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Certified Multi-Platinum (16 times) by the RIAA. (3/01)
It's no accident that The Eagles Greatest Hits might one day pass Michael Jackson's Thriller as the best-selling album of all time-- the Eagles made great singles. By contrast, their albums could be spotty and strained by self-conscious artistry. Hotel California was arguably the band's best single album--it was certainly the Eagles' biggest original disc-- and it also underscored the band's need to make a big statement. The title tune reflected the album's theme of paradise lost in California, painting this picture with a musical arrangement that punctuated strumming guitars with dramatic drums, and perhaps the band's most famous lyric: You can check out any time you like, but you can never leave. New Kid in Town was an equally fine albeit much more traditional Eagles ballad. Life in the Fast Lane aspired to hard rock but largely gunned its engine without taking off. The rest is okay, but nothing more than secondary Eagles songs that happened to be nestled into the album that came to define the `70s supergroup. --John Milward1. Hotel California
2. New Kid In Town
3. Life In The Fast Lane
4. Wasted Time
5. Wasted Time [Reprise]
6. Victim Of Love
7. Pretty Maids All In A Row
8. Try And Love Again
9. The Last Resort$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Long Run
Certified Mult-Platinum (7 times) by the RIAA. (3/01)
The long-awaited followup to Hotel California and the Eagles' last studioalbum proved a considerable disappointment, though it sold in the expected multimillions and included the hits Heartache Tonight, The Long Run, and I Can't Tell You Why.1. The Long Run
2. I Can't Tell You Why
3. In The City
4. The Disco Strangler
5. King Of Hollywood
6. Heartache Tonight
7. Those Shoes
8. Teenage Jail
9. The Greeks Don't Want No Freaks
10. The Sad Cafe$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
The Big Lebowski SoundtrackThe Coen Brothers' 1998 film noir spoof, The Big Lebowski, with Jeff Bridges' shaggy title character, "The Dude," has gained a fervent following, complete with annual conventions, where phrases like "The Dude will abide" have entered the vernacular. With the Coens' typical care and love of music they demonstrated throughout their diverse career, The Big Lebowski soundtrack has become just as much of a cult classic as the film itself. Album highlights include songs accompanying a trio of bowling scenes: Bob Dylan's New Morning track, "The Man In Me" over the title credits, the Busby Berkeleyinfluenced psychedelia of Kenny Rogers and the First Edition's "Just Dropped In (To See What Condition My Condition is In") and the Gypsy Kings' redefining take on the Eagles' "Hotel California," as John Turturro licks his bowling ball. The classic album will now be made available for the first time on vinyl through Universal Music Enterprises.1. Bob Dylan - The Man In Me
2. Captain Beefheart - Her Eyes Are A Blue Million Miles
3. Elvis Costello - My Mood Swings
4. Yma Sumac - Ataypura
5. Piero Piccioni - Traffic Boom
6. Nina Simone - I Got It Bad and That Ain't Good
7. Moondog with Orchestra - Stamping Ground
8. Kenny Rogers & The First Edition - Just Dropped In (To See What Condition My Condition Was In)
9. Meredith Monk - Walking Song
10. Gluck Das Mir Verblieb - from the opera Die Tote Stadt
11. Henry Mancini - Lujon
12. Gipsy Kings - Hotel California
13. Carter Burwell - Wie Glauben
14. Townes Van Zandt - Dead Flowers$19.99Vinyl LP - Sealed Buy Now
Analog ManGrammy Award winning rock and roll legend Joe Walsh returns with the Fantasy Records/Concord release Analog Man, his first solo album in two decades! Analog Man is both modern and timelessly soulful, packed with Walsh's beloved wit, charm and chops, all encompassed by an incredibly raw and intimate sound.
Features Walsh's amusing take on the 21st century in the title track and Lucky That Way which boasts a guest appearance by Ringo Starr. The 10-track album was co-produced by Jeff Lynne with Tommy Lee James co-writing some of the songs. It's been 20 years and I have a lot to say, said Walsh. These songs come from the heart.
Walsh, best known for his powerful guitar lick, joined the Eagles in 1976 and is credited for bringing a harder rock sound to the band with the acclaimed Hotel California, The Long Run and Eagles Live. A singer/songwriter and Rock and Roll Hall of Fame inductee, Walsh has entertained for more than four decades, not only as a solo artist, but as a part of admired acts like The James Gang and Barnstorm. Fitting to a true Analog Man, the release is pressed on audiophile quality 180g vinyl with a download card.1. Analog Man
2. Wrecking Ball
3. Lucky That Way
4. Spanish Dancer
5. Band Played On
7. One Day At A Time
8. Hi-Roller Baby
9. Funk 50
10. India$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
La PesteAlabama 3's second album shows off their trademark uplifting quality, albeit in a "Screamadelica"-style fusion of euphoria and melancholy. Songs like SAD EYED LADY OF THE LOWLIFE and recent single TOO SICK TO PRAY have a gospel-like hugeness about them, while WADE INTO THE WATER and MANSION ON THE HILL twang with countrified swagger.
The album runs the gamut of emotions in the face of adversity: from the incandescent beauty of the shimmering WALKING IN MY SLEEP and the closing SINKING " to the claustrophobic beats of COCAINE (KILLED MY COMMUNITY) and the energy rush of STRANGE, adding a sense of dope-fuelled urban paranoia.Of particular note are a twisted beat-heavy cover of the Eagles' HOTEL CALIFORNIA, throwing a totally new slant on the song as the last cocaine-addled stop on the country musician's road to oblivion, and THE THRILLS HAVE GONE, whose spoken word contribution from Birmingham 6 survivor Paddy Hill brings into focus exactly what the band mean when they talk about injustice.
LA PESTE (THE PLAGUE) may well be HIV, computer viruses or simply a global decline in justice and morality, but Alabama 3 are imploring us to come together and get loaded anyway. After all, we all have to die sometime. -PHASE9.tv1. Too Sick Too Pray
2. Mansion On The Hill
3. Sad Eyed Lady Of The Lowlife
4. Walking In My Sleep
5. Wade Into The Water
6. Hotel California
7. Cocaine (Killed My Community)
8. The Thrills Have Gone
12. Woke Up This Morning$20.99Vinyl LP - Sealed Buy Now
But Seriously FolksThere arent too many legends like guitar hero Joe Walsh. From his mid-west beginnings with The James Gang, he racked up enough significant sales and airplay to warrant his very own massive solo career, then performing later with Barnstorm and then three decades plus with The Eagles.
As if a whirlwind tour and unbelievable album success with The Eagles Hotel California werent enough for this spirited guitarist, Walsh went back into the studio in 1978 and created his own top chart platter But Seriously, Folks.
Filled with eight unprecedented Walsh rockers, But Seriously, Folks was truly one of his most enduring classics in large part due to the eight minute burner Lifes Been Good. This song will forever be associated with the '70s rock superstar lifestyle binge as it was also a featured song in the rock movie soundtrack extravaganza FM.
Even more time tested tracks like the blues rocker At The Station, AOR classics Over And Over and Tomorrow plus the brilliant and melodic Indian Summer made this the album of choice for many rock radio programmers for over a year upon its initial release.
As a first installment in their Joe Walsh 180 Gram Audiophile Vinyl Series, Friday Music is very pleased to present his career masterwork But Seriously, Folks as a first time ever high quality vinyl release. Mastered from the original Asylum Records tapes by Joe Reagoso (Jeff Beck/ Deep Purple/Yes) at Friday Music Studios with Kevin Gray. Features the rare original gatefold artwork and a poly lined inner sleeve to help keep your vinyl in mint shape.1. Over And Over
2. Second Hand Store
3. Indian Summer
4. At The Station
6. Inner Tube
7. Theme From Boat Weirdos
8. Lifes Been Good$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Creative Adult comes from the diverse musical breeding ground of California's
North Bay Punk scene. The band's sonic blast careens between the harsh, noisy
punk of Scratch Acid and Gang of Four while carrying the brooding emotion
of Joy Division's darkest moments. This debut full-length is a grimey, paranoid
acid trip through 80s west coast punk. Engineered and produced by Efrim
Menuck of Godspeed You! Black Emperor at Hotel 2 Tango Studios in Montreal.1. Control My Eyes
2. Charismatic Leader
4. Far Out
5. Half Way
6. Hyper Aware
7. Public Transit
10. Psychic Message
11. Deep End
12. Everyone Knows Everyone
14. Haunt$14.99Colored Vinyl LP - 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
Mermaid Avenue Vol. IIho knew that after the undeniable, sometimes shimmering, sometimes rustic magic of Mermaid Avenue that there was enough quality material for a second volume? By setting their own music to Woody Guthrie's lyrics, Billy Bragg and Wilco once again offer a 50-minute testament to Guthrie's long, dynamic shadow. This sophomore meeting is as balanced between the up-tempo and the down-tempo as was the first Mermaid. Jeff Tweedy's rasp gives all the Wilco-driven tunes a certain grit, and the songs Bragg takes on have a luminescent, frank earnestness that intensifies the delivery of Guthrie's lyrical social critiques. Hot Rod Hotel, with Bragg on the mic, melds the two approaches best, and Secret of the Sea is the CD's poppiest centerpiece--aptly aimed at radio airplay like the first Mermaid's California Stars. Natalie Merchant's playful I Was Born is brief but sweet, just as bluesman Corey Harris's Against the Law is an uplift, with his passionate vocal wail mirroring the political gist of Guthrie's words. The moody closers Black Wind Blowing and Someday, Some Morning, Sometime end Volume 2 with a pair of sweetly sad gems, one a Bragg-sung folk blues that mourns the loss of cotton crops in the American dustbowl era, the other a Tweedy-sung paean to lost love. At the dawn of a new millennium, with labor and the distribution of wealth as pressing historical issues that disrupt every International Monetary Fund and World Trade Organization soiree, the time is right for Woody. --Andrew BartlettLP 1
1. Airline To Heaven
2. My Flying Saucer
3. Feed Of Man
4. Hot Rod Hotel
5. I Was Born
6. Secrets Of The Sea
7. Stetson Kennedy
8. Remember The Mountain Bed
9. Blood Of The Lamb
10. Against The Law
11. All You Fascists
12. Joe DiMaggio Done It Again
13. Meanest Man
14. Black Wind Blowing
15. Someday, Some Morning, Sometime$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Chet Baker In New YorkA uniformly brilliant effort from cool-toned trumpeter Chet Baker in his first ever appearance as a leader for the New York-based label Riverside Records,
In New York is the epitome of West Coast cool meets East Coast sensibility. Teaming up with pianist Al Haig, tenor saxophonist Johnny Griffin, bassist
Paul Chambers, and drummer Philly Joe Jones, Baker's laid-back mastery is on full display throughout this historic session.
Marked by an uncanny group unity, which gives rise to many outstanding supporting solos, the tracks captured on In New York alternatingly effervesce
with a California-cool introspection ("Polka Dots And Moonbeams") and percolate with driving intensity ("Hotel 49"). An excellent survey of Baker's style
and prowess as a leader, Chet Baker In New York is highly recommended as THE album to own for anyone curious about diving in to his illustrious
catalog.1. Fair Weather
2. Polka Dots And Moonbeams
3. Hotel 49
5. Blue Thoughts
6. When Lights Are Low$21.99Vinyl LP Reissue - Sealed Buy Now
PosesPoses is the second studio album by the American-Canadian singer-songwriter Rufus Wainwright, originally released in 2001, and now available on vinyl for the first time. The album was produced, recorded, and mixed by Pierre Marchand, with select tracks produced by Propellerheads' Alex Gifford (Shadows), Ethan Johns (California), Damian LeGassick (The Tower of Learning), and Greg Wells (Across the Universe).
Poses contains ornate, piano-driven arrangements that cite a wide variety of musical sources, from indie pop to Gershwin to trip-hop and back again. The album took a year and a half to record, most of it written during Wainwright's six-month stay at the Chelsea Hotel. While Poses continues the enveloping sound established by Wainwright's debut album, collaborations between Wainwright and various producers and guest musicians pushed it in different directions, resulting in drum loops, gritty beats in unexpected places, and a fuller, live sound. Using fewer operatic elements than the previous album, in an attempt to create a more radio-friendly pop record, Poses addresses debauchery and love in less esoteric means. Guests on the album include Wainwright's sister, Martha Wainwright, fellow singer-songwriter Teddy Thompson, and rock musician Melissa Auf der Maur.
All tracks were written by Wainwright except for Shadows, which was co-written by Alex Gifford, and One Man Guy, a song written and originally performed by Wainwright's father, Loudon Wainwright III.1. Cigarettes and Chocolate Milk
2. Greek Song
6. The Tower of Learning
7. Grey Gardens
8. Rebel Prince
9. The Consort
10. One Man Guy (Loudon Wainwright III)
11. Evil Angel
12. In a Graveyard
13. Cigarettes and Chocolate Milk (reprise)
14. Across The Universe (Lennon/McCartney)$24.99Vinyl LP - 2 LPs Sealed Buy Now