediately understood the power of the music video as both a narrative and commercial tool. Steve Barron's classic "Take On Me" clip is still a milestone of music video and in 2003 was voted by the MTV audience as one of the top ten best videos ever made. There have long been efforts by a-ha and MTV to organize an Unplugged concert.
The fact that the two MTV Unplugged concerts in June 2017 actually took place on Giske also left a deep impression on a-ha themselves. Like every other band that has been successful on a worldwide scale for over three decades, a-ha have had their share of problems, split-ups and re-unifications. A thoughtful Magne reflects: "After such a long time, a-ha have now become a band that simply continues from project to project. This turned out to be a very healthy approach for the three of us, because going acoustic also had the taste of a new project."
Pål: "When we recorded our last few albums, we were sometimes working pretty isolated from each other. We should do this again - sitting and recording in the same room together for a couple of weeks or months and see what comes out as a result. We may argue about a lot of things, but we are also a band that has very close ties."
After the closing applause that seemed would never end, the band left the stage and walked out of Øygardshallen into the living daylights. Having performed two triumphant concerts together, the three band mates climbed into three separate vehicles and headed off into the sunlit night. But everybody in the audience had a feeling that a-ha had now just opened a brand new chapter in their unparalleled career. To quote a line from one of the highlights of these unplugged shows: "Cause I've been told / Stay on these roads / We shall meet, I know."
-Max DaxLP 1
1. This Is Our Home (Live from MTV Unplugged, Giske / 2017)
2. Lifelines (Live from MTV Unplugged, Giske / 2017)
3. I've Been Losing You (Live from MTV Unplugged, Giske / 2017)
4. Analogue (All I Want) (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. The Sun Always Shines on TV (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. A Break in the Clouds (Live from MTV Unplugged, Giske / 2017)
7. Foot of the Mountain (Live from MTV Unplugged, Giske / 2017 / LP Edit)
1. Stay on These Roads (Live from MTV Unplugged, Giske / 2017 / LP Edit)
2. This Alone Is Love (Live from MTV Unplugged, Giske / 2017)
3. Over the Treetops (Live from MTV Unplugged, Giske / 2017)
4. Forever Not Yours (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. Sox of the Fox (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. Scoundrel Days (Live from MTV Unplugged, Giske / 2017)
7. The Killing Moon (Live from MTV Unplugged, Giske / 2017 / LP Edit)
1. Summer Moved on (Live from MTV Unplugged, Giske / 2017 / LP Edit)
2. Memorial Beach (Live from MTV Unplugged, Giske / 2017 / LP Edit)
3. Living a Boy's Adventure Tale (Live from MTV Unplugged, Giske / 2017)
4. Manhattan Skyline (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. The Living Daylights (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. Hunting High and Low (Live from MTV Unplugged, Giske / 2017)
7. Ake on Me (Live from MTV Unplugged, Giske / 2017)$45.99Vinyl LP - 3 LPs Sealed Buy Now
I'm Not The DevilCody 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
11. Church at Gaylor Creek
13. Hand Me Down$24.99Vinyl LP - Sealed Buy Now
Live From Austin, TX (Buck Owens)Maybe it was an epiphany of sorts. As Buck tells it, One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to 'Buck Owens.' So I said, I'm going to see what this kid is like. It wasn't long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling it quits almost ten years earlier. This man from Sherman, Texas - probably best-known as the wide-grinning rube on Hee Haw for so many years - started a country music revolution. Or more accurately, a counter-revolution. It was called The Bakersfield Sound. He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming out of Nashville on its head. When Buck Owens and the Buckaroos would launch into I've got a tiger by the tail, it's plain to see....! the packed crowds would be on their feet and headed for the dance floor. Along the way Buck inspired none other than The Beatles to record their first country song, his classic Act Naturally, and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, Crying Time. Buck always loved his home state, and once flew to Austin on his private jet to make a surprise visit to a club that celebrated a Buck Owens Birthday night every year. He was also one of the few artists to ever write a handwritten note thanking us for inviting him on the show. Many thanks, he wrote, it is very representative of what I am all about. In my mind, Buck Owens will always be a rock star.
- Terry Lickona (producer Austin City Limits)1. Act Naturally
2. Together Again
3. Love's Gonna Live Here
4. Crying Time
5. Tiger By The Tail
7. Hot Dog
8. Put Another Quarter In The Jukebox
10. Under Your Spell Again (With Dwight Yoakam)
11. Johnny B. Goode$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The RiverRanked 253/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time
Mastered By Bob Ludwig Working Under The Supervision Of Springsteen & Engineer Toby Scott
The River is the fifth studio album, and the first double album by Bruce Springsteen.
The sources of The River go back into earlier parts of Springsteen's recording career. Independence Day, Point Blank, The Ties That Bind, Ramrod, and Sherry Darling were leftovers from his previous album, Darkness on the Edge of Town, and had been featured on the 1978 tour, as had parts of Drive All Night as a long interpolation within Backstreets. The River had premiered at the September 1979 Musicians United for Safe Energy concerts, gaining a featured spot in the subsequent documentary No Nukes.
Originally, Springsteen intended The River to be a single set entitled The Ties That Bind and released in late 1979 with 10 tracks. Springsteen added darker material after he'd written the title track. Indeed, The River became noted for its mix of the frivolous next to the solemn. This was intentional, and in contrast to Darkness, for as Springsteen said during an interview, Rock and roll has always been this joy, this certain happiness that is in its way the most beautiful thing in life. But rock is also about hardness and coldness and being alone ... I finally got to the place where I realized life had paradoxes, a lot of them, and you've got to live with them.LP1
1. The Ties That Bind
2. Sherry Darling
3. Jackson Cage
4. Two Hearts
5. Independence Day
6. Hungry Heart
7. Out In The Street
8. Crush On You
9. You Can Look (But You Better Not Touch)
10. I Wanna Marry You
11. The River
1. Point Blank
2. Cadillac Ranch
3. I'm A Rocker
4. Fade Away
5. Stolen Car
7. The Price You Pay
8. Drive All Night
9. Wreck On The Highway$39.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
Magnolia Electric Co
10th Anniversay Deluxe Edition
Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
Previously Available In Japan.
Includes Rare Photos From The Era In Which It Was Recorded
The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
it's hard to look them right in the eyes. But you should.
With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country
While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
different place. Now something's got to change.
This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
Ohia rig barreling through Peoria Lunch Box Blues.
Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
Songs: Ohia has recorded to date.LP 1
1. Farewell Transmission
2. I've Been Riding With The Ghost
3. Just Be Simple
4. Almost Was Good Enough
5. The Old Black Hen
6. Peoria Lunch Box Blues
7. John Henry Split My Heart
8. Hold On Magnolia
9. The Big Game Is Every Night (Bonus Track)
10. Whip Poor Will (Bonus Track)
1. Farewell Transmission (Demo)
2. I've Been Riding With The Ghost (Demo)
3. Just Be Simple (Demo)
4. The Old Black Hen (Demo)
5. Peoria Lunch Box Blues (Demo)
6. John Henry Split My Heart (Demo)
7. Hold On Magnolia (Demo)
8. The Big Game Is Every Night (Demo)
9. Whip Poor Will (Demo)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Worth EPMas Ysa, the project of nomadic composer Thomas Arsenault, combines love songs, unabashed ecstatic pop, prayer, field recordings and techno into triumphant, danceable, melancholy folk music that pummels the heart rather than dances around it.
Born in Montreal with formative years spent in San Paolo at hard-techno raves, Arsenault's life is one of human and musical experience rather than eye-searing laptop screens. After studying composition at Oberlin Conservatory, where he joined the Ohio-based Shinkoyo art collective, Arsenault headed west for San Francisco to assist kindred-spirit cult artist Warner Jepson.
Eventually, Arsenault landed on Kent Avenue in Brooklyn, occupying a sprawling loft complex connected to the underground venues 285 Kent and Glasslands. There, he built a studio that yielded records by everyone from Cass McCombs to Laurel Halo, getting out of bed in the dead of night to write songs and record sonic fragments. During the day, Arsenault explored the other side of modern composition by collaborating with Rashaun Mitchell of the storied Merce Cunningham Dance Company.
Born as a live experience in early 2012, Mas Ysa hoists this voracious music history and crashes it head-on with blunt emotional trauma. Early shows vacillated between dancefloor catharsis and inner pain, emphasizing both ritualistic transcendence and the universal bond of folk music.1. Vanya
3. David Wessels
4. Life Way Up From
9. Years$19.99Vinyl EP - Sealed Buy Now
Winterland (Box Set)Hendrix's Most Storied Live Three-Night Stand Comes to Brilliant Life on Stellar, Audiophile-Quality Box Set
Features Tons of Performances Not Available on Any Other Release
Six 1968 Concerts from San Francisco's Historic Venue Reshaped Rock and Roll: Here Are the Highlights
8LP Edition Annihilates All Previous Winterland Compilations: Tremendous Sonics and Insight
Also Includes 36-Page Book and Rare Backstage Interview With Hendrix
Jimi Hendrix's Woodstock performance may be his most famous, but the guitarist named by Rolling Stone as the best in history was never better than at a three-night stand in San Francisco, putting on a total of six concerts that fans have long clamored to hear. Featuring the creme de la creme of said performances, now everyone finally gets their wish.
Winterland is drawn from said six stellar shows recorded over three days (October 10, 11 and 12, 1968) at San Francisco's historic Winterland Ballroom. These special performances celebrated the two-year anniversary of the Jimi Hendrix Experience and came just as the groundbreaking album Electric Ladyland was released. Even given the era's rich history, you'll be hard-pressed to come up with any concert that rivals what's here.
As many already know, Winterland presents some of Hendrixs most spectacular guitar work. This scintillating set is filled with rare live versions of classic songs such as Manic Depression, Are You Experienced?, Tax Free, and Little Wing that are not part of any other Sony Legacy releases. Fans will also enjoy Hendrixs dramatic interpretations of Creams Sunshine Of Your Love and Howlin Wolfs Killing Floor (with the Experience joined by Jefferson Airplane bassist Jack Casady) as well his rendition of Bob Dylans Like A Rolling Stone, which many critics and fans regard as the ultimate interpretation.
Pressed on 8 x 180g LPs, this special deluxe box set features never before released music from each of the six unforgettable Winterland performances. Please note that Winterland is now markedly different from the flawed single disc compilation, long out of print, briefly issued by Rykodisc in 1987 and 1988. Moreover, Winterland also presents a rare interview with Hendrix recorded backstage at the Boston Garden a few weeks after the Winterland performances. This previously unreleased bonus provides fans with a unique window into Hendrixs views about his background, his approach to the guitar, and songwriting and future direction of his music.
As should be required for any such box set, Winterland features a 36-page booked filled with previously unpublished images by acclaimed photographers Robert Knight, Allen Tannenbaum, and Jim Marshall, as well as an essay by noted Rolling Stone journalist David Fricke.LPs 1 & 2: 10/10/68 Winterland Ballroom, San Francisco
1. Tax Free
2. Lover Man
3. Sunshine of Your Love
4. Hear My Train A Comin
5. Killing Floor
6. Foxey Lady
7. Hey Joe
8. Star Spangled Banner
9. Purple Haze
LPs 3 & 4: 10/11/68 Winterland Ballroom, San Francisco
1. Tax Free
2. Like a Rolling Stone
3. Lover Man
4. Hey Joe
6. Foxey Lady
7. Are You Experienced
8. Red House
9. Purple Haze
LPs 5 & 6: 10/12/68 Winterland Ballroom, San Francisco
2. Lover Man
3. Like a Rolling Stone
4. Manic Depression
5. Sunshine of Your Love
6. Little Wing
7. Spanish Castle Magic
8. Red House
9. Hey Joe
10. Purple Haze
11. Wild Thing
LPs 7 & 8: Winterland Ballroom, San Francisco
1. Foxy Lady
2. Are You Experienced
3. Voodoo Child (Slight Return)
4. Red House
5. Star Spangled Banner
6. Purple Haze
7. Jimi Hendrix: Boston Garden Backstage Interview$99.99180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed Buy Now
Wheels Of Steel (Pre-Order)Saxon, over the decades have gone from being pioneers of the New Wave Of British Heavy Metal, to becoming one of the most successful UK rock acts of all time. The truth, though, is that Saxon have always transcended trends and eras. From 1979's 'Saxon' album to new album 'Thunderbolt', the band have enjoyed considerable success. Five Top 40 albums in the UK, with four Top 20 singles. And they were similarly successful in other parts of the world as well. It's no wonder their influence spread across the globe, and played a crucial role in the way we look at hard rock and heavy metal today.
Saxon's second album, Wheels Of Steel was originally released in 1980 and propelled the band to stardom, going gold in the UK and spawning two top 40 singles - '747 (Strangers In The Night) and Wheels Of Steel', which have remained live favourites to this day. Wheels Of Steel is hailed as a heavy metal classic and a genre defining moment.
This version includes some rare demos and live tracks from the inaugural Monsters Of Rock festival, held at Castle Donington in 1980.1. Motorcycle Man (2009 Remastered Version)
2. Stand Up and Be Counted (2009 Remastered Version)
3. 747 (Strangers in the Night) (2009 Remastered Version)
4. Wheels of Steel (2009 Remastered Version)
5. Freeway Mad (2009 Remastered Version)
6. See the Light Shining (2009 Remastered Version)
7. Street Fighting Gang (2009 Remastered Version)
8. Suzie Hold On (2009 Remastered Version)
9. Machine Gun (2009 Remastered Version)$24.99Vinyl LP - Sealed PRE-ORDER Buy Now
Brotherhood Of The SnakeThe forbearers of thrash resemble a Lovecraftian brotherhood. They're the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high. Testament stand proudly among the same vanguard that boasted "The Big 4" and beyond.
For over three decades, the Bay Area quintet-Chuck Billy [vocals], Eric Peterson [guitar], Alex Skolnick [guitar], Steve DiGiorgio [bass], and Gene Hoglan [drums]-has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without compromise or any signs of slowing down. Over the course of seminal releases ranging from The Legacy and Practice What You Preach to The Gathering and The Formation of Damnation, which won "Best Album" at Metal Hammer's 2008 Golden Gods Awards, the group's sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012's critically praised Dark Roots of Earth assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band's highest U.S. chart bow ever. However, in 2016, Testament returns with more teeth than ever on Brotherhood of the Snake [Nuclear Blast]. "The first record is always classic because you form the band, you're totally into it, you go through the club scene, find yourself, and write your initial album over multiple years," explains Eric. "Then, you get signed and end up in a cycle. We took some time to do Brotherhood of the Snake, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven't had this many thrash tracks since The Legacy. It's a new era."
"I view Testament like I did when we started," adds Chuck. "I've been fortunate to be doing this for over 30 years. It means a lot. We're just going to continue doing what we do." Following a whirlwind of touring in support of Dark Roots of Earth, the guys began individually writing in late 2013. In between a rigorous tour schedule, new music organically assembled. During the spring of 2016, they hit the studio with Juan Urteaga [Machine Head, Exodus] and quickly cut the album's 10 tracks.
"Having separate periods to write set it apart," Eric continues. "Everybody played hard. Chuck really surprised me and belted out stuff that's more melodic over the heavy speed metal riffs. It blended really well together." "It does flow," Chuck agrees. "There's a lot of musicianship going on there, and I was finding hooks in the moment. I was able to feel it and just go."
The record commences on a deadly note with the title track. A whiplash-inducing riff catapults Chuck's unmistakable growl forward before snapping into mind-numbing leads. It's a brutal breakneck basher on par with the band's best. "It was actually one of the first songs we put together," says the singer. "Once we heard it mixed, we were all like, 'Wow, we have the direction we're going in. It's really heavy.'"
Elsewhere on the record, "The Pale King" gallops ahead on an apocalyptic barrage of drums and guitars before culminating on an unshakable chant. "It was really natural," smiles Eric. "It has that old school vibe, but this new energy to it. It never lets up. I love that!" Brotherhood of the Snake concludes on the crushing yet cinematic "The Number Game," which evinces Chuck's knack for a vivid lyrical story.
"I actually wrote it with Steve 'Zetro' Souza," he recalls. "I had that chorus, and it was one of those things where it had to be repeated. It's 14 days and 14 nights where this guy's on a killing spree. He does a countdown, and your life is based on the number you are. It was trip."
A fascinating concept rears its head during many of Brotherhood of the Snake's key moments, nodding to the mythical race from which the record it shares a name. "There's a connection between the alien world and religion, and the whole storyline came from it," explains Chuck. "There's a story of a Sumerian race 6,000 years ago that went on crusades to basically dethrone religions. The earth was basically the place where their leader, The Pale King, set people to be imprisoned and mine for gold. It got the ball rolling."
Ultimately, this Brotherhood remains as powerful as ever. "If a Testament fan knows our history or has followed our last couple of records, they'll hear the progression," the front man leaves off. "Everything is right there and in-your-face. That's the way it should be with us."1. Brotherhood Of The Snake
2. The Pale King
4. Seven Seals
5. Born In A Rut
6. Centuries Of Suffering
7. Neptune's Spear
8. Black Jack
10. The Number Game$28.99Vinyl LP - 2 LPs Sealed Buy Now