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He Touched Me'
He Touched Me40 Years Later..... The King Of Rock And Roll Lives On!
Friday Music Proudly Announces The First Time 180 Gram Audiophile Translucent Red Vinyl Of His 1972 Grammy Award Winner He Touched Me
Presented In First Time Gatefold Cover Art
Mastered Impeccably By Joe Reagoso & Manufactured At R.T.I.
Features The Stellar Gospel Hits: He Touched Me, Amazing Grace, This Thing Called Love, He Is My Everything, Reach Out To Jesus, There Is No God But God
He Touched Me is a 1972 contemporary gospel music album by American singer and musician Elvis Presley. It earned him his second of three Grammy Awards. The album his third and final studio gospel album, and the most contemporary of the three. He Touched Me was certified Gold on March 27, 1992, and Platinum on July 15, 1999, by the RIAA.1. He Touched Me
2. I've Got Confidence
3. Amazing Grace
4. Seeing Is Believing
5. He Is My Everything
6. Bosom Of Abraham
7. An Evening Prayer
8. Lead Me, Guide Me
9. There Is No God But God
10. A Thing Called Love
11. I, John
12. Reach Out To Jesus$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Rock Me TonightRock Me Tonight is the platinum-selling 1985 debut album from American R&B/Soul singer Freddie Jackson. Originally released on April 28, 1985, the album yielded four top-10 singles on the U.S. R&B chart, with the first two, You Are My Lady and Rock Me Tonight (For Old Times Sake), reaching number one. The latter two, Love Is Just a Touch Away and He'll Never Love You, peaked at Nos. 9 and 8, respectively. The album contains a cover of the Billie Holiday classic Good Morning Heartache. The success of Rock Me Tonight garnered Jackson a Grammy Award nomination in 1986 for Best New Artist, losing out to Sade. Rock Me Tonight went on to top the R&B Albums chart for 14 nonconsecutive weeks and peaked inside the Top 10 on the Billboard 200.1. He'll Never Love You (Like I Do)
2. Love Is Just a Touch Away
3. I Wanna Say I Love You
4. You Are My Lady
5. Rock Me Tonight (For Old Times Sake)
6. Sing a Song of Love
8. Good Morning Heartache$24.99Vinyl LP - Sealed Buy Now
I'm Glad I'm Not MeCritically acclaimed indie rockers Born Cages will release their debut studio album, I'm Glad I'm Not Me, via Washington Square/Razor & Tie.
I'm Glad I'm Not Me was recorded at Mission Sound (Metric, Arctic Monkeys, Matt & Kim) in Brooklyn, NY and was produced by Jon Kaplan (Cage The Elephant, Walk The Moon) and co-produced by Born Cages' lead singer Vlad Holiday. On the album, Holiday, bassist/keyboardist Matt Maroulakos and drummer Dave Tantao conjure festival-ready, truly modernist modern rock that is every bit as grand as its song titles would predict: "Bigger Than Me." "I Just Want The Truth, Baby." "Don't Look Back." "Finding Beauty in a Broken World."
I'm Glad I'm Not Me touches on rock, electronic, dance, alternative and everything in between, reaching listeners thought to be quarantined from each other. It's a record celebrating togetherness in fractious times, music that finds commonalities rather than chasms. Throughout, Born Cages play with an urgency that posits their music as something essential. I'm Glad I'm Not Me embraces its punchy hooks, economic arranging and distinct kind of New York City disillusionment; it's the despondency of being told your mere existence in the city is a sign of having "made it" and still feeling alone amongst the millions.
The album is the follow up to their critically acclaimed 2013 EP release, The Sidelines EP. Vice Noisey describes the band's music as a "blend of 80s-influenced synth/guitar work and modern pop-rock sounds," and Blackbook raved, "More than a decade after the riff-heavy heyday of The Strokes, The Vines, The White Stripes, The Hives, and many other bands that put the word "the" before a plural noun, we may be ready for another bout of ripping revivalism Born Cages, certainly makes that argument." The Born Cages Daytrotter Session made the Top 50 of 2014 list.
Lead singer and guitarist Vlad Holiday formed Born Cages in 2011 and the group dove head-first into New York City's eclectic indie rock movement. He is joined by Matt Maroulakos on bass/keyboards and Dave Tantao on drums. The band has shared bills with a bevy of acts such as Hockey, Magic Man, X Ambassadors, Gold Fields, Royal Teeth, Said The Whale, Donald Cumming (of The Virgins), Public Access TV, JD Samson (of Le Tigre) and Har Mar Superstar. They were even handpicked by Guns N' Roses to be the sole support band on two sold out GN'R club shows.1. Rolling Down The Hill
2. Bigger Than Me
3. Don't Look Back
4. Moving On
5. I Just Want The Truth, Baby
6. Give Me A Smile
9. Dirty Money
12. Finding Beauty In A Broken World$22.99Vinyl LP - Sealed Buy Now
Who Is The Sender
Bill Fay is one the greats" - Nick Cave
"The humble master of English song" - Uncut
"Bill Fay is now regarded as one of the great British songwriters" - MOJO
"A talent undimmed by decades away from the studio" - Guardian
Ask Bill Fay about his relationship with his instrument and he says something revealing, not "Ever since I learnt to play the piano," but "Ever since the piano taught me " What the piano taught him was how to connect to one of the great joys of his
life. "Music gives," he says. And he is a grateful receiver. But, it makes him wonder, "Who is the sender?" Fay - who after more than five decades writing songs is finally being appreciated as one of our finest living practitioners of the art - asserts that
songs aren't actually written but found. He recorded two phenomenal but largely
overlooked albums for Decca offshoot Nova in 1970 and 1971. After 27 years of neglect, people like Nick Cave, Jim O' Rourke, and Jeff Tweedy were praising those records in glowing terms. Recorded in Ray Davies' Konk Studios, North London, Who Is The Sender? sees Bill expanding upon themes he has touched on from the
beginning, spiritual and philosophical questions, observations about the natural world and the people in the city he has lived in all his life.1. The Geese Are Flying Westward
2. War Machine
3. How Little
4. Underneath The Sun
5. Something Else Ahead
6. Order Of The Day
7. Who Is The Sender?
8. The Freedom To Read
9. Bring It On Lord
10. A Page Incomplete
11. A Frail and Broken One
12. World Of Life
13. I Hear You Calling (Studio Reunion)$20.99Vinyl LP -2 LPs Sealed Buy Now
The Best Of Solomon Burke (Limited Edition)The late great King of Rock N Soul Solomon Burke was an American original. His music has touched millions of faithful followers due to his angelic voice drenched in gospel, soul and rock and roll. Not only did he sell millions of records worldwide, but many superstar acts like The Rolling Stones and Tom Petty have also paid tribute to the man with their renditions of his classics over the years.
In 1966, Atlantic Records assembled one truly amazing collection of hits, which has been out of print on vinyl for over four decades entitled The Best Of Solomon Burke. Featuring twelve of his most loved Atlantic Records era recordings from 1960 to 1966, the album boasts such soul classics as Cry To Me, Everybody Needs Someone To Love, Just Out Of Reach and Got To Get You Off My Mind.
Friday Music now presents a limited edition 180g audiophile vinyl version of this incredible masterwork. Mastered from the original Atlantic Records tapes by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood, CA, The Best Of Solomon Burke is truly a classic soul masterpiece now impeccably revisited in the audiophile domain. These original sessions were produced by the legendary Jerry Wexler and Bert Berns, and engineered by Tom Dowd.
For this special limited edition release, they have included all the original Loring Eutemey artwork restored faithfully as well as a poly sleeve to protect the cover and a poly lined LP sleeve to preserve the vinyl for years to come.1. Got To Get You Off Of My Mind (1965)
2. The Price (1964)
3. Down In The Valley (1962)
4. Im Hanging Up My Heart For You (1962)
5. If You Need Me (1965)
6. Just Out Of Reach (1960)
7. Cry To Me (1961)
8. Everybody Needs Somebody To Love (1964)
9. Home In Your Heart (1962)
10. Tonights The Night (1965)
11. I Really Dont Want To Know (1962)
12. Words (1962)$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Sabougla VoicesIn today's frenetically paced world, uncovering a lost treasure is often met with great enthusiasm, excitement, and anticipation. Lost footage of Gene Kelly dancing. A Vincent van Gogh no one knew existed. An Arthur Crudup album lost in a vault for 40 years. Jimi Hendrix material coming to light after 40 years. Well, now we can also celebrate the "discovery" of a blues master stepping into the sunlight, and delivering the best gospel album since Elvis gave us "How Great Thou Art" in February, 1967. The paradox is that Leo Welch has been there all along, living in Sabougla, Mississippi, first playing blues, and then moving to gospel. Born in 1932, Welch grew up playing blues. As his style of blues became less popular, he began to play gospel because churches offered more opportunities to play. Consequently, he was overlooked because blues aficionados frequented juke joints. Most blues lovers would never think to find blues, or blues related music in a church.
After an off-the-cuff call by Welch to Big Legal Mess Records, things continued to fall into place, and he was able to record his debut album, Sabougla Voices. It is really difficult to accurately describe this stunning album, and faithfully convey the vibe, the atmosphere, and way it moves a listener. Welch has poured a lifetime of learning, living, loving, playing, and praying into this work, and it shows!
This album is stripped down, bare bones joyful gospel being played and sung from the heart. This is not your daddy's gospel though. Sabougla Voices is a shot of love to your heart, a cool cleansing breeze blowing through your soul, and an orgasm for your ears. The album opens with "Praise His Name," which is beautifully sparse, raw, and has a great bouncing beat. "You Can't Hurry God" is almost a gospel honky-tonk that has a juke joint vibe. "Take Care Of Me Lord" has a very early Magic Slim and The Teardrops sound to it. "Mother Loves Her Children" is really basic, slow, artfully delicate blues. "Somebody Touched Me" has a mid 1960s Rolling Stones blues flavor, and nice backing vocals. "A Long Journey" is delightfully slow, and begs to be pulled over you like a comforting blanket of blues. "His Holy Name" is gospel as a shuffle, and definitely has the church rocking! The album closes with "The Lord Will Make A Way," an acoustic performance that is slow and stark, but very moving.
If this is Welch's debut alum, we can't wait for the follow-up! This album is definitely a must-have.
- Barry Kerzner (American Blues Scene Magazine)1. Praise His Name
2. You Can't Hurry God
3. Me and My Lord
4. Take Care of Me Lord
5. Mother Loves Her Children
6. Praying Time
7. Somebody Touched Me
8. A Long Journey
9. His Holy Name
10. The Lord Will Make A Way$15.99Vinyl LP - Sealed Buy Now
Street SongsThe late Rick James was as notorious for his wild lifestyle as he was for his music, mixing pop, rock, R&B and sleazy funk. Street Songs, his 1981 album for Motown features his most enduring hit, Super Freak, sampled most famously on MC Hammers Grammy Award winning U Can't Touch This, as well as by Jay-Z on the track Kingdome Come. Boasting cameos by Stevie Wonder on harmonica and The Temptations on backing vocals (who included Ricks uncle, Melvin Frank), the album is loosely a concept piece about ladies of the night. Other highlights include Give It to Me Baby, Fire and Desire (a duet with Teena Marie) and Ghetto Life.1. Give It To Me Baby
2. Ghetto Life
3. Make Love To Me
4. Mr. Policeman
5. Super Freak
6. Fire And Desire
7. Call Me
8. Below The Funk (Pass The J)$19.99Vinyl LP Reissue - Sealed Buy Now
Love & Torture
Simultaneously claustrophobic and
mesmeric curiously unsettling.
"...Breathtakingly insightful and poetic..."
Beautifully desolate piece of Americana that
wouldn't sound out of place on the soundtrack
for True Detective.
- THE TIMES (UK)
A smokey lament that comes off like a
slightly jazzier Spiritualized.
Stone Jack Jones is a survivor. On two separate occasions the rare and mysterious blood
condition that courses through his steely West Virginian veins almost killed him. Doctors couldn't
fully explain or treat his malady, but Jack pulled through, even after receiving last rites on one
occasion. Spending a little time at Death's door gave him unique perspective on life. While
recovering from one of his near death experiences he deeply pondered the necessity of death,
the torturous pain that comes with the death of someone you love, and eventually arrived at the
simultaneously comforting and alarming conclusion that he was both alive and dead at the same
In 2014 Jack released Ancestor, an album which The Quietus called " breathtakingly insightful
and poetic ", and SPIN called undeniably compelling ". As a tribute to his father, Ancestor
was a remembrance of mountain string bands, with many of the songs worked out as an acoustic
three-piece sitting together in a bluegrass circle. For his new album Love & Torture he took a
different approach, working out the foundations for most of the songs in the studio with producer
Roger Moutenot. Rather than recording everything over of a few days or weeks in the studio, the
two met up sporadically over the course of many months, giving the songs plenty of time to
gestate and evolve in stride with Jack's life. When it felt right, they'd invite long-time collaborators
including Ryan Norris, Scott Martin, and Kyle Hamlett into the studio to improvise and explore
where each song would go next. Having worked and created with the same guys for several years,
their trust and intimacy let them extract moments of brilliance from the ether.
The album opens with the woozy groove of Shine (one of two songs on the album featuring
vocals by Patty Griffin), which Jack describes as a contemplation of what heaven might be like.
The following song Thrill Thrill explores the helplessness he felt in the clutches of the blood
disease that nearly killed him. Lambchop's Kurt Wagner contributes some serious low-end to the
song Circumstance. As Jack recalls, I asked Kurt if he thought he could sing lower than me and
he gave me a wily smile with a deep long ooooh yeah, took a sip of whiskey and put it in the
basement. The mood lightens a bit on the drinking song Russia on which Jack's wife Hollis
chants verses from Russian poet Alexander Blok, while Ben Smythe contributes a frenetic and
deranged penny whistle to the party. The album concludes with the joyful acceptance and
appreciation of Amen, another song about Jack's celebration of life. As dark as his creative
output can seem at times, it's heavily infused with Jack's undeniable light and his patient will to
...knock a hole in the sky. Seek light in the dark. Have secrets and make the air vibrate and
shake reality so she shows her many faces. Like a collection of swirling and inviting mantras
Love & Torture is a sonic dialog that pulses with the all of the grace and bliss that has touched
Jack's incredible life.1. Shine
2. Thrill Thrill
3. Q and K
10. Say Amen$16.99Vinyl LP - Sealed Buy Now
99.9%Born in Port-au-Prince, Haiti and raised in the city of Montreal, 23
year-old Canadian artist Kaytranada is widely regarded as one of
the most important new producers in the musical landscape today.
Since the age of fourteen, when he first began to DJ and when his
brother introduced him to music production software, his output has
been relentless. As he explains, "after he showed me the basics,
from that day on I couldn't stop making beats," pumping out a beat
a day for the next couple of years and soon after self-releasing a series
of EPs and beat tapes that quickly began to expand his reach.
Single releases like "Drive Me Crazy" with Vic Mensa and "Leave
Me Alone" with Shay Lia soon spread his name like wildfire and
gained listens reaching far into the millions. In addition to that
he's produced for artists such as Mobb Deep, Kali Uchis, Freddie
Gibbs, The Internet, & Talib Kweli and remixed the likes of Disclosure,
Pharrell, Missy Elliot, Janet Jackson, and others. Kaytranada
soon cemented his reputation and his sound; an undeniable swing
of the drums comparable to J Dilla's, a signature soulful touch in the
melodies, and a healthy dose of funky bass lines. Last year he was
tapped by the legendary Rick Rubin who has acted as a mentor,
eventually signing him to a publishing relationship.
99.9% will be Kaytranada's first debut album on XL Recordings.
The 15-track album includes guest vocals from Anderson .Paak,
AlunaGeorge, BADBADNOTGOOD, Craig David, Syd, Little Dragon,
Goldlink and more.LP 1
1. Track Uno
2. Bus Ride (Feat. Karriem Riggins & River Tiber)
3. Got It Good (Feat. Craig David)
4. Together (Feat. Alunageorge & Goldlink)
5. Drive Me Crazy (Feat. Vic Mensa)
6. Weight Off (Feat. Badbadnotgood)
7. One Too Many (Feat. Phonte)
1. Despite The Weather
2. Glowed Up (Feat. Anderson .paak)
3. Breakdance Lesson N.1
4. You're The One (Feat. Syd)
5. Vivid Dreams (Feat. River Tiber)
6. Lite Spots
7. Leave Me Alone (Feat. Shay Lia)
8. Bullets (Feat. Little Dragon)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Let Them Fall In LoveThe best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.
Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'
While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.
"Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."
Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.
"It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."
Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.
"Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."
Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.
"I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."
On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.
"That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."1. He's Never Failed Me Yet
2. Run To Him
3. Hey Devil! (feat. The Clark Sisters)
4. Peace From God
5. Why Me
7. Never Have To Be Alone
8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
10. Let Them Fall In Love$19.99Vinyl LP - Sealed Buy Now
Condolences (Gray w/Black Splatter)Pressed On Gray Vinyl With Black Splatter
A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.
"All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"
After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.
MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.
Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.
"It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."
In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.
"The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."
Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.
"It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"1. Last Rites
2. What The Night Brings
4. Blood Sick
5. Good Riddance
6. You Breathe, I Kill
7. Omen Amen
8. Cruel To You
9. Eulogy XIII
10. Prey For Me
11. Lonesome Road To Hell
13. Death Infinity$29.99Colored Vinyl LP - Sealed Buy Now
After MidnightOnce Nat King Cole gave up playing piano on a regular basis and instead focused on a series of easy listening vocal albums, jazz fans longed for him to return to his first love. These 1956 studio sessions made up Cole's last jazz-oriented disc, where he played piano and sang on every number, joined by several guest soloists. Cole's vocals are impeccable and swinging, while his piano alternates between providing subdued backgrounds and light solos that don't reveal his true potential on the instrument. Willie Smith's smooth alto sax buoys the singer in the brisk take of Just You, Just Me. Harry Sweets Edison's muted trumpet complements the leader in his interpretation of Sweet Lorraine. Composer Juan Tizol's valve trombone and former Cole sideman Jack Costanzo's bongos add just the right touch to the brisk take of Caravan. Stuff Smith's humorous, unusually understated violin is a nice touch in When I Grow Too Old to Dream. It's hard for any Nat King Cole fan to ignore these important sessions. [The original version of this release featured a dozen tracks, later expanded to 17 in the '80s with the discovery of some unreleased material. Yet another track, the alternate take of You're Looking at Me, was also found and added to reissues beginning in the late '90s.]
-All Music Guide1. Just You, Just Me
2. Sweet Lorraine
3. Sometimes I'm Happy
5. It's Only a Paper Moon
6. You're Looking at Me
7. I Was A Little Too Loney (And You Were A Little Too Late)
8. Lonely One
9. Don't Let It Go to Your Head
10. I Know That You Know
11. Blame It on My Youth
12. When I Grow Too Old to Dream
13. (Get Your Kicks on) Route 66
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Story Of UsThe Story Of Us is the debut album from Detroit-bred vocalist/songwriter Quinn XCII. The album if filled with refreshing authenticity and grassroots appeal, and is highlighted by standout single Straightjacket, an infectious track that combines stylish retro-electronic chops with a sultry reggae snap into its own pop sound about a psycho from a Midwest suburb. The album effortlessly fuses pop, soul, electronic, hip-hop, and reggae-tinged vocal stylings with Spartan proficiency, and presents a lively arc of songs that connects the growing fan base who follow Quinn XCII.
Whether it's the cautionary gold digger-in-reverse wisdom of Fake Denim, or the witty-but-wary life lessons flung in the catchy Flare Guns, and darker Tourist, or irresistible pop sunburst of One Day At A Time, Quinn XCII unveils each track in a flurry of pulse-raising shades.
For The Story Of Us, Quinn XCII connected with some new producers and collaborators, including Michael Keenan (G-Eazy's Me, Myself and I), buzzing songwriter Scott Harris (The Chainsmokers' Don't Let Me Down, Shawn Mendes' Treat You Better and There's No Holding Me Back), veteran David Gamson (Kelly Clarkson, Kesha) Robby Hauldren (from the duo Louis The Child, who Quinn XCII toured with last year), and The Wiild, who helmed both Fake Denim and the previously released Straightjacket. However, fans can still expect the signature sounds he's known for, as he continues to team up with ayokay (who fully produced his two previously released EPs) on the album as well.
Regarding The Story Of Us, Quinn XCII comments: I wanted the album title to really represent that I'm just like everyone else and go through similar experiences. The songs are relatable and touch on all different topics and emotions new, old, good and bad relationships, growth, memories, temptation, and challenges. I'm just a kid from the Midwest. My life isn t this unattainable fantasy, I didn't have an angle or connections to the music industry. I just worked hard to turn my passion into a career, anyone can do the same in whatever they're pursuing.1. Intro (Slow)
4. Flare Guns (feat. Chelsea Cutler)
5. Fake Denim
6. Don't You
7. 60 Seconds
10. One Day At A Time
11. Always Been You$20.99150 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Falling Faster Than You Can RunWell, it doesn't take long for Falling Faster Than You Can Run to reveal that Nathaniel Rateliff isn't in a very good place. His deep funk is revealed very quickly on the opening track 'Still Trying': "If you roll in it long enough/your shit won't even smell" sings Rateliff, in between crying out, unaccompanied, "I don't know/I don't know/a god damned thing".
And that's the feeling that sticks throughout this, often very fine, new record from Denver, Colorado's Missouri-born Rateliff. On his second full-length album (dropping the & the Wheel from his name) loneliness is writ large: not the kind of loneliness from actually being along, but the kind that comes from being constantly surrounded by people yet unable to shake the feeling of complete isolation. Rateliff has toured with many, many acts over the past few years and most recently has spent time with Dr Dog and fellow Denver act (and friends) The Lumineers. Thankfully, Rateliff rarely sounds like his friends (you might say I'm not a fan) and instead writes and plays music with a lot of heart and soul. It's often his voice that's the star of the show thanks to the subtly-arranged instrumentation: part matured Kurt Wagner burr and part throat-ravaged bluesman ( a bit The Tallest Man on Earth) it's a voice you could listen to all day. But good voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.
"Still Trying" is an arresting opener; while Rateliff's heart-wrenching roars are the highlight, the backing isn't too shabby either - acoustic guitar and bass drum battle for the spotlight on a ragged country song, and it sounds authentic, like Rateliff has lived what he's singing. And things get better quickly: "I Am" is mostly just Rateliff and his guitar, as broaches his isolation singing: "you'll never know what's buried there / less you dig around". The music swells as he sings the title over and over, following a similar pattern to the album opener. But before things get too familiar, Rateliff picks up the pace with a couple of full band numbers that could almost be considered jaunty, if we were to ignore the lyrics. "Don't Get Too Close" is fine enough and ticks over nicely like a quickstep, but "Laborman" is even better. Like Wilco at their poppiest, it flies off on crunchy and bright electric guitars which belies the lyrical content: "I got a feelin' / a sleepin' depression / that somebody's gonna get hurt", sings Rateliff, followed by "you got the harness/so where you gonna drag me now?" You can see a pattern developing here; Rateliff's stuck somewhere he doesn't want to be, lonely, but how does he get out of it? Take another look at that album cover too - a couple share a bed, an arm reaches out yet it doesn't touch the other person. It's basically a visual encapsulation of what's being sung about.
The epic electric storm of "Forgetting Is Believing" leads a trio of great closing tracks, ending with the Lambchop-murmur of the title track. Rateliff's baritone is exposed and dusty as he sings "leave me alone/you can see me fall/faster than you can run", ending as he started the record - alone and isolated.
Falling Faster Than You Can Run feels, through the dirt, the shit and the whisky, and despite the loneliness, like a hard-earned triumph for Nathaniel Rateliff.
- Andrew Hannah (The Line Of Best Fit)1. Still Trying
2. I Am
3. Don't Get Too Close
5. How To Win
6. Nothing To Show For
7. Right On
8. Three Fingers
9. Forgetting Is Believing
10. When Do You See
11. Falling Faster Than You Can Run$18.99Vinyl LP - Sealed Buy Now
HozierSelf-titled debut album from Irish artist Hozier.
Ahead of his forthcoming full-length, Hozier released a 4-track introductory EP, featuring his fast-rising track Take Me To Church in addition to Angel Of Small Death, which reflects the gospel-soul gumbo at the heart of his music, Arcadian acoustic adventure Like Real People Do, and Cherry Wine, a raw emotional discourse recorded live at 6am on an abandoned hotel rooftop. Hozier played all the instruments (Fiachra Kinder helped out on drums), sang all the parts and recorded in his home studio, and Rob Kirwan (Depeche Mode, PJ Harvey) mixed the tracks in Dublin.
Born in County Wicklow on St Patrick's Day, Hozier gained worldwide attention nearly overnight when he posted the video for his song Take Me To Church in late September. The gripping black and white video, directed by Brendan Canty, highlights the turbulent plight of the LGBT community in Russia via the story of two gay men targeted by a homophobic gang. The powerful video brings life to the emotional song, which touches on the influence of religion on humanity.
The Take Me To Church video has quickly racked up views on YouTube, reaching millions of views largely on word of mouth. The track has been a fixture on Spotify's Most Viral charts, regularly appearing in the Top 10 in the US and the UK since the end of last year, and Spotify also selected Hozier as one of their Spotlight Artists to Watch 2014. Take Me To Church also hit #1 on Hype Machine's Most Popular chart, and has also been hovering on the top of Ireland's singles chart, outselling acts like Lorde and One Direction week after week. Hozier has been playing to packed rooms in Ireland, and his first London show sold out in minutes, underscoring the phenomenon that has emerged in such a short time. UK tastemaker Zane Lowe has also just selected Hozier for his coveted Hottest Record spotlight.LP 1
1. Take Me To Church
2. Angel Of Small Death And The Codeine Scene
3. Jackie And Wilson
4. Someone New
5. To Be Alone
6. From Eden
1. In A Week (Feat. Karen Cowley)
3. Work Song
4. Like Real People Do
5. It Will Come Back
6. Foreigner's God
7. Cherry Wine$27.99Vinyl LP + CD - 2 LPs Sealed Buy Now
Soul EyesSinger, songwriter and pianist Kandace Springs will release her debut full-length album Soul Eyes on Blue Note Records. Produced by Grammy-winning producer Larry Klein (Lizz Wright, Melody Gardot, Joni Mitchell, Herbie Hancock), the album touches upon soul and pop while channeling her jazz influences as well as her Nashville upbringing. Kandace counts such stylists as Billie Holiday, Ella Fitzgerald, Nina Simone, Roberta Flack and Norah Jones as her heroes, but as evidenced by Soul Eyes, Springs mimics none of them.
Kandace's journey to discovering her uniqueness didn't happen overnight. In fact, her 2014 self-titled debut EP had a decidedly contemporary R&B/hip-hop bent with production by Pop & Oak (Rihanna, Nicki Minaj, Miguel). The EP was incredibly well-received and led to performances on Late Show With David Letterman, Jimmy Kimmel Live and The Tonight Show Starring Jimmy Fallon, as well as appearances at the Afropunk and Bonnaroo festivals.
Kandace was dubbed a "suave songstress" (Wall Street Journal), "a versatile and vital artist" (Afropunk), and "a vocal force to be reckoned with" (Okayplayer). Essence Magazine named her a New & Next artist and Interview Magazine made her their Music Discovery, writing that while "Hearing the word jazz might revert a listener's thoughts to the music of yesteryear...Up-and-comer Kandace Springs aims to change this notion. The singer, songwriter, and pianist blends elements of soul, jazz, and pop, producing a unique and modern twist on the genre that appeals to young and old listeners alike."
As amazing an experience as that was, as Kandace got ready to record her album she couldn't shake the feeling that she wasn't yet singing her true self. Conversations with her longtime producers Carl Sturken and Evan Rogers led to soul searching and rethinking her musical direction. Also during this period, Kandace attracted the attention of Prince, who heard her makeover of Sam Smith's "Stay With Me" on the website Okayplayer. The music icon invited her to perform with him at Paisley Park for the 30th anniversary of Purple Rain. "He encouraged me a lot before I recorded this new record, especially during the time in which I was trying to figure out my sound," Kandace says. "He told me that I needed to do what comes naturally to me. He was absolutely right."
For Soul Eyes, Kandace continued working closely with Rogers and Sturken, but they also recruited Klein to help the singer bring out her distinctive artistic traits. "Larry wanted me to be free in the studio," she recalls. "I've been through a lot of other sessions in which the producer tries to take control of your sound. Larry was just like, 'Go in and play what you feel.' That ultimately led to the best outcome; he captured this record perfectly."
Klein praises Kandace as a "natural." "In this era, in which flash and hunger for fame is often equated with talent, she's that rare person who sings and plays because that is what she needs to do in life," he says. "When I first heard Kandace, I was sold after hearing one song. Her smoky voice coupled with a sense of phrasing way beyond her years, and her angular way of accompanying herself on piano grabbed me right away."
The eleven songs contained on Soul Eyes are a mix of Kandace's originals and co-writes as well as the jazz classic "Soul Eyes" and songs by Jesse Harris, Shelby Lynne, War, and others. The album features Kandace's playing piano alongside an illustrious cast of musicians that includes trumpeter Terence Blanchard, guitarists Dean Parks and Jesse Harris, drummer Vinnie Colaiuta, organist Pete Kuzma, bassist Dan Lutz, percussionist Pete Korpela.1. Talk To Me
2. Soul Eyes feat. Terence Blanchard
3. Place To Hide
4. Thought It Would Be Easier
5. Novocaine Heart
6. Neither Old Nor Young
7. Too Good Too Last feat. Terence Blanchard
8. Fall Guy
9. The World Is A Ghetto$19.99Vinyl LP - Sealed Buy Now
Charles Aznavour: Collected (Pre-Order)Limited First Pressing Of 1,500 Individually Numbered Copies On 180 Gram French Flag Blue, White And Red Vinyl, Black Vinyl Thereafter
4 Page Booklet With Liner Notes And Photos
Carefully Curated Selection Of Chansons, Including Jezebel, She, Comme Ils Disent, For Me Formidable, La BohÉme And Many More
Duets With Frank Sinatra, Johnny Hallyday And His English Versions
Music On Vinyl proudly presents a second release of the COLLECTED albums. The new albums will focus on memorable artists with almost a life span of original intriguing music, covering a timeless musical period!
In the early 1950s a man of short stature attempts to win over his audience. With a hoarse voice he delivers songs that do not catch on. People jeer at him. Tomatoes fly through the air. The Frenchman with Armenian roots slinks off the stage, but does not quit.
Ironically, the song that makes him a household name is the song in which he recalls his agonising trial. The audience reacted indifferently when Charles Aznavour decided to try out his new song on stage. But when he went on to greet the audience for one final time they all stood and gave him a thundering standing ovation.
In the sixties, hits and classics succeed one another. Nobody is bothered any more by his husky voice, by his small stature or his rugged characterful face. The croony For Me Formidable (1963), the heart breaking Et Pourtant (1963) and the nostalgic Hier Encore (1964) confirm his standing as a fan favourite. La Bohème (1965) and Emmenez-moi (1967) turn Aznavour into a superstar.
In La Bohème, there are impressionist painters strolling in the shadows of the SacrÉ-Coeur, the compelling Comme Ils Dissent (1972) is the first chanson after Vichy France to overtly endorse homo sexuality and in the present France Of La Manif Pour Tous (the movement that opposes gay marriage), does it again to sound particularly topical. Camarade (1977) was about the nomenklatura, the ruling elite in the Soviet Union and is a social and historical topic. Avec Un Brin De Nostalgie is an Aznavour grand cru, maybe even the best he has made over the last thirty years.
COLLECTED by Charles Aznavour is a wonderful collection of hits and classic by the French artist that touches your soul at every moment. It's an overview of his work during the sixties, seventies and duets with Johnny Hallyday on Il Faut Savoir and with Frank Sinatra Young At Heart. Also his English versions of How Sad Venice Can Be, The Old Fashioned Way, She and four more English songs are included on this deluxe Trifold 3LP album.LP 1
2. Parce Que
3. Les Deux Gitares
4. Je M'voyais DÉjà
5. Il Faut Savoir
6. Les ComÉdiens
7. La Mamma
8. Sa Jeunesse Entre Ses Mains
9. Et Pourtant
10. For Me Formidable
11. Sur Ma Vie
12. A Ma Fille
13. Que C'est Triste Venise
14. Une Enfant
15. Hier Encore
16. Au Printemps Tu Reviendras
17. La Bohème
18. Paris Au Mois D'août
1. Tout S'en Va
3. Le Cabotin
4. Non Je N'ai Rien OubliÉ
5. Mourir D'aimer
6. Les Plaisirs DÉmodÉs
7. Comme Ils Disent
8. A Ma Femme
9. Tous Les Visages De L'amour
10. Mes Emmerdes
11. J'ai Vu Paris
12. Toi Et Moi
13. Je T'aime Aime
1. Avec Un Brin De Nostalgie
2. Tomorrow Is My Turn
3. How Sad Venice Can Be
4. The Old Fashioned Way
5. The "i Love You" Song
7. Yesterday When I Was Young
8. I'll Be There
9. La LÉgende De Stenka Razine (With Les Compagnons De La Chanson)
10. Je Voyage (With Katia Aznavour)
11. Il Faut Savoir (With Johnny Hallyday)
12. Young At Heart (With Frank Sinatra)
13. J'aime Paris Au Mois De Mai (With Zaz)
14. Ave Maria$47.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed PRE-ORDER Buy Now
UNIM-DEC-4759xElton John And Leon Russell
The UnionThe Union is the highly anticipated collaborative album from Elton John and Leon Russell and it's the first time these iconic artists have worked together since 1970. Produced by Oscar and multiple-Grammy winning producer T Bone Burnett, The Union was recorded live in the studio with Elton and Leon on dueling pianos. The album features a variety of musical genres from R&B, soul, gospel, country, pop and rock. The 14-track set includes selections written by Elton and his lifelong lyricist Bernie Taupin, as well as the combined incomparable songwriting team encompassing Leon, Elton, Bernie and T Bone.
Leon first met Elton in 1970 when he attended Eltons first ever U.S. show at the famous Troubadour in Los Angeles. The meeting heralded the beginning of a long friendship and a mutual appreciation between the two artists. In the late 60s and early 70s, the one piano player and vocalist who influenced me more than anybody else was Leon Russell, Elton said. He was my idol. The pair went on to tour together shortly thereafter at New Yorks Fillmore East and to this day have held such high admiration for each others work.
After years of being out of touch, Elton listened to Leons music while on safari in Africa last summer and was inspired to reconnect with his idol. Elton called to ask if I would do a duet album with him, Russell said. Im very happy that he chose me to do this.1. If It Wasn't For Bad
2. Eight Hundred Dollar Shoes
3. Hey Ahab
4. Gone To Shiloh
5. Jimmie Rodger's Dream
6. There's No Tomorrow
7. Monkey Suit
8. The Best Part Of The Day
9. A Dream Come True
10. When Love Is Dying
11. I Should Have Sent Roses
12. Hearts Have Turned To Stone
13. Never Too Old (To Hold Somebody)
14. In The Hands Of Angels$29.99Vinyl LP - 2 LPs Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
Pure Country Soundtrack25th Anniversary First-Time Vinyl Pressing
Country legend George Strait is releasing the Pure Country soundtrack on vinyl to celebrate the 25th anniversary of the album. This limited-edition pressing is the first time that the soundtrack is being released in the vinyl format.
Pure Country, one of Strait's greatest successes, hit No. 1, eventually selling more than 6 million copies, in part due to its two No. 1 hit singles: "I Cross My Heart" and "Heartland." His song "When Did You Stop Loving Me" also reached No. 6 on charts.
In terms of the film itself, Pure Country opened at No. 6 the week of its release, earning $2,739,680 in its opening week, taking in over $15 million in total. In the film, Strait plays Wyatt "Dusty" Chandler, one of the biggest stars in country music, who becomes disillusioned with his success. Strait's character simply walks away from it all, returning to his hometown to get back in touch with his roots by working at a ranch.
Kelefa Sanneh writes in the New Yorker that Strait "was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. 'Elvis hated making those movies,' he said - but they transformed him from a pop star to an icon.'"
- Courtney Carr (theboot.com)1. Heartland
2. Baby Your Baby
3. I Cross My Heart
4. When Did You Stop Loving Me
5. She Lays It All on the Line
6. Overnight Male
7. Last in Love
8. Thoughts of a Fool
9. The King of Broken Hearts
10. Where the Sidewalk Ends
11. Heartland (Main Title Sequence)$19.99Vinyl LP - Sealed Buy Now
Profile: Best Of Emmylou HarrisAlready 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$21.99Vinyl LP - Sealed Buy Now
Returning: Pieces for Guitar 1970-2004Universally recognized as the preeminent pioneer in the new age music movement and the founder of Windham Hill Records.
Will Ackerman's 2005 Grammy award winning recording, Returning: Pieces for Guitar 1970-2004 is being released for the first time on 180g vinyl. In 2004, after years of growth and introspection, Ackerman re-recorded an album of his best-known songs. A greatest hits collection of all new performances. Will's goal was to take a series of 11 favorite songs and record them for posterity in a way that reflects the emotional nuances, precision, and maturing beauty they've picked up along the road.
Will spoke at the time of the recording about why he wanted to make the album. Today I'm recording in my own Imaginary Road Studios in Windham County, Vermont on utterly state of the art digital equipment. It all brings me closer to what I hear as I sit alone and play; touching the sound as it literally moves through my body as well as my ears. I guess I am trying to find a sound that lets you hear what I hear.1. Bricklayer's Beautiful Daughter
2. Anne's Song
3. The Impending Death of the Virgin Spirit
5. Hawk Circle
6. Barbara's Song
10. In a Region of Clouds
11. Last Day at the Beach$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Last Days of OaklandFantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.
The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.
By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.
The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.
The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.
In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.
The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.
With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.
For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.
When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.1. Intro - The Last Days of Oakland
2. Working Poor
3. About A Bird
4. Scary Woman
5. Interlude - What Would You Do?
6. The Nigga Song
7. In the Pines (Oakland)
8. Hump Thru the Winter
9. Lost In A Crowd
10. Interlude 2 - El Chileno
11. The Worst
12. Rant Rushmore
13. Nothing Without You
14. Push Back
15. The Shadows$23.99Vinyl LP - Sealed Buy Now
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now