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House Of Pain (Fine Malt Lyrics)Import
House of Pain was an Irish-styled American hip-hop group who released three albums in the 90's. Rapper Everlast teamed up with DJ Lethal and high school friend Danny Boy to form House of Pain. The group was signed to Tommy Boy Records, and their self-titled debut album (1992) went multi-platinum, spawning the successful DJ Muggs' (Cypress Hill) produced single Jump Around.
Fashioning themselves as rowdy Irish-American hooligans, they toured with various rap and alternative-rock bands after their breakthrough. You can also find them on the influential 1993 rock-rap collaborative Judgment Night movie soundtrack on which they perform a track together with Helmet. Put on your shit kickers and kick some...1. Salutations
2. Jump Around
3. Put Your Head Out Rap
4. Top O' The Morning To Ya
5. House And The Rising Sun
6. Shamrocks And Shenanigans
7. House Of Pain Anthem
8. Danny Boy, Danny Boy
9. Guess Who's Back
10. Put On Your Shit Kickers
11. Come And Get Some Of This
12. Life Goes On
13. One For The Road
14. Feel It
15. All My Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The 1993 film Judgment Night was basically suburbia's paranoid view of inner-city life, where the slightest misstep (such as trying to take a shortcut to a boxing match) has fateful, if not fatal, consequences. And what better music to accompany this middle-class nightmare than a hybrid of the music suburbanites seemed most afraid of; Rap and Rock. It turned out to be quite a fruitful collaboration; while the film bombed, the soundtrack went gold.
Judgment Night spawned four singles: Biohazard & Onyx's 'Judgment Night', Helmet & House Of Pain's 'Just Another Victim', Teenage Fanclub & De La Soul's 'Fallin'' and Faith No More & Boo-Yaa T.R.I.B.E.'s 'Another Body Murdered', and it also features highly sought after collaboration between Pearl Jam & Cypress Hill. Ice-T and Slayer manage to thrash it out on an unsurpassed level, while Sonic Youth & Cypress Hill have that slightly paranoid sound you get from loving Mary Jane a little too much.
Available on vinyl for the first time since its original release!Side 1
1.Sonic Youth & Cypress Hill - I Love You Mary Jane
2.Biohazard & Onyx - Judgement Night
3.Helmet & House Of Pain - Just Another Victim
4.Living Colour & Run DMC - Me, Myself & My Microphone
5.Slayer & Ice-T - Disorder
6.Dinosaur Jr. & Del Tha Funky Homosapiens - Missing Link
1.Teenage Fanclub & De La Soul - Fallin'
2.Mudhoney & Sir Mix-A-Lot - Freak Momma
3.Faith No More & Boo-Yaa TRIBE - Another Body Murdered
4.Therapy & Fatal - Come And Die
5. Cypress Hill & Pearl Jam - Real Thing$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Life AcousticFeatures 10 Tracks From Everlast And House Of Pain's Catalog Performed Acoustically, With The Addition Of Two Covers
Grammy-winner Everlast releases his new album, The Life Acoustic, via his own label Martyr Inc. Records, in partnership with INgrooves. The Life Acoustic is a sort of retrospective on the singer/songwriter's career, with a mixture of classic Everlast and House of Pain material all stripped down to their acoustic essence.
"I wanted to dig up some of the songs that I felt were gems, yet they didn't get enough of a look the first time; and maybe in this light, they'll shine," says Everlast. "I picked my favorite songs, and recorded them straight-up acoustic, maybe a little keyboard and that's it. There's part of me that thinks maybe this is what I'm supposed to be doing I've done a couple of European tours acoustically now, and this just feels like the right time to put out an acoustic album."
The Valley Stream born rapper emerged as a member of Ice-T's Rhyme Syndicate for his 1990 solo album, Forever Everlasting, then formed the pioneering rap group House of Pain with friends DJ Lethal and Danny Boy. Signed to legendary dance and hip-hop label Tommy Boy Records, the group went multi-platinum with their self-titled 1992 debut which produced the legendary rap classic "Jump Around."
Everlast is a genre-bending veteran that has sold millions of records as both a solo artist and a member of two groups (House of Pain and La Coka Nostra.) He's won a Grammy and been nominated for two more. He also received an Emmy nomination for his work on the theme song for TNT's Saving Grace. He's successfully reinvented himself as an artist, started his own label, amassed an impressive art collection, and continues to evolve as a prominent singer / songwriter.
- PRWeb1. Sad Girl
2. Black Jesus
5. Stone In My Hand
7. Children's Story
9. My Medicine
10. Lonely Road
11. Grandma's Hand
12. Jump Around?$19.99Vinyl LP -Sealed Buy Now
180 Gram Audiophile Vinyl
Available On Vinyl For The First Time!
Korn is the eponymous debut studio album by the American Nu-Metal band Korn. It was released in 1994, right after the band toured with Biohazard and House of Pain. The album's themes mainly consisted of both drug and child abuse. Korn was well received by music critics. The band stormed the alternative scene virtually overnight, and is said to have established Nu-Metal.
Bands like Coal Chamber and Limp Bizkit were inspired by the album's rage, emphasising similar grooves and song structures, including some Hip Hop elements. Slipknot, Machine Head, and Sepultura were also inspired by the album. The album launched the career of record producer Ross Robinson, who later produced albums such as Three Dollar Bill, Yall by Limp Bizkit and Slipknot's rst two albums.
A little more than a year after release, the album went Gold in the United States. The album spawned 4 singles; "Blind", followed by "Need To", "Shoots and Ladders" and "Clown". The album has now sold over 10 million copies worldwide and was never before issued on vinyl.LP 1
2. Ball Tongue
3. Need To
7. Shoots & Ladders
4. Helmet in the Bush
5. Daddy$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hiss SpunFeatures Etching On Side D (No Music)
While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Chelsea Wolfe's sixth official album Hiss Spun wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one's inner unrest. I'm at odds with myself, she explains. I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality. Hiss Spun features contributions by Aaron Turner (Old Man Gloom, SUMAC) and Troy Van Leeuwen (Queens of the Stone Age, Failure).1. Spun
2. 16 Psyche
3. Vex (feat. Aaron Turner)
5. The Culling
6. Particle Flux
7. Twin Fawn
9. Static Hum
11. Two Spirit
12. Scrape$24.99Vinyl LP - 2 LPs Sealed Buy Now
MercuryMercury is the sixth release by American Music Club and their major label debut on Reprise, originally released in 1993. Produced by Mitchell Froom and engineered by Tchad Blake (Crowded House, Los Lobos) featuring a subtle mix of pedal steel, electric guitar, and understated drumming supporting Mark Eitzel's lyrics laying out his personal tales of pain and desperation. Spin magazine voted Mercury the 14th best album of 1993.1. Gratitude Walks
2. If I Had A Hammer
4. I've Been A Mess
5. Hollywood 4-5-92
6. What Godzilla Said To God When His Name Wasn't Found In The Book Of Life
7. Keep Me Around
8. Dallas, Airports, Bodybags
9. Apology For An Accident
10. Over And Done
11. Johnny Mathis' Feet
12. The Hopes And Dreams Of Heaven's 10,000 Whores
13. More Hopes And Dreams
14. Will You Find Me?$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
NVMLike a fluorescent-lit snack-aisle oasis in some desolate interstate road stop, brimming with Skittles and limited-edition Sno Balls, Tacocat's Easter-egg-hued pop-punk-pop is bubblegum-sticky with hooks, bound to brighten up the most drab stretch of bummer backroad.
The band's four-person, seven-layer-burrito came together organically: Lelah Maupin (drums) and Eric Randall (guitar) met in their native Longview, WA-two hours south of Seattle, the very town that Green Day named their breakout debut single after. Lelah's family room was wallpapered with framed Magic Eye posters, hence Stereogram, the cross-eyed love letter to that bizarre '90s optical fad. She met lanky Eric while both worked at Safeway, wearing the chain's distinctive navy aprons before breaking north to Seattle. Eric's band The Trashies practiced and played in the basement of the 24/7 House in the Central District, where Long Beach, CA native Bree McKenna (bass) was living, amongst the dust, boxes, and spiders. Lelah met Butte, MT native Emily Nokes (voice, tambourine) in one excruciatingly early/boring graphic design class, slipping her a doodled-upon note; she soon noticed Emily's big voice while she sang along with R. Kelly on the radio. Emily and Bree hit it off one sloshy night at the Comet. Eric impressed Emily with his reenactments of scenes from Anaconda. Sometime around 2007, via countless raucous house party shows, the legend of Tacocat was born.
The foursome would quickly make a name for themselves with their simply energizing power pop, drawing on classic Northwest energy with an uncommonly upbeat, surfy swag that could only come from gray skies and hydroponic sunshine. Their sly and unabashed '90s revivalism has, in the past, found the band pondering Evan Dando and Waterworld-and Bree herself explains finding about riot grrrl via Napster and Julia Stiles in 10 Things I Hate About You. They've described themselves variously as Feminist sci-fi and Equal parts Kurt and Courtney; oh well, whatever NVM.
NVM-Tacocat's second full-length album and first for Hardly Art, opens up like some mystery shoebox, wistful, instantly nostalgic: snapshots of mortifying exes (You Never Came Back) and sketchy party situations (Party Trap), maybe a postcard with an alien smoking a joint. Cigarette cellophane-wrapped weed nugs, pain pill crumbs and wrapped tampons (all the girls are surfing the wave, surfing the crimson wave today"), all serve as a roadmap through Tacocat's bong-ripped reminiscences, scenarios all-too familiar and hilariously improbable. There's the notoriously inconsistent #8 Metro line (F.U. #8) and the accountability-allergic, black-clad brick-heavers of This Is Anarchy. The protagonist of Psychedelic Quinceañera-based on Bree-just wants to dance with rainbows, mind-expansion style, instead of having to wear a frilly dress in front of her whole family. Emily daydreams of a Bridge to Hawaii, where even the destitute could walk their asses to paradise-before being snapped out of it by cat-calls from construction workers, business dads, and drunk hobos (Hey Girl); sweaty jerks telling her that she should smile!
NVM all that, though: you should, and will, smile-either a wry little corner-lifter or a big ear-to-ear equator-and shake what's yours, when you hear the whippet-smart latest album from the world's favorite palindromic band. Text a friend.
--Larry Mizell1. You Never Came Back
2. Bridge to Hawaii
3. Crimson Wave
5. Pocket Full of Primrose
6. Psychedelic Quinceañera
7. Time Pirate
8. This is Anarchy
9. Hey Girl
10. Party Trap
11. F.U. #8
12. Alien Girl
13. Snow Day$13.99Vinyl LP - Sealed Buy Now
No Deal Remixed: Presented By Gilles PetersonInternationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior.
EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.1. I Feel You (EELS Remix)
2. The Flow (Hex Remix) - Boiler Room Debuts
3. No Deal (Seven Davis Jr Remix)
4. With Love / Sweet Darling Pain (Gilles Peterson & Sinbad Remix)
5. Sweet Darling Pain (Chassol Remix)
6. I'm Gonna Leave You (Clap! Clap! Remix)
7. With All My Love (Jonwayne Remix)
8. I'm Gonna Leave You (The Cinematic Orchestra Remix)$22.99Vinyl LP - 2 LPs Sealed Buy Now
High (Awaiting Repress)Following a period of rest and reflection, and a recent performance at Sydney's Opera House, Royal Headache is ready to ride once more. Their new album is called High and injects even more soul and passion into the breakneck formula that became synonymous with Royal Headache. If their first album was akin to a courtship, think of High as the romance. Not just on the level of two people falling in love, but a romance with the qualities of pop music that make Royal Headache who they are and inform what they do: eternal optimism, wistful beauty and interlocking presentation that evolves from four guys singing on a street corner to speed-addled rock, and all the brightness and darkness in between, teetering between stability and chaos and well-aware of how unsteady their footing might be. The amount of emotion and range of Shogun's vocals and the whip-smart counterpoint provided by the band -- drummer Shortty, guitarist Law, and bassist Joe -- present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun's voice and lyrics aren't so much a secret weapon in Royal Headache's arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within. The band will tour the U.S. this summer with Sheer Mag, including appearances at Los Angeles' Berserktown II fest, and an open horizon thereafter.1. My Own Fantasy
2. Need You
4. Another World
5. Wouldn't You Know
7. Love Her If I Tried
9. Little Star
10. Electric Shock$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
FoodOn the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol' Dirty Bastard's 1999 hit 'Got Your Money'. This was the visually and sonically compelling 20 year-old whose debut album 'Kaleidoscope' helped usher in the wave of sharp, thrillingly futuristic R&B that dominated the charts in the early Noughties, as exemplified by her global hit, 'Milkshake'.
On the other there is Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio and producer to a certain kind of smart, indie band (the Yeah Yeah Yeahs, Foals and Liars to name a few).
'Food' is a startling combination of Kelis' most frank and vulnerable vocals to date, and Sitek's inimitable sonic imprint. Littered with transcendent, Spector-esque lift, warm bottom ends and vast depth, the music is the perfect backdrop for Kelis' unique voice. The latter has only improved with time and experience, and the album candidly explores pain, happiness and everything in between.
Recorded at Sitek's house in LA (and entirely produced by him), Kelis' new album, 'Food,' mints a sound that's rootsy without ever being self-consciously retro, that pitches live horns and gospel organ against electronics, that for all its classic soul and funk influences, couldn't have been made any time but now.1. Jerk Ribs
3. Forever Be
8. Bless the Telephone
9. Friday Fish Fry
12. Biscuits n' Gravy
13. Dreamer$29.99Vinyl LP - 2 LPs Sealed Buy Now
Fire On The FloorBeth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Beth's latest album, Fire On The Floor: a release that even this fiercely self-critical artist describes as "pretty frickin' good".
Fire On The Floor is sure to build on her breakneck momentum. As the singer explains, this latest record gave her an emotional release following the bitter-sweet sessions for Better Than Home. If there's a theme that ties these twelve songs together, it's a sense of escapism following the hardest of times. "We were still in the mixing stages for that album and I knew I had to make another record. Making Better Than Home was so painful, because one of the producers, Michael Stevens, was dying of cancer. It was a very emotional record to write and to make. I wanted the songs for Fire On The Floor to get born real quick."
Take a spin of Fire On The Floor and you'll see exactly why. These twelve new songs run the gamut of genre, reflecting Beth's eclectic teenage influences, which took in everything from gospel, soul and classical to the seismic rock of Soundgarden. "As a writer," she nods, "I feel really stifled if I'm trying to write in the same style. I just can't do that. Growing up as a kid, I was raised all over the place stylistically, loving so many different genres."
Fire On The Floor is the album that Beth Hart needed to make. Likewise, it's a record that you need to hear. "I'm so pleased with it," she concludes. "I recently had to organize the sequence of the record, and while I was doing that, I was thinking to myself, 'Y'know, this is pretty frickin' good !'"1. Jazz Man
2. Love Gangster
3. Coca Cola
4. Let's Get Together
5. Picture In A Frame
6. Fat Man
7. Fire On The Floor
8. Woman You've Been Dreaming Of
9. Baby Shot Me Down
10. Good Day To Cry
11. Love Is A Lie
12. No Place Like Home$21.99180 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
BeulahBeulah. It's a small, complicated word with a tangle of meanings.
It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.
Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."
Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."
And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."
Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.
"Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."
Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."
White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.
One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.
At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.
The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."
Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."
Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."1. Black Leaf
2. What's So
3. The Once And Future Queen
4. Make You Cry
5. Fight For You
6. Hope I Die
7. I've Been Over This Before (Feat. The Secret Sisters)
8. The Martyr
9. Hate The Way You Love Me
10. I'll Get Even$15.99Vinyl LP - Sealed Buy Now
The Definitive Studio Album Collection (Box Set)Features Original Mono Mixes For All Of The Singer's Studio Albums
Housed In A Side-Loading Slipcase
Seven-LP Collection Features Original Mono Mixes For All Of The Singer's Studio Albums, Including Essentials Soul Hits Like "Pain In My Heart," "Tramp," And "Respect". All of the LPs replicate the original packaging, from the sleeve artwork down to small details like the original record labels (Volt and Stax) and catalog numbers, all housed together in a side-loading slipcase. Several of these albums are long out-of-print and back on vinyl in mono for the first time in years.LP 1
1. Pain In My Heart
2. The Dog
3. Stand By Me
4. Hey Hey Baby
5. You Send Me
6. I Need Your Lovin'
7. These Arms Of Mine
8. Louie Louie
9. Something Is Worrying Me
11. That's What My Heart Needs
1. That's How Strong My Love Is
2. Chained And Bound
3. Woman, Lover, A Friend
4. Your One And Only Man
5. Nothing Can Change This Love
6. It's Too Late
7. For Your Precious Love
8. I Want To Thank You
9. Come To Me
10. Home In Your Heart
11. Keep Your Arms Around Me
12. Mr. Pitiful
1. Ole Man Trouble
3. Change Gonna Come
4. Down In The Valley
5. I've Been Loving You Too Long (To Stop Now)
7. My Girl
8. Wonderful World
9. Rock Me Baby
11. You Don't Miss Your Water
1. Just One More Day
2. It's Growing
3. Cigarettes and Coffee
4. Chain Gang
5. Nobody Knows You (When You're Down And Out)
6. Good To Me
7. Scratch My Back
8. Treat Her Right
9. Everybody Makes A Mistake
10. Any Ole Way
1. Fa-Fa-Fa-Fa-Fa (Sad Song) [Mono] [Remastered]
2. I'm Sick Y'All (Mono) [Remastered]
3. Tennessee Waltz (Mono) [Remastered]
4. Sweet Lorene (Mono) [Remastered]
5. Try A Little Tenderness (Mono) [Remastered]
6. Day Tripper (Mono) [Remastered]
7. My Lover's Prayer (Mono) [Remastered]
8. She Put The Hurt On Me (Mono) [Remastered]
9. Ton Of Joy (Mono) [Remastered]
10. You're Still My Baby (Mono) [Remastered]
11. Hawg For You (Mono) [Remastered]
12. Love Have Mercy (Mono) [Remastered]
1. Knock On Wood - By Otis Redding & Carla Thomas
2. Let Me Be Good to You - By Otis Redding & Carla Thomas
3. Tramp - By Otis Redding & Carla Thomas
4. Tell It Like It Is - By Otis Redding & Carla Thomas
5. When Something Is Wrong With My Baby - By Otis Redding & Carla Thomas
6. Lovey Dovey - By Otis Redding & Carla Thomas
7. New Year's Resolution - By Otis Redding & Carla Thomas
8. It Takes Two - By Otis Redding & Carla Thomas
9. Are You Lonely For Me Baby - By Otis Redding & Carla Thomas
10. Bring It On Home To Me - By Otis Redding & Carla Thomas
11. Ooh Carla, Ooh Otis - By Otis Redding & Carla Thomas
1. (Sittin' On) The Dock Of The Bay
2. I Love You More Than Words Can Say
3. Let Me Come On Home
4. Open The Door
5. Don't Mess With Cupid
6. The Glory Of Love
7. I'm Coming Home To See About You
8. Tramp - By Otis Redding & Carla Thomas
9. The Huckle-Buck
10. Nobody Knows You (When You're Down And Out)
11. Ole Man Trouble$109.99Vinyl LP Box Set Mono - 7 LPs Sealed Buy Now
Dad CountryNashville songwriter Jonny Fritz's work ethic and boldness have paid off in spades. It's been a big year for Jonny with opening stints for Alabama Shakes, Deer Tick, Dawes, Shooter Jennings and kudos from CMT and Rolling Stone, among many others. He signed his deal this week (he actually signed the deal with gravy at Nashville landmark Arnold's Country Kitchen), and his third full-length album, Dad Country, is set for release on April 16, 2013.
Produced by Jonny and Dawes' Taylor Goldsmith, recorded at Jackson Browne's Los Angeles studio and finished up in Music City, USA; this breakthrough album balances Jonny's trademark earthy humor and unfiltered worldview with some of his darkest material to date. Co-producer Goldsmith says, "Funny as they can be at moments, his songs access realities and experiences that we're all familiar with but sometimes fail to consider the depths of."
While immersing himself in the music world, Jonny began running marathons from Philadelphia to Barcelona and pounding out his signature leather works - the dog collars and guitar straps - seen all over Nashville and half the musical universe. He found himself in NYC for year trying to save a relationship, and its slow, painful unraveling (and demise) inspired Dad Country's bleakest, heartrending tracks, including "All We Do Is Complain" and "Have You Ever Wanted to Die."
These days, life has never been better for Jonny Fritz. He's back in Nashville again and putting down roots- and has even gone and bought himself a house. "It just keeps getting better. Now, the band is getting paid, I'm getting paid, everybody's happy, and we're packing 'em in when we play."
"This is the dream life. I couldn't really ask for anything else."1. Goodbye Summer
2. All We Do Is Complain
3. Holy Water
4. Social Climbers
5. Ain't It Your Birthday
6. Shut Up
7. Wrong Crowd
8. Have You Ever Wanted to Die
9. Fever Dreams
10. Trash Day
11. Suck In Your Gut
12. Instrumental$17.99Vinyl LP - Sealed Buy Now
Sunbather (Out Of Stock)Sunbather is the highly anticipated new album from Deafheaven.
Recorded and engineered by Jack Shirley (Funeral Diner, Comadre) and designed by Nick Steinhardt (Touche Amore) Sunbather deals with the profound sadness found in the quest for one's personal perfection. Serving as an artistic lucid dream of warmth despite the stinging pain of life's cruel idealism.
With opener Dream House George Clarke's tortured vocals familiarly intertwine with Kerry McCoy's hypnotic guitar work before crashing into a wash of post-everything melody. This leads to the moving instrumental Irresistible a track that carries a twisted indie-like sensibility buried beneath glittery layers of guitar and piano. However it is in the title track and beyond where the maturation and growth of Deafheaven brightly shines. In Sunbather they explore sonic peaks and valleys created by superb percussionist Daniel Tracy (new to the band for this recording). His inclusion brings new dynamics to light as an urgent pulse to the swirling musical chaos. Pushing bleak epic Vertigo and the dark emotional closer The Pecan Tree to new, awe-inducing heights.
Without question Sunbather is Deafheaven at the peak of their creative strength and vision of their young existence. A masterfully crafted work of art that will be renowned for years to come.1. Dream House
4. Please Remember
7. The Pecan Tree$26.99Vinyl LP - Sealed Temporarily out of stock