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Boys And Girls In AmericaBoys and Girls in America is the third studio album by The Hold Steady, originally released on October 3, 2006, by Vagrant Records.LP 1
1. Stuck Between Stations
2. Chips Ahoy
3. Hot Soft Light
4. Same Kooks
5. First Night
6. Party Pit
7. You Can Make Him Like You
8. Massive Nights
10. Chill out Tent
11. Southtown Girls
1. Girls Like Status
2. Arms and Hearts
3. For Boston
4. Teenage Liberation
5. Citrus (Demo)
6. Stuck Between Stations (Demo)
7. Chips Ahoy! (Demo)
8. Massive Nights (Demo)
9. Chillout Tent (Demo)
10. First Night (Demo)$29.99Vinyl LP - 2 LPs Sealed Buy Now
ALMI-FRE-6749xThe Hold Steady
Almost Killed MePressed On Blue Vinyl
Remastered From The Original Tapes
First Time Released On Vinyl In Over 10 Years
Almost Killed Me is the debut studio album by Brooklyn-based rock band The Hold Steady, originally released on March 16, 2004 via Frenchkiss Records. It is considered by many to be a concept album, with several recurring themes such as near-death experiences, parties and the fictional character Charlemagne. It's concept album roots are further explored with the recurring characters in Separation Sunday, the Hold Steady's second album, which uses the same characters introduced in Almost Killed Me. Almost Killed Me was ranked number 99 on Rolling Stone Magazine's 100 Best Albums of the Decade.1. Positive Jam
2. The Swish
3. Barfruit Blues
4. Most People Are DJs
5. Certain Songs
7. Hostile, Mass.
8. Sketchy Metal
9. Sweet Payne
10. Killer Parties$21.99Colored Vinyl LP - Sealed Buy Now
You & MeThe music that inspired The Walkmen to compose You & Me follows in a tradition of song writing that goes back to early rock 'n' roll: the intimacy and energy of Elvis Presley's and Buddy Holly's early recordings, and the massive voice and orchestration of Roy Orbison. And it carries on through people like Bob Marley and Randy Newman and on to bands like The Pogues and The Modern Lovers - the sort of songs that are very much a product of their time and place while firmly rooted in tradition. The vocals were performed live right in the room with the full band, and sometimes a horn section too.
With some romance and drama, You & Me harnesses a sense of classic live-band production into meticulously constructed, unique-sounding rock songs. The sound would definitely not be mistaken for old, but it would be impossible to ignore the most timeless influences. You & Me offers a distinctive twist to the Walkmen sound of their first three records. Each song shows focus, and an up-beat enthusiasm apparent in all lyrics, music, and performances. It is a long record, clocking in at just under an hour, and it presents a wide range of ideas. The pacing is very important, as the band felt it was essential to set the right tone, and show each song in its proper light.
Writing and recording of You & Me happened over a vibrant and rigorous 2-year period, during which the members of The Walkmen were split between Philadelphia and New York. The band rode China Town busses five days a week to work in two small rehearsal spaces (an old nightclub in Chelsea, New York and a warehouse in Fish Town, Philadelphia) to freeze by the kerosene heater in the winter, and sweat it out in the summer. By the time of the records pressing there were over four hundred cast-off 8-track tapes littering both spaces.
The album was recorded in two installments, the first at Sweet Tea studios in Oxford, Mississippi (where they had worked on Bows and Arrows) with engineer John Agnello (Dinosaur Jr., Hold Steady, Sonic Youth) and in a couple of sessions in New York's Gigantic Studios (built by Phillip Glass) with engineer Chris Zane. You & Me is a solid and complex showcase of inspired songwriting. Romantic and celebratory, this is the sound of The Walkmen returning to classic form.1. Donde Esta la Playa
2. Flamingos (for Colbert)
3. On the Water
4. In the New Year
5. Seven Years of Holidays (for Stretch)
6. Postcards from Tiny Islands
7. Red Moon
8. Canadian Girl
9. Four Provinces
10. Long Time Ahead of Us
11. The Blue Route
12. New Country
13. I Lost You
14. If Only it Were True$17.99Vinyl LP - Sealed Buy Now
More Scared Of You (Awaiting Repress)Pressed On Bone Colored Vinyl
New album from Australian band The Smith Street Band. Produced by Jeff Rosenstock, engineered by Jack Shirley and mixed by John Agnello (Sonic Youth, Dinosaur Jr., The Hold Steady). Follow-up to 2014's Rosenstock-produced Throw Me in the River.1. Forrest
3. Death to the Lads
4. Song for You
6. Run into the World
9. It Kills Me to Have to Be Alive
11. Young Once
12. Laughing (Or Pretending to Laugh)$22.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
ALMI-FRE-6756xThe Hold Steady
Separation SundayPressed On White Vinyl
Remastered From The Original Tapes
First Time Released On Vinyl In Over 10 Years
Separation Sunday is the second studio album by The Hold Steady, originally released on May 3, 2005 through Frenchkiss Records. A concept album, Separation Sunday follows the stories of Craig (the narrator), Holly (short for Halleluiah), a sometimes addict, sometimes prostitute, sometimes born again Christian/Catholic (and sometimes all three simultaneously); Charlemagne, a pimp; and Gideon, a skinhead, as they travel from city to city and party to party. (All three characters made appearances on the band's previous album, Almost Killed Me, and reappear in First Night, and Same Kooks on Boys and Girls in America, and then again in Ask Her For Adderall, a bonus track from Stay Positive.)
Separation Sunday is lyrically dense, full of Biblical allusions, intertextual and self references (e.g., in Don't Let Me Explode, when Holly is asked about Charlemagne, she just smiled all polite-like and said something vague; in Almost Killed Me's closing track, Killer Parties, the narrator instructs listeners, If they ask about Charlemagne/Be polite, say something vague), word play, and puns (Stevie Nix: She got screwed up by religion/she got screwed by soccer players). Vocalist/songwriter Craig Finn typically delivers these lyrics in a distinct flavor of sing-speak.
Musically, Separation Sunday engages Classic rock motifs -- guitar solos, riff-based structures, use of piano and organ, and guitar harmony. Structurally, however, most songs eschew the standard verse-chorus-verse song structure, frequently foregoing choruses or refrains altogether. In a review of the album, Blender described The Hold Steady as sound[ing] like the best bar band in the world.1. Hornets! Hornets!
2. Cattle and the Creeping Things
3. Your Little Hoodrat Friend
4. Banging Camp
5. Charlemagne In Sweatpants
6. Stevie Nix
7. Multitude of Casualties
8. Don't Let Me Explode
9. Chicago Seemed Tired Last Night
10. Crucifixion Cruise
11. How a Resurrection Really Feels$21.99Colored Vinyl LP - Sealed Buy Now
Teeth DreamsIn 2014, the Hold Steady release their sixth LP Teeth Dreams, nearly four years after the Brooklyn band's previous full-length album, 2010's Heaven Is Whenever. It's the longest gap between albums in the rock band's decade-plus career. [The recording process] may have dragged out a bit this time, singer Craig Finn tells Rolling Stone. But I think it's all for the best.
Teeth Dreams was recorded over the past two years in Brooklyn and Franklin, Tenn. and marks a new beginning for the Hold Steady: it's their first album recorded with longtime touring guitarist Steve Selvidge, who joined the band on the road following the 2010 departure of multi-instrumentalist Franz Nicolay. It was exciting again, says guitarist Tad Kubler. There was a newness to this album that I hadn't felt in awhile.
The new tracks find the band leaning heavy on distortion and snaking guitar licks - Finn's favorite of the batch is On With the Business, a pummeling blast of electric guitar and vocal delay that finds the notoriously sharp-eyed vocalist appraising a city heavy on weak handshakes and beautiful kitchens. On The Ambassador, one of the album's rare moments of serenity, Finn's details a temporary holding cell of a shack-up in Michigan with hot and glistening nights and halls that smelled like burning hair. And the band's first single, I Hope This Whole Thing Didn't Frighten You (streaming below) is a barreling Foo Fighters-style melodic rocker, with rapid-fire vocals spilling from Finn as drummer Bobby Drake swings beneath.
He says the band has drummed up their biggest-sounding, most rock-oriented album to date. We were looking to make a big rock record, he admits. Maybe it's less wild but in some ways that makes it a bigger record."
Dan Hyman (Rolling Stone)1. I Hope This Whole Thing Didn't Frighten You
3. The Only Thing
4. The Ambassador
5. On With The Business
6. Big Cig
7. Wait Awhile
8. Runner's High
9. Almost Everything
10. Oaks$29.99Vinyl LP - 2 LPs Sealed Buy Now
Clear Heart Full EyesClear Heart Full Eyes is the Vagrant Records solo debut album from, Craig Finn, frontman for the critically acclaimed group The Hold Steady. In early 2011, Finn challenged himself to write a new song every day in his Brooklyn, NY apartment. I had written a bunch of songs that were outside of the norm for The Hold Steady, a little quieter and perhaps more narrative, says Finn. I wanted to gain some experience and insight into the process of making a record by working with new people.
Finn traveled to Austin, Texas in July, removing himself from all familiar surroundings, to record the album with producer Mike McCarthy (Spoon, Trail of Dead). Of the album's title, Finn says, It's a juxtaposed reference to 'Friday Night Lights,' a TV show that excited and moved me and also happened in Texas. Further, Clear Heart signifies honesty and transparency, and Full Eyes suggests experience.1. Apollo Bay
2. When No Ones Watching
3. No Future
4. New Friend Jesus
6. Terrified Eyes
7. Western Pier
8. Honolulu Blues
9. Rented Room
11. Not Much Left Of Us$19.99Vinyl LP - Sealed Buy Now
UNIM-TBD-0516xThe Henry Clay People
Somewhere On The Golden CoastThis LA bands 2nd album is a remarkable set of classic-sounding indie-rock with clear echoes of Pavement, the Hold Steady, the Replacements and early Built to Spill, but they find their own voice with detailed songs that split the difference between sardonic and heartfelt when describing the music scene, living in debt and working part-time, transforming everyday subject matter into raging, celebratory anthems for slacker rock n rollers and other folks just trying to make ends meet. - KEXP1. Nobody Taught Us To Quit
2. Working Part Time
3. Keep Your Eyes Closed
4. The Digital Kid
5. Slow Burn
6. End Of An Empire
7. This Aint A Scene
8. A Temporary Fix
9. Saturday Night
10. Your Famous Friends
11. Two Lives At The End Of The Night$19.99Vinyl LP - Sealed Buy Now
REDI-BAR-4919xCymbals Eat Guitars
Why There Are MountainsBarsuk Records is pleased to reissue Cymbals Eat Guitars' stunning debut Why There Are Mountains on vinyl. Originally self released in 2009, Why There Are Mountains seemed to appear out of nowhere to massive critical acclaim (partially thanks to Pitchfork bestowing the album with the much coveted Best New Music designation) and took the indie-rock world by storm. The band spent the following year and a half touring the world and sharing the stage with Los Campesinos!, The Thermals, The Flaming Lips, The Hold Steady and more before releasing their Barsuk debut Lenses Alien in 2011.1. ...And the Hazy Sea
2. Some Trees (Merritt Moon)
4. Cold Spring
6. What Dogs See
7. Wind Phoenix (Proper Name)
8. The Living North
9. Like Blood Does$16.99Vinyl LP - Sealed Buy Now
The MonitorThe Monitor was recorded this past August (2009) by producer and engineer Kevin McMahon at his studio Marcata Recording in New Paltz, NY. The usual suspects from the world of Titus Andronicus were all in attendance, as well as members of Ponytail, Wye Oak, Vivian Girls, and the Hold Steady. McMahon also mixed the album, and it was mastered by Greg Calbi whom the band chose because he is the only person alive who can claim involvement in both The Chemistry of Common Life by Fucked Up and Bat Out of Hell II: Back Into Hell by Meat Loaf!1. A More Perfect Union
2. Titus Andronicus Forever
3. No Future Part Three: Escape From No Future
4. Richard II
5. A Pot In Which To Piss
6. Four Score And Seven
7. Theme From ôCheersö
8. To Old Friends And New
9. ...And Ever
10. The Battle Of Hampton Roads$22.99Vinyl LP - Sealed Buy Now
The Great Despiser (Awaiting Repress)Colored Vinyl
The Great Despiser, the new album from celebrated singer/songwriter Joe Pug, is the follow-up to his critically acclaimed full-length debut, Messenger, and his wildly popular word-of-mouth EP, Nation of Heat. The 11-track release was recorded in Chicago with producer Brian Deck (Modest Mouse, Iron & Wine, Califone). In addition to Pug, the album features various acclaimed musicians, including Sam Kassirer (Jos Ritter, Langhorne Slim) on piano, organ and marimba as well as backing vocals from The Hold Steady's Craig Finn on the album's title track. Pug has toured alongside Steve Earl, M. Ward and Josh Ritter and has recently performed at both Lollapalooza and the Newport Folk Festival.
Not only does Chicago-based singer have a beautifully mature voice, but the lyrics possess wisdom seemingly beyond his age. Pair that with his powerful songwriting and it's nearly impossible to avoid drawing comparisons between Pug and folk legends like Bob Dylan or contemporaries like Josh Ritter. - NPR Music1. Hymn #76
2. Those Thankless Years
3. The Great Despiser
4. A Gentle Few
6. Silver Harps
7. Stronger Than The World
8. One of Many
9. Neither Do I Need A Witness
10. The Servant's Ace
11. Deep Dark Wells$16.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Do What Comes NaturallySome people call it a vibe and some people call it a groove. We call it boogie soul. It's the sound of HANDSOME JACK on their new album "Do What Comes Naturally". Produced by Zachary Gabbard of the BUFFALO KILLERS and featuring Bob Nave (of the legendary Lemon Pipers) on hammond organ, among others, the music of this album seamlessly flows through deep dark mid-tempo boogies, smoky upbeat burners, and soulful feel-good rockers all with a natural ease. HANDSOME JACK hails from Buffalo NY and began as a blues garage rock band. After high school they moved out of the garage and developed their sound into a natural soulful boogie mthat remains rooted in raw blues. They've shared the stage with The Sheepdogs, Blue Cheer, Gov't Mule, J. Geils, The Hold Steady, and Robert Randolph to name a few.1. Echoes
3. Between The Lines
4. Dead Tracks
5. Leave it All Behind
6. Right On
7. Dry Spell
8. Ropes and Chains
9. You and Me
10. Wasted Time$18.99Vinyl LP - Sealed Buy Now
England Keep My BonesFrank Turner is ready. On the other side of the Atlantic in his native U.K., he has had a banner year, seeing his single gI Still Believeh catch fire at radio, nominated for NMEfs Best Solo Artist award, scooping the prestigious 'Spirit Of Independence' award from Kerrang, and headlining a sold]out Brixton Academy show in December.
Now Frank Turner is set to release his highly anticipated fourth album, England Keep My Bones, with contributions from Hold Steady keyboardist Franz Nicolay, folk singers Emily Barker and Chris T]T, and Unbelievable Truthfs Andy Yorke.
England Keep My Bones comes on the heels of Frankfs biggest U.S. push so far, a fall tour with Social Distortion, continuing the DIY aesthetic Frank has brought to conquering America: touring with Chuck Raganfs Revival Tour, Gaslight Anthem, and the Offspring, while always taking the opportunity to play at a local record store or living room along the way. Now that he has built a U.S. base one fan at a time, 2011 looks set to be the year of Frank Turner.1. Eulogy
2. Peggy Sang The Blues
3. I Still Believe
5. I Am Disappeared
6. English Curse
7. One Foot Before The Other
8. If Ever I Stray
9. Wessex Boy
10. Nights Become Days
12. Glory Hallelujah$19.99Vinyl LP - Sealed Buy Now
Love SignCrafting some of the finest guitar-filled power pop this side of Weezer or Cheap Trick-Free Energy signed to NYC powerhouse DFA records (based on their homemade demos) and recorded their debut with James Murphy. They toured for nearly two years behind the release of 2010's Stuck on Nothing and the accolades
came in, including a Best New Music nod from Pitchfork and Rolling Stone's assessment that the band "totally fucking rules."
While it might have seemed an odd fit for a power-riffing pop rock act to put out a record on a West Village disco label, the euphoric vibe of Free Energy perfectly complimented a roster of artistically different but equally accomplished bands, such as Black Dice, Yacht, The Rapture, and LCD Soundsystem. This sophomore release demonstrates the band doing what they love-condensing handclaps, harmonies, massive choruses, and lazer guided guitar leads into tracks like "Electric Fever", "Hey Tonight" and "Girls Want Rock" - while working
a time-tested formula that can still sound fresh in the right hands. Much like their DFA debut, Love Sign flirts with hysteria-inducing pop songwriting and classic rock production, this time around working with John Agnello (Sonic Youth, Dinosaur Jr.
and The Hold Steady). Released on the band's new imprint "Free Energy Records".1. Electric Fever
2. Girls Want Rock
3. Dance All Night
4. Hey Tonight
5. Hold You Close
8. Street Survivor
9. True Love
10. Time Rolls On$18.99Vinyl LP - Sealed Buy Now
We All Want The Same ThingsWe All Want The Same Things sees Craig Finn exploring themes of love and partnership in the modern world, as ever expressed via finely etched character studies, black humor, and smartly arranged rock 'n' roll. Largely recorded last spring at The Clubhouse in Rhinebeck, NY with frequent collaborator Josh Kaufman producing and Dan Goodwin engineering and mixing, the album features musical contributions from drummer Joe Russo, keyboardist Sam Kassirer, Rainer Maria vocalist Caithlin De Marrais, singer/songwriter Annie Nero, horn master Stuart Bogie, Jon Shaw, Jordan McLean, Matt Barrick and Finn's longtime partner in The Hold Steady, guitarist Tad Kubler.
"We named this collection We All Want The Same Things after a line in the song 'God in Chicago,'" Finn says. "It seems like a bit of dark humor in these turbulent political times, but it also rings true: no matter our differences we all have some very basic wants and needs that line up with each other. The characters in these songs are normal people trying to help themselves, trying to move forward, and in some cases trying just to survive. All the while they are negotiating what space the others in their lives can occupy."
We All Want The Same Things follows Finn's two previous solo efforts, 2012's Clear Heart Full Eyes and 2015's Faith In The Future, the latter work awarded four stars by Rolling Stone, as well as being well-received by many other outlets.1. Jester & June
3. Ninety Bucks
4. Birds Trapped in the Airport
5. God in Chicago
6. Rescue Blues
8. It Hits When It Hits
9. Tracking Shots
10. Be Honest$18.99Vinyl LP - Sealed Buy Now
AficionadoUpon their inception in 2004, Aficionado began touring and self-releasing demos, but for the most part, flew under the radar until signing with No Sleep Records early last Summer. In the Fall of 2010, they brought the world their first official release, When It Comes to Creation. It included an everything-but-the-kitchen-sink instrumental approach, spliced with their clever nooks and crannies of lyrical and melodic goodness, complete with a loud and raw us-against-the world execution.
While continuing to evolve artistically and push the envelope of their sound, Aficionados upcoming self-titled full length is a cohesive listen from beginning to end, showing that the album format is still alive and well. With ten songs produced and recorded with AJ Mogis (Bright Eyes, M. Ward, Cursive), the songs are sharp and more compact with less of an emphasis on wowing people with over the top antics and more of a focus on the songs themselves. The lyrical basis is centered on expositions of thinking for yourself, attaining what it takes to be a charismatic person, heeding to the realities of aging, and acceptance of change. Drawing from a range of influences such as Cursive, The Hold Steady, Sunny Day Real Estate and At the Drive In, Aficionado incorporates the sweet honey coated coo of Laura Carrozza which tinges the melodies and a harmonious male/female vocal styling alongside singer Nick Warchol.
Whereas other artists tend to spout off elaborate yarns to detail a complex process of their songwriting origins and album creations, Aficionado have created an opus based on the basic concept of pure camaraderie and solidarity amongst good friends, with the aim of simply making good music.1. The Things You Like
2. Stir Like Hell
3. Everything Was Right
5. Confidence Is Intimidating
7. Falsified Inspiration
10. Open Doors$18.99Vinyl LP - Sealed Buy Now
UNIM-TBD-0119xThe Henry Clay People
Twenty-Five For The Rest Of Our LivesLos Angeles quartet The Henry Clay People are thrilled to announce the release of their new album Twenty-Five for the Rest of Our Lives. Set for release on TBD Records, the album is a thrilling and sweaty thirty minutes of teenage restlessness, quarter-life malaise, and adult resignation. Twenty-Five for the Rest of Our Lives sees not only the return of the band's original line up, but songwriters and brothers Joey and Andy Siara rediscovering and redefining their punky roots, allowing them to craft their most urgent, bratty, and melancholic record to date.
"We wanted to finally make the record that our sixteen year old selves would have been excited about," says Joey. "Unfortunately the only way to do so was to live for the last 13 years and get some adult suffering under our belt. Now we can direct our misguided teenage angst at our failed 20's."
With songs such as the rambunctious The Backseat Of A Cab, the 90's guitar slack of Hide, the skater brat inspired The Fakers and the punk revival of EveryBandWeEverLoved, Twenty-Five for the Rest of Our Lives is a record dealing with compromised dreams and empty bank accounts, for and by the high school Descendents devotee turned college Malkmus-minion. LP includes full album on CD and poster.
"The Henry Clay People specialize in raggedy power chords, barreling piano, and desperately boyish vocals, what Tom Petty and the Heartbreakers would sound like if they'd taken temp work and listened obsessively to Crazy Horse." - SPIN
"Remarkable set of classic-sounding indie-rock with clear echoes of Pavement, the Hold Steady, the Replacements and early Built to Spill, but they find their own voice with detailed songs that split the difference between sardonic and heartfelt when describing the music scene, living in debt and working part-time, transforming everyday subject matter into raging, celebratory anthems for slacker rock 'n' rollers and other folks just trying to make ends meet." - KEXPIntro- Bob's Memoirs
25 for the Rest of Our Lives
Backseat of a Cab
Those Who Know Better
Keep Our Weekends Free
Friends Are Forgiving
Anymore/Any Less$19.99Vinyl LP + CD - Sealed Buy Now
Born With StripesSan Diegos The Donkeys strike a balance of smiling, surfer mysticism and winking, slacker mystique. They reanimate the charming hallmarks of sunshine-rock past without being sepia-toned retro or bubblegum-cloying. There is an innate playfulness and honesty to the music they make. Its a dynamic that has made public champions of keen-eared musicians like John Darnielle (Mountain Goats) and Craig Finn (The Hold Steady). It was Darnielle who claimed The Donkeys were benevolent keepers of what he called The Antidote to an unnamed sickness plaguing indie rock.
Born With Stripes is an altogether less twangy affair than the bands 2008 Dead Oceans debut, Living On The Other Side. The nods to Grateful Dead and Buffalo Springfield are better balanced with echoes of other Cali arists, notably Pavement and Beck. The country-rock flairs are often overtaken by powerpop hooks. What some might call a lazy melody is really just a melody on its own clock. Nice and relaxed.
Ceiling Tan, feels like a lost weekend in Tijuana with Mutations and Crooked Rain, and may well be the bands mission statement. I Like The Way You Walk also cops a 90s alt-rock lick, but ditches any esoterica for earnest yearnings and sweet nothings.
What makes the Donkeys so potent is not their ability to rehash the past, its that their records embody a pureness, an authenticity that is unmatched in contemporary music. We were not the only ones to feel this undeniable connection. The Donkeys had a brush with Hollywood when Lost producer Eddy Kitsis heard the band, and cast them as Geronimo Jackson, a band he had written into the Lost story as an obscure San Francisco band from the 70s, who were peers of the Grateful Dead. Kitsis heard the Donkeys and felt they so embodied this fictitious band, that he actually had the band re-record their song Excelsior Lady as Dharma Lady and weaved it into the TV show.
The album was mixed by Pernice Brothers Thom Monahan, whose involvement not only gives us the crispest, warmest Donkeys recordings to date, it also serves to remind us of the bands loose connections to an array of psych-dappled kindred spirits: Vetiver, Papercuts, BrightblackMorning Light, Devendra Banhart. Monahan was not the only outsider the band collaborated with on Born With Stripes. The playful album artwork was created by California illustrator and cartoonist Tony Millionaire, best known for his comics Maakies and Sock Monkey, and as the creator of the Adult Swim show Drinky Crow.1. Don't Know Who We Are
2. I Like The Way You Walk
4. Born With Stripes
6. West Coast Raga
7. New Blue Stockings
8. Ceiling Tan
10. Bullfrog Blues
12. East Coast Raga$16.99Vinyl LP - Sealed Buy Now
Indoor LivingWith a lot of Superchunk products, it's easy to think there's a simple message because
the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
shout-sung tag lines that beg for an audience to croon along-"Let's burn last
Sunday"-are just the overarching structure of a record that moons over details:
"Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
twisting apart ("The arc of lights / above your head / is not to be believed").
"Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
space is mine / Yeah I hardly have the right to sing about it."
Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
can write a break-up record, anyone can color in a broken heart all black. It takes a
more sophisticated eye to find the light and perfect moments that happen even when
we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
for mercy comes across like an in-joke ("We both know that I've got bad knees") in
"Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
Popular Music," the record's angriest slice of heartache, has a protagonist that can't
quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
me to use," but "making mosaics of scenes from the parts of my life that you left me
Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
knowing you won't is hard. Adulthood is about forsaking the black and white
resolutions of youth for a more complicated, and resonant, resilience: From "Burn
Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
break / Well, they just bend." In music and with people, maturity happens when the
sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
Indoor Living shows that you don't have to lose a single joule of energy in becoming a
little more self-reflective. You just have to be willing to take it all in.
Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
wanted it to be. Though of course-of course!-I've listened to the record on and
off in the intervening time, I had forgotten how familiar this record is to me. I had
forgotten I knew all the words to every song, could anticipate every hesitant drop in
rhythm and wavering chorus. This record was the soundtrack of being 25 and because
of that, it does remind me of a really specific time; but that time is not so much the
late '90s as the turning point between adolescence and adulthood, which happens later
and later to me every year.
-Ana Marie Cox, 20131. Unbelievable Things
2. Burn Last Sunday
4. Watery Hands
5. Nu Bruises
6. Every Single Instinct
7. Song for Marion Brown
8. The Popular Music
9. Under Our Feet
10. European Medicine
11. Martinis on the Roof$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-JAG-5517xSharon Van Etten
Are We ThereFor all the attention that was paid to her 2012 break-through Tramp, Sharon Van Etten is an
artist with a hunger to turn another corner and to delve deeper,writing from a place of honesty
and vulnerability to create a bond with the listener that few contemporary musicians can match.
Compelled by a restless spirit, Van Etten is continuously challenging herself. Now, the result is
Are We There, a self-produced album of exceptional intimacy,sublime generosity, and immense
Most musicians are quite happy to leave the production end of things to someone else. It's
enough to live your music without taking on the role of producer as well. Yet Van Etten knew it
was time to make a record entirely on her terms. The saying goes "fortune favors the bold" and
yet this boldness had to be tempered. For this,Van Etten found a kindred spirit in veteran music
producer Stewart Lerman. Originally working together on Boardwalk Empire,they gently moved
into new roles,rallying around the idea of making a record together in Lerman's studio in New
Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she
imagined.Van Etten also enlisted the individual talents of her band, consisting of Heather Woods
Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam
Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater),Jana Hunter(Lower Dens),
Peter Broderick, Mackenzie Scott(Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.
It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a
new awareness, a sign of Van Etten in full stride, writing,producing and performing from a place
that seems almost mythical, were it not so touchable and real. Always direct, and never shying
away even from the most personally painful narratives, Van Etten's songwriting continues to
evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then
resolution. She sings of the nature of desire, memory, of being lost, emptiness, of promises and
loyalty, fear and change, of healing and the true self, violence and sanctuary,waiting, of silence.
The artist who speaks in such a voice is urging us to do something,to take hold and to go deeper.
Living in this way,the questions of life remain alive, as close and steady as breathing. Many of the
ballads of old are as dark as pitch, and people for whom the issues of life and death were as vivid
as flame wrote them.You could turn off the electricity,remove all the instruments and Sharon's
voice and words would remain.They connect her to the mystic stratum which flows just beneath
the everyday, which is rarely acknowledged as the forces of distraction sweep our attention away.1. Afraid of Nothing
2. Taking Chances
3. Your Love is Killing Me
4. Our Love
6. I Love You But I'm Lost
7. You Know Me Well
8. Break Me
9. Nothing Will Change
10. I Know
11. Every Time the Sun Comes Up$19.99Vinyl LP - Sealed Buy Now
Music Is Painting In The Air 1974-1977Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.
The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.
Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.
Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.
The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.
Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.
Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.
For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.
Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.LP1
1. Barnhause Effect
2. Cold Nose Part 3, 4th Movement
3. Leave My Chemistry
5. Grow On You
6. Scraping Delay
7. Warped Notions Of A Practical Joke (Instrumental)
8. Dark Side of Religion
9. Cosmic Saudade
10. Cold Nose Part 3, Movement 2
11. Fragments of Light
12. Into The Memory
1. Cold Nose Part 3, Movement 5
2. C'e Nessuno
4. Moving Particles
5. Cold Nose Part 3, Movement 3
6. Music Is Painting
7. Left Side Of Green
8. Chelsea Hotel (Room 625)
9. Fix A Water Fountain (Instrumental)
10. Leave My Chemistry
11. Overflowing Ashtrays
13. Cold Nose Story
14. Slow Motion Movie
15. Fortune Teller
16. Fortune Teller Coda$34.99Vinyl LP - 2 LPs Sealed Buy Now
Analog Drive System (ADS)
The ADS design includes two pure analog frequency generators featuring low distortion and noise; a high current Class-A/B amplifier that is transformer-coupled to the turntable output; analog control logic for low noise operation; 33/45 RPM analog speed adjustment controls with center detent positions that are factory calibrated for 60/81Hz; analog logic controlled run/stop switching with the output RMS voltage @ 120VAC on startup, followed by a step down to 90VAC after an 8-second delay for quick starting of heavy platters.
The ADS includes a lighted power on/off switch allowing it to remain powered up during listening sessions for the oscillators to remain warmed up for lowest distortion. There is a separate run/stop switch to control the motor operation. The ADS also utilizes separate 60 Hz and 81 Hz oscillators to eliminate unnecessary switching circuitry in the oscillator circuits for long term speed stability and low oscillator distortion. Turntable speed is chosen using a switch located between the 33 RPM and 45 RPM speed adjustment controls; LEDs indicate the Run/Stop condition and chosen speed. Speed adjustment controls provide a center detent position that is factory calibrated to 60 and 81Hz +/- .02 Hz in their center detented position. The controls also provide fine speed adjustment of approximately 3 Hz through continuously variable linear adjustment controls. The circuitry provides a startup voltage of approximately 120VAC for 8 seconds on startup to assist quick speed ramp of heavier platters, then reduces to 92VAC for its steady state run voltage.
Speed Control and adjustment
The front panel contains a two-position push-button switch for selecting either 33 RPM or 45 RPM operation. Pressing the switch either latches it in or releases the switch to its outward position for 33 RPM operation. There are separate speed adjustment controls for 33 and 45 RPM. The controls have a detented center position that is factory calibrated for 60 Hz (33 RPM) and 81 Hz (45 RPM). The speed is also continuously adjustable +/- 3 Hz for fine tuning of the platter speed using a stroboscopic disk and 60 HZ light source. Blue LED indicators adjacent to the controls indicate which speed is set at a glance.
Motor Stop and Run
The ADS is meant to be left powered on during the listening session. The platter is started and stopped by the front panel Run/Stop momentary push-button switch. There is an LED indicator the glows red when stopped and green when the platter is turning.
There is an IEC power module on the rear panel to supply AC power to the ADS. The IEC module contains a fuse drawer that holds a 1-amp slow blow fuse protecting the ADS from electrical system malfunctions.
AC power to the ADS is controlled by the power switch located on the left-hand side of the front panel. When the ADS is powered up, the indicator in the switch glows blue indicating the internal power supplies are functioning properly.
Output to Turntable
The 125 VAC max output to the motor is supplied by the identified AC receptacle on the rear panel. The receptacle output provides a maximum 20 watts. Higher wattage loads will seriously damage the ADS.$1,000.00Analog Drive System Buy Now
25 25Factory Floor return to DFA with their sonically striking sophomore album, 25 25. What was once a trio is now a duo, with members Gabe Gurnsey and Nik Void holding it down and co-writing and recording the new LP together.
Their debut self-titled album (2013) embraced industrial, post-punk, disco, acid, avant-garde minimalism, electro, dub and - most crucially - the dancefloor, without being beholden to any one genre. (Pitchfork) 25 25 certainly does not forego any of these genres. What it adds to it is a new level of intricate detail in the production and mixing, with hyper-attention paid to drums & percussion. Mixing was completed by David Wrench (Caribou, FKA Twigs) was emphasizing their love of classic & modern dub. Nik Void's hypnotic / robotic vocals also take a new-found center stage on many tracks.
This artificial and human adding an extra layer of alienation with barely discernible lyrics on top of rock-steady time keeping and the arpeggiated squelching synths Factory Floor became initially known for.LP 1
1. Meet Me At The End
3. Slow Listen
1. Dial Me In
4. Upper Left$27.99Vinyl LP - 2 LPs Sealed Buy Now
Gratitude180 Gram Translucent Blue Colored Vinyl With Gatefold Cover
Mastered Impeccably By Joe Reagoso
Manufactured At R.T.I.
During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.
After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.
Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.
In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.
A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).
Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.
The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.
The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.
During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.
The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.
Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."
The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."
The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.
In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.
In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."
Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."
In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.
Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."LP 1
2. Africano/ Power Medley
3. Yearnin' Learnin'
5. Sun Goddess
7. Sing A Message To You
1. Shining Star
2. New World Symphony
7. Can't Hide Love$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now