- Lowest Price
- Highest Price
Big Hits (High Tide and Green Grass)Import
Big Hits (High Tide and Green Grass) is the first official compilation album by The Rolling Stones, released on 28 March 1966, on London Records in the US and on 4 November 1966, by Decca Records in the UK. The two releases featured different cover art and track listing. The front cover for the American release was used for the rear photo on the UK edition.
The album cover photo (US edition) was shot at Franklin Canyon Park in Los Angeles, California.
Reaching #3 on the US charts, where it remained for two years, Big Hits (High Tide and Green Grass) proved to be a big smash and currently remains a popular Rolling Stones retrospective.
The UK Big Hits (High Tide and Green Grass) includes tracks released after the American edition appeared. The Rolling Stones' debut 1963 single, a cover of Chuck Berry's Come On, was included, but its more successful follow-up, I Wanna Be Your Man - composed by rivals (although in reality as friends) Lennon-McCartney - was left off the album.1. (I Can't Get No) Satisfaction
2. The Last Time
3. As Tears Go By
4. Time Is on My Side
5. It's All over Now
6. Tell Me
7. 19th Nervous Breakdown
8. Heart of Stone
9. Get off of My Cloud
10. Not Fade Away
11. Good Times Bad Times
12. Play With Fire$32.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Through The Past, Darkly (Big Hits Vol 2)
180 Gram Clear Vinyl
This album was spawned by three coinciding events -- the need to acknowledge the death of band co-founder Brian Jones (whose epitaph graces the inside cover) in July of 1969; the need to get Honky Tonk Women, then a huge hit single, onto an LP; and to fill the ten-month gap since the release of Beggars Banquet and get an album with built-in appeal into stores ahead of the Stones' first American tour in three years. The fact that the Stones had amassed a sufficient number of hits since their last greatest-hits compilation in early 1966 (Big Hits: High Tide and Green Grass) made this a no-brainer, and its song lineup was as potent at the time as any compilation of hit singles by any artist. From the group's excursions into fey psychedelia (Paint It, Black, Ruby Tuesday, She's a Rainbow, Dandelion), space rock (2000 Light Years From Home), punk decadence (Mother's Little Helper), and back to straight-ahead rock & roll (Jumpin' Jack Flash), some of it with a topical edge (Street Fighting Man), it's all incredibly potent, though also redundant to the extent that Ruby Tuesday and Let's Spend the Night Together had previously appeared on two U.S. albums. The presence of Honky Tonk Women propelled it to gold record status upon release on both sides of the Atlantic, although the simultaneously released British version (long out of print, except as a bootleg CD) is different and more confusing, but also more diverse and rewarding musically than the American version. Both this album and Big Hits: High Tide and Green Grass have been supplanted by Hot Rocks and More Hot Rocks, but are still handy in their tight respective focuses.
- Bruce Eder (All Music Guide)1. Paint It, Black
2. Ruby Tuesday
3. She's a Rainbow
4. Jumpin' Jack Flash
5. Mother's Little Helper
6. Let's Spend the Night Together
7. Honky Tonk Women
9. 2000 Light Years from Home
10. Have You Seen Your Mother, Baby Standing in the Shadow?
11. Street Fighting Man$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Ides of Gemini / Vermapyre Split (Discontinued)Colored Vinyl
Comes with a digital download code! France's Vermapyre play raw, relentless tracks here recorded live in Oslo May 2011. Vermapyre are the msyterious, dark blackened beast with a previous split on Holy Terror Records. Los Angeles' Ides of Gemini come in like the high tide, enveloping the listener with a wide open flood of dreamy, cerebral doom. Sera Timms (vocals) ethereal vocals hit like a siren's song atop glacial riffs and expansive percussive emanations. Ides of Gemini have their debut full length coming in May on Neurot Records, here we have just a taste of what's to come. First pressing is on green and brown vinyl. First pressing is limited green and brown vinyl in a pressing of 500.1. Vermapyre- Oslo
2. Ides of Gemini- Martyrdom of the Hippolyt
3. Ides of Gemini- Constantinople$16.99Colored Vinyl LP - Sealed Buy Now
Jack Johnson & Friends: Best Of The Kukua FestivalJust in time for Earth Day, Brushfire Records will release Jack Johnson and Friends: Best of Kokua Festival. The album features a 13-track compilation of live performances from Jack Johnson's benefit concerts for the Kokua Hawaii Foundation. Proceeds from Jack Johnson and Friends: Best of Kokua Festival will benefit the Kokua Hawaii Foundation.
Culled from six years of his eco-minded music festival, Jack Johnson and Friends: Best of Kokua Festival, highlights onstage collaborations with legendary musicians like Willie Nelson, Jackson Browne, Eddie Vedder, Ben Harper, Dave Mathews, Ziggy and Damian "Jr. Gong" Marley and more.
Johnson and his band team up with more than a dozen guest artists to perform both original works and spirited covers of classic songs. The album features several of Johnson's breezy folk-rock gems, including "Constellations" (with Eddie Vedder), "Mudfootball" (with Ozomatli & G. Love), "Breakdown" (with ukulele virtuoso Jake Shimabukuro), and "Better Together" (with Hawaiian singer Paula Fuga).
Elsewhere on Jack Johnson and Friends: Best of Kokua Festival, Johnson joins his guests for stripped-down renditions of their own songs: Taj Mahal offers his bluesy "Further On Down The Road," Jackson Browne revisits "Take It Easy" with the help of singer/guitarist John Cruz (who also shares his Hawaiian anthem "Island Style"), and the Marley brothers bring the reggae with Ziggy's "Cry, Cry, Cry" and Damian's dancehall banger "Welcome to Jamrock."
Rounding out the record are an eclectic collection of covers, including Bob Marley's "High Tide or Low Tide" (featuring Ben Harper), Bob Dylan's "I Shall Be Released" (featuring Eddie Vedder) and Jimmy Buffet's "A Pirate Looks at Forty" (featuring Dave Matthews and Tim Reynolds). Willie Nelson, meanwhile, delivers a Harper-assisted take on "Blue Eyes Crying in the Rain," the Fred Rose-penned classic he popularized.
Held on Earth Day weekend at Honolulu's Waikiki Shell since its inception in 2004, the Kokua Festival serves as both a community-centered celebration of music and environmental awareness and as the major fundraiser for the Kokua Hawaii Foundation (a nonprofit organization founded by Johnson and his wife Kim in 2003 to support environmental education in the schools and communities of Hawaii). Like the festival itself, Jack Johnson and Friends: Best of Kokua Festival spotlights artists who share the Kokua Hawaii Foundation's mission of protecting the planet and cultivating environmental consciousness.LP1
1. Better Together - Jack Johnson with Paula Fuga
2. Cry, Cry, Cry - Ziggy Marley with Jack Johnson & Paula Fuga
3. A Pirate Looks At Forty - Jack Johnson, Dave Matthews & Tim Reynolds
4. Mudfootball - Jack Johnson with Ozomatli & G. Love
5. Constellations - Jack Johnson with Eddie Vedder & Kawika Kahiapo
6. Take It Easy - Jackson Browne with Jack Johnson & John Cruz
7. Island Style - John Cruz with Jack Johnson & Jackson Browne
1. Breakdown - Jack Johnson with Jake Shimabukuro
2. Further On Down The Road - Taj Mahal with Jack Johnson
3. Welcome To Jamrock - Damian "Jr. Gong" Marley with Jack Johnson & Paula Fuga
4. High Tide or Low Tide - Ben Harper & Jack Johnson
5. Blue Eyes Crying In the Rain - Willie Nelson with Jack Johnson & Ben Harper
6. I Shall Be Released - Jack Johnson, Eddie Vedder, Zach Gill & Friends$34.99Vinyl LP - 2 LPs Sealed Buy Now
The ParagonsFeaturing John Holt, Garth Tyrone Evans and Howard Barrett, the Paragons became one of Jamaica's most popular acts during Rock Steady era of the
late sixties, during which time
they recorded such notable hits as 'Wear You To The Ball', 'Happy Go Lucky Girl', 'On The Beach', 'Only A Smile' and their most celebrated song, 'The
Tide Is High'. By the early seventies, the group had disbanded, but Blondie's hit version of the latter led to their reunion in 1981, resulting in the trio
recording updated versions of all their classic sixties sides for US-based DJ-come-producer, Lister Hewan-Lowe. Unavailable in any format since 1981,
the sought-after LP is now at long-last obtainable to fans of the group and the classic Lovers style.1.Happy Go Lucky Girl
2.I'll Be Back
3.Man Next Door
5.My Best Girl
6.The Tide Is High
8.Wear You To The Ball
9.You Mean The World To Me
10.On The Beach$24.99Vinyl LP - Sealed Buy Now
Choice of Weapon (Awaiting Repress)The Cult's newest album Choice of Weapon is the follow up to the critically-acclaimed 2007 release Born Into This which Mojo magazine called "a wholehearted, utopian and irrefutably exciting record." Long-time Cult collaborator and producer Bob Rock (Metallica, Bush), who produced one of the band's most successful albums in the platinum-certified Sonic Temple, put the finishing touches on the foundations that were laid by co-producer Chris Goss (Queens of the Stone Age, U.N.K.L.E., Masters of Reality).
The record was written by Ian Astbury and Billy Duffy, recorded in New York City, Los Angeles, the California high desert, and the band's Witch Mountain studios in the Hollywood Hills between July and December of 2011. The new release features founding members Astbury on vocals and Duffy on guitars, with drummer John Tempesta and bassist Chris Wyse. "We have had the opportunity to work with two of the most influential and talented producers in the world today," said Astbury. "They pushed us beyond our comfort zone, and helped us craft Choice of Weapon.'"
The album is aimed at the heart of The Cult's loyal following. It reflects the current discontent and destruction of our eco systems, the search for individual meaning against a tide of rampant materialism, narcissism and disconnected lives. "We went deeper, we worked a bit harder on this record. We have great fans and they deserve our best," added Duffy, "and I feel this is one of our best records, maybe the best."1. Honey from a Knife
2. Elemental Light
3. The Wolf
4. Life > Death
5. For The Animals
7. Wilderness Now
9. A Pale Horse
10. This Night In The City Forever$26.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Yuyay Jap'ina TapesIn 1949, Luzmila Carpio was born in the rural town of Qala Qala, Bolivia. It was there
that her earliest musical experiences- and the genesis of her unique voice-shaped her
decades-long career writing and performing Quechua music. In Bolivia, though more
than 36 indigenous languages are spoken by nearly 40 percent of the population, the
only officially recognized language of state was Spanish until September of 2000. Thus,
for much of the 20th century, Quechua populations were concentrated in rural areas,
often ignored by those in urban centers of political power.
The social, political and economic stigma that came with identifying as Quechua was
keenly felt throughout Luzmila's formative years, though the tide began to shift in the late
1960s. At age 15, Luzmila joined the group Los Provincianos and has continued to make
music ever since. Her distinctive musical style comes from her impossibly high upper register
that oftentimes mingles so closely with the timbre of a quena flute:
"In my community, among us, we sing like that-very high. It's the tradition in our
area that I further developed while trying other styles or ranges as my voice
allowed. My mother would say that by singing that way we would safeguard
the voice of the little girl, and that the world would welcome us. It's attributed
to Pacha Mama, Mother Earth "
In October of 1992, Luzmila began working with UNICEF on the Yuyay Jap'ina campaign
for adult literacy. The goal of the project was to increase Quechua and Spanish
language literacy amongst Quechua-speaking populations. The designers of the Yuyay
Jap'ina project commissioned recordings by Luzmila. that featured local musicians performing
both traditional Quechua songs and those specially composed by Luzmila. Cassettes
were then played in libraries and learning centers and distributed for free in participant
villages. In keeping with the core mission of the literacy campaign, written song lyrics accompanied
the tapes in both Quechua and Spanish.
Many of the songs take a pedagogical approach; they testify to the importance of clean
drinking water (Ch'uwa yaku kawsaypuni, "Crystal Clear Water Is Life"), the self-actualizing
power of literacy (Riqsisqa kasunchik, "We Will Be Recognized"), and the selfassertion
of women (Warmikuna yupay-chasqapuni kasunchik, "Women, We Have To Be
Respected"). But looking at the Yuyay Jap'ina tapes as a set of instructional songs would
be only the narrowest interpretation. Taken in context, the songs are a bold celebration
of language and culture.
Luzmila Carpio currently lives in Paris and continues to write and perform her songs
around the world.1. Riqsiqa Kasunchik
2. Ch'uwa Yaku Kawsaypuni
3. Warmip Kawysayin
5. Warmikuna Yupay-Chaqapuni Kasunchik
7. Yanapariway Takiriyta
9. Pachamamata T'ikanchasun
10. Kusichisun Wawitata
11. Tillpi Tillpilla
12. Sumaq Awaq Warmi
14. Qalay Qalay
15. Kawsay Jap'isunchik
16. Wataq Killasnin
17. Amautayku, Avelino Siñani$36.99Vinyl LP - 2 LPs Sealed Buy Now
ADAD-MUT-2460xNick Cave And The Bad Seeds
Your Funeral...My TrialReduced to a quartet for the most part, with Barry Adamson joining Nick Cave, Blixa Bargeld, Mick Harvey and Thomas Wydler on only a couple of tracks, the Bad Seeds turn from the interpretive triumph of Kicking Against the Pricks to another strong high, the mostly-original Your Funeral...My Trial. The one cover is a sharp, unsurprisingly dramatic version of Tim Rose's Long Time Man. As for the rest of the album, Trial shows the Seeds working as, again, a remarkably accomplished and varied act, ever available and ready to explore a wide range of musics distilled into Cave's often dark, always passionate vision. Arguably Cave and company have by now so clearly established their overall style that Your Funeral...My Trial is much more a refinement of the past than anything else, but so good is their work that resistance is near impossible. If anything, the brooding power of the Seeds is more restrained than ever, suggesting destructive endings and overwhelming love without directly playing it. Songs like Jacks Shadow and the gentler but still melancholy moods of Sad Waters, detailing a riverside scene between a couple, are simply grand. The opening title track sets the mood well, Cave handling not merely vocals but Hammond organ, adding a strangely sweet air to the late-night atmosphere of the piece. The Carny is a definite highlight, the cracked music-box/carnival accompaniment courtesy of Harvey utterly appropriate for Cave's tale of a circus gone horribly wrong in ways Edward Gorey would appreciate. Hard On for Love, as the title pretty clearly gives away, is at once sensual and blunt right down to the lyrics, Biblical references and all, as the feverish music rises in a tide of emotion.
- Ned Raggett (All Music)1. Sad Waters
2. The Carny
3. Your Funeral, My Trial
4. Stranger Than Kindness
5. Jack's Shadow
6. Hard On for Love
7. She Fell Away
8. Long Time Man$24.99Vinyl LP - 2 LPs Sealed Buy Now
IvywildNight Beds, the musical project of 26-year-old Colorado Springs native Winston Yellen, received much acclaim for his 2013 debut album, Country Sleep, scoring plaudits for its tortured take on alt country and Yellen's soaring vocals. But after finishing that album and before Country Sleep was even released, Yellen began experimenting with the kind of melancholic, neon-tinged R&B that makes up the mesmerising Ivywild. The thread that weaves through all of Yellen's music and holds it together is his unmistakable voice - plaintive, yearning, soulful, heartbreaking. Whether it's ascending over the luscious epic-electronics of Tide Teeth or aching alone on Country Sleep's opener Faithful Heights, Yellen's voice has a unique beauty matched by few of his contemporaries. The second Night Beds album draws on Yellen's original love of Bill Evans through to J Dilla and is made up of what Yellen calls sad sex jams and was inspired by a long-term love and a break-up which looms large throughout the albums veiled lyrics. Its genesis can be found in the stoned night in Nashville when Yellen first heard Yeezus. Lying on the floor, Yellen blared the album at top volume. Ivywild is a truly collaborative effort with a makeshift team of 25 musicians, notably Abe, Yellen's younger brother and closest friend - his credit on the album comes above Winston's own, so much value does he place upon the work Abe put in. Additional vocals come from Heather Hibbard, a singer from Maine who features on over half of the 16 track album, and was contacted by the gregarious Yellen through YouTube, after he found a video of her covering one of his songs. She came out to the studio the very next day. Finessing the poignant assortment of songs was a sometimes painful task, but dedicated to the core. I felt at some points we were losing our minds, he says. Initial versions of Me Liquor and God band On High: were 17 and 33 minutes respectively while Finished took four months to record. His editing process though was simple: If it makes you cry, keep it in. Field recordings also flood the record, offering it a deep textural grain. It is a luxury record, but it has a worn shirt feel, explains Yellen. It's lived in. It's like a quilt - but it took forever, cutting up all the vocals and letting it breathe.1. Finished
3. Me Liquor and God
5. Tide Teeth
7. [9_6] slack-jaw
8. Eve A
9. On High:
11. Lay Your Hands
12. All In Good Time (I Get You Wrong Interlude)
13. Moon Sugar
14. Love Streams
15. I Give It
16. Stand On My Throat$20.99Vinyl LP - 2 LPs Sealed Buy Now
Sings the Blues (Speakers Corner)In both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties.
The present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone's wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating - but by no means stomping - rhythm. The cool, unemotional number "Sings The Blues" guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva's 70th birthday in February and sudden death in April 2203 better than this re-release.
- Nina Simone (piano, vocal)
- Rudy Stevenson, Eric Gale (guitar)
- Ernest Hayes (organ)
- Bob Bushnell (bass)
- Bernard Purdie (drums)
Recording: 1967 by Ray Hall and Mickey Crofford at RCA Victor's Studio B, New York
Production: Danny Davis
About Speakers Corner
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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
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 - excluding the exception above - and that the lacquer discs are newly cut.1. Do I Move You
2. Day And Night
3. In The Dark
4. Real Real
5. My Man's Gone Now
6. Backlash Blues
7. I Want A Little Sugar In My Bowl
9. Since I Fell For You
10. The House Of The Rising Sun
11. Blues For Mama$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
How It Feels To Be Something OnSunny Day Real Estate's third album, How It Feels to Be Something On,
is now back in print on vinyl, after more than a decade of fetching high
prices on the collectors market. To date, How It Feels has sold over
In 1997, Sub Pop approached Sunny Day's members for help in compiling
a rarities album. Because there were so few usable tracks, band
founders Jeremy Enigk and Dan Hoerner agreed to get together and write
some new material to augment the archival songs, but they wound up
crafting an entire new album in a matter of days.
Without Mendel, who remains with Foo Fighters to this day, Sunny Day
reunited to record How It Feels to Be Something On, which Sub Pop
released on Sept. 22, 1998. After 2000's The Rising Tide, the band split,
with Mendel continuing his work with the Foo Fighters, though Enigk,
Goldsmith, and Mendel did reconvene to record an album under the name
The Fire Theft in 2003. Sunny Day Real Estate reunited for a series of
shows in 2010.1. Pillars
2. Roses in Water
3. Every Shining Time You Arrive
4. Two Promises
5. 100 Million
6. How It Feels To Be Something On
7. The Prophet
8. Guitar and Video Games
9. The Shark's Own Private Fuck
10. Days Were Golden$17.99Vinyl LP - Sealed Buy Now