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  • I Long To See You I Long To See You Quick View

    $25.99
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    I Long To See You

    Charles Lloyd & The Marvels I Long To See You presents the NEA Jazz Master saxophonist with a new band featuring guitarist Bill Frisell plus special guest vocals from Willie Nelson & Norah Jones. The album's 10 tracks cover traditional hymns, anti-war folk protests & re-envisioned Lloyd originals. Lloyd will tour the US & Europe with The Marvels this year hitting major markets. Confirmed media coverage includes NPR, NY Times, Wall Street Journal, Associated Press, DownBeat, JazzTimes & more.
    LP 1
    1. Masters Of War (Bob Dylan)
    2. Of Course, Of Course (Charles Lloyd)
    3. La Llorona (Traditional)
    4. Shenandoah (Traditional)
    5. Sombrero Sam (Lloyd)


    LP 2
    1. All My Trials (Traditional)
    2. Last Night I Had the Strangest Dream feat. Willie Nelson (Ed McCurdy)
    3. Abide With Me (Traditional)
    4. You Are So Beautiful feat. Norah Jones (Billy Preston & Bruce Fisher)
    5. Barche Lamsel (Lloyd)

    Charles Lloyd & The Marvels
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Keep You Keep You Quick View

    $19.99
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    Keep You

    Pianos Become The Teeth are from Baltimore, Maryland; the band made waves on the
    scene with their 2009 debut Old Pride and gained national attention with 2011's The
    Lack Long After. Their third album and Epitaph debut, Keep You, sees the band taking a
    brave step forward to craft a musical statement that truly transcends genres. "There's
    still the same amount of passion and energy inherent in this record, it's just presented
    in a different way," frontman Kyle Durfey explains. The immediately noticeable difference is Durfey's vocal approach that sees him traded the throat-gutting screams of
    the band's early releases with cleaner, more intelligible vocals. However anyone who
    has followed the band's trajectory-specifically the song "Hiding" from their 2013 split
    with TouchÉ AmorÉ-can trace the way the band's sound has evolved from a melodic
    screamo act to a group that create heaviness and weight via raw emotion instead of
    distortion and dissonance. Capturing the band's creative vision this time around, producer Will Yip (Circa Survive, Braid) enhances the band's new vision, bringing out harmonies and swelling strings that compliment these songs in exciting ways that even the
    band couldn't initially predict . "I think it's a musical growth not a departure," Durfey
    summarizes. "I wouldn't say we would never make another overtly aggressive record
    again but this is the record we wanted to make."
    1. Ripple Water Shine
    2. April
    3. Lesions
    4. Old Jaw
    5. Repine
    6. Late Lives
    7. Enamor Me
    8. Traces
    9. The Queen
    10. Say Nothing
    Pianos Become The Teeth
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Tell Me I Belong Tell Me I Belong Quick View

    $18.99
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    Tell Me I Belong

    Jim-E Stack has come a long way. Born and raised in San Francisco, the now
    Brooklyn-based artist born James Harmon Stack cut his musical teeth as a jazz
    drummer, but it wasn't until he entered the world of solo production at the age of 16
    that he found the freedom necessary to write and record how he wanted. After seeing a set from Fade to Mind boss Kingdom in 2009, freeform DJ sets and hybridized
    club music planted the seeds of inspiration in the burgeoning producer. He made
    his first splash with a bass-loaded remix of Nuguzunguzu's "Mirage", and went on
    to release the bright and drum-focused Come Between EP, garnering acclaim from
    international DJs and tastemakers alike.


    Following time spent in New Orleans, James moved to New York in summer of 2012,
    and started the slow process of sketching, refining, and developing the diverse tracks
    that would make up his captivating Tell Me I Belong LP. The album was equally
    fleshed out by looking forwards and backwards, which gives it the kind of purpose
    and cohesiveness many debut outings lack. In every corner of Tell Me I Belong, you
    can hear an artist who reveres classic jazz musicians like John Coltrane and McCoy
    Tyner, experimental pioneers like Steve Reich, and Detroit techno greats Omar-S
    and Robert Hood, but contemporary boundary pushers Arca, Oneohtrix Point Never,
    and Actress are no less inspiring for Stack. "More so than anything, it's really on
    some personal shit," he says of the themes woven into his debut LP. "The time period
    between leaving San Francisco and moving to New York was a tough time for me,
    and the music is kind of a reflection of that, the feeling like you don't belong." The
    music may speak about a kind of alienation, but it also abundantly offers the chance
    of collective experiences in the form of hard-hitting, club-specific dancefloor jams.
    That fearless juxtaposition is the lifeforce of Tell Me I Belong.

    1. Somewheres
    2. Run
    3. Below
    4. Reassuring
    5. Everything To Say
    6. Is It Me
    7. Out Of Mind
    8. Ease Up
    9. Without
    10. Wake
    Jim-E Stack
    $18.99
    Vinyl LP - Sealed Buy Now
  • I Go Back Home I Go Back Home Quick View

    $39.99
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    I Go Back Home

    When Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life.


    Now, as if sent from some righteous deity, comes I Go Back Home, an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.


    I Go Back Home manages to replicate that using the finest arrangers writing for the most experienced players, mixed by the most intuitive engineers in the the best studios available. Scott revisited his favourite songs, into which he invested his lived experience, letting the listener feel the story known by far too few.


    The creation of I Go Back Home was the subject of an acclaimed documentary of the same name. It depicts producer Ralf Kemper's drive to work with Jimmy and provide him with the best album he can. The film captures the challenges and sacrifices that lead up to the recording sessions, a document that makes I Go Back Home an even richer record.


    Hounding Jimmy Scott through the most of his recording career was an oppressive recording contract that prevented him from releasing albums. It wasn't until 1992 that Jimmy, aged 63, recorded the first album over which he had creative control, All The Way. Nominated for a Grammy and finally bringing him to the attention of an audience that wasn't entirely comprised of jazz fans and a few lucky passers-by, Scott began touring and regularly releasing albums. It's not until I Go Back Home that Scott was given the budget that allowed him unfettered control over song selection, personnel and orchestration.


    As the album progresses, each song sees another musician or singer join Scott for a fresh interpretation of a beloved song. Long-time collaborators such as Kenny Barron and Joe Pesci, or new, such as actress and singer Reneè Olstead, trumpeter Till Brönner and harmonica player Gregoire Maret. All give Scott the room he needs to slide between phrases, telling his story and living out the world of each song.


    As Jimmy explained: "The lyric is so important to me. I feel if you're singing a song or telling the story in a song it should mean something. That's why I protect what I have in it, because that's where I believe it should go. It should mean something. It should make sense."


    Dave Nathan wrote on AllMusic that Scott's phrasing moves "beyond mere poignancy and close to reverence". This is truer than ever on I Go Back Home. Scott shifts from speak-singing in album-opener (Sometimes I Feel Like a) Motherless Child to lively bossa nova take on I Remember You to full-throated commitment on If I Ever Lost You.


    Expertly interplaying with top tier collaborators I Go Back Home is ultimately a record of collaboration and companionship, and the sound of a singer going out on top. Scott commemorates his highest points, and spars with fresh new talent in a way that suggests that he would have had great albums in him yet. And while we can mourn the decades he didn't record, the tragedies and injustices that never defeated him, I Go Back Home succeeds in capturing the essence of a life that was ultimately triumphant.

    LP 1
    1. Motherless Child FEATURING JOEY DE FRANCESCO
    2. The Nearness of You DUET WITH JOE PESCI
    3. Love Letters
    4. Easy Living DUET WITH OSCAR CASTRO NEVES
    5. Someone To Watch Over Me FEATURING RENEE OLSTEAD
    6. How Deep Is The Ocean FEATURING KENNY BARRON


    LP 2
    1. If I Ever Lost You FEATURING TILL BRÖNNER
    2. For Once In My Life DUET WITH DEE DEE BRIDEWATER
    3. I Remember You FEATURING MONICA MANCINI & ARTURO SANDOVAL
    4. Everybody Is Somebody's Fool FEATURING JAMES MOODY
    5. Folks Who Live On The Hill FEATURING JOE PESCI
    6. Poor Butterfly FEATURING GREGOIRE MARET

    Jimmy Scott
    $39.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I Become A Shade I Become A Shade Quick View

    $17.99
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    I Become A Shade

    Seoul have never been in a rush. Despite the overwhelming praise that met the Montreal trio's first two online releases - "Stay With Us" and "White Morning" - and despite the industry chatter that surrounded their first live performance at Pop Montreal 2013, kindergarten classmates Nigel Ward and Julian Flavin, and art school transplant Dexter Garcia remained resolute in fine tuning the dozen songs that would become their official debut: I Become A Shade.


    "We're just very intent on trying to get our musical ideas to exist as the definitive versions of themselves," says Ward. "Granted, each idea has limits, but its a question of discovering the borders of an idea and then putting its essence on display - so much of that has to do with the slow sculptural nature of studio work. Playing around in a studio invites elements of chance, collage, and trial-and-error into the process, which feels essential to having a song really reveal itself to you. Its a process of organizing our intuitions into cohesive moments and seeing where it takes us."


    Where their intuitions took them is a very special place indeed. From the lush ache and bouyance of "Stay With Us" to the sculpted synths and angular sincerity of "The Line," I Become A Shade is the sort of record whose every detail, whether panoramic or microscopic, is on glorious, deliberate display. A work separated into three distinct suites, the record is equal parts gauzy dream-pop, reverberant R&B, and speculative ambient - a world where sentences are often left unfinished and meaning rears its head in the intervals. The propulsive "Real June" and "Silencer" both hurtle through space like rain-drenched athletes, while "I Negate" and "White Morning" shimmer with a hushed honesty, growing and pirouetting with dreamy eventuality into a thick focus.


    Set for release on Grand Jury in the US and Last Gang in Canada, every element of Shade is a testament to Seoul's painstaking attention to detail, whether in the stark black & white art that accompanies the album, or the serene videos the band set to its music.


    "We do all our own art stuff and collaborate as closely as possible with video people," says Flavin. "We engineer and mix our recordings too, so it's very hands on."


    And in Seoul all hands are created equal. "It's rare that a song doesn't change hands quite a few times prior to us finishing it," says Garcia. "And most of this elaboration on an idea is done rotating through a computer and reacting to each other's contributions in relation to the direction things are going in." Take lead single "The Line" as an example. "Nigel added a soft vocal that pillowed up above the angularity of the synths," Garcia continues, "And you get a really nice contrast between the two, where the core feeling of the song is revealed by its being expressed in two hauntingly different ways."


    And that's what I Become A Shade is meant to be - an examination of poles - a debut that rains with the melancholy of sidelong glances and rented rooms, while frequently transcending its own desperateness in moments of breathless self-discovery. While one might think something labored over for so long would come with a prescribed understanding, Seoul would rather fans meet and interpret the record at their own personal junctures. "We're interested in presenting different versions of the self, the endless shift from self-loathing and loneliness to vibrancy and connectedness and back," says Flavin. "All states are valid, and we've tried to collect and display the beauty and necessity of both spectrums of experience - how it can feel both awful and cathartic to liquify into your surrounding and disappear."


    All the while, the rain continues to fall.

    1. I Become a Shade
    2. The Line
    3. Haunt / A Light
    4. Real June
    5. Fields
    6. White Morning
    7. Stay With Us
    8. Thought You Were
    9. I Negate
    10. Carrying Home Food In Winter
    11. Silencer
    12. Galway
    Seoul
    $17.99
    Vinyl LP - Sealed Buy Now
  • Anyway You Love, We Know How You Feel Anyway You Love, We Know How You Feel Quick View

    $21.99
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    Anyway You Love, We Know How You Feel

    The Chris Robinson Brotherhood have announced the release of their fourth studio album, Anyway You Love, We Know How You Feel, via Robinson's own Silver Arrow Records. The band relocated to northern California for the sessions, recording on the side of a mountain overlooking the foggy Pacific Ocean and channeling the natural majesty of their surroundings into the album's eight sprawling tracks. Having spent the prior two years touring relentlessly, the CRB were road-tested and in peak form to capture their kinetic chemistry and immersive sound, which Uncut Magazine called, " a celebration of how American musical traditions can be at once honored and psychedelically expanded."


    "It was an opportunity to see where our expression could take us. For us, when it comes to making records, the looser it gets the better," says Robinson. "It's all about taking our intuition and following it to where our ideas can really manifest themselves. This turned out to be the most spontaneous record I've ever been a part of."


    Indeed, when the Chris Robinson Brotherhood entered the studio to begin recording the album, no one knew just what to expect. These would be the band's first recordings with new drummer Tony Leone (Ollabelle, Levon Helm) and their first time producing themselves. Robinson purposely left as much open-ended as possible. Rather than coming into the studio with a collection of finished songs as he had in the past, he would present the group with sketches-a verse and melody here, a chorus and chord progression there-and let the band follow its collective muse to bring the music to life. They'd lean into the improvisational nature that makes their live shows such enthralling spectacles and thrive on the unexpected.


    "All it takes is one good, small idea, and then if everyone's focused and in the moment, a few hours later, you can have something that you realize you'll be playing for as long as you're making music," Robinson continues. "I think when everyone's aware that that's the sort of magic that we're looking for. More than any other session that I've ever been a part of, that's how all of these songs were done."


    The album kicks off with "Narcissus Soaking Wet," a psychedelic toe-tapper that marks Robinson's first co-write with keyboardist Adam MacDougall. It touches on everything from Dylan and Parliament Funkadelic to psych rock and Chicago rhythm and blues. "Ain't It Hard But Fair" calls to mind the soulful Americana of The Band, while "Oak Apple Day" is a mediation on life in the CRB, and "Forever As The Moon" came together in a stream of consciousness between The CRB's lead guitarist Neal Casal and Robinson. "Leave My Guitar Alone" was a song Robinson had been sitting on for nearly 15 years, but only once he presented it to the rest of the band did it roar to life in a way that had eluded him for more than a decade. Some of Robinson's finest writing to date arrives in the album's final minutes, with the country-soul, gospel-tinged closer "California Hymn," which finds him singing "Glory glory hallelujah / It's time to spread the news / Though my good words may sound profane to some."


    The Chris Robinson Brotherhood emerged in 2011 by playing close to 50 shows over nine weeks in California before ever leaving the Golden State or officially releasing music. Their introduction on the national stage came in 2012 when they'd release not one, but two acclaimed full-length albums within a few months of each other. Critics hailed their sprawling debut, Big Moon Ritual, as a revelation, with The Independent raving that Robinson had "finally found the ideal vehicle to indulge his taste for 'Cosmic California Music.'" The reviews were similarly ecstatic for its immediate follow-up, The Magic Door, which was praised by Relix as "classic rock in the finest sense." The band's epic tour schedule brought their shimmering acid-Americana around the world for a staggering 118-date tour, firmly establishing the CRB as the new standard-bearers of the psychedelic roots torch. In 2014, they returned to the studio for Phosphorescent Harvest, a masterful collection that showcased the blossoming songwriting partnership between Robinson and Neal Casal. Rolling Stone raved that the album was "electrifying boast[ing] a vintage rock vibe that's at once quirky, trippy, soulful and downright magnetic," and Guitar World called it "a treasure trove of soul that advances the band's bluesy, kaleidoscopic sound."

    1. Narcissus Soaking Wet
    2. Forever As the Moon
    3. Ain't It Hard But Fair
    4. Give Us Back Our Eleven Days
    5. Some Gardens Green
    6. Leave My Guitar Alone
    7. Oak Apple Day
    8. California Hymn
    Chris Robinson Brotherhood
    $21.99
    Vinyl LP - Sealed Buy Now
  • You and the Night Soundtrack You and the Night Soundtrack Quick View

    $20.99
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    You and the Night Soundtrack


    "This score is really for lovers and ghosts." -Anthony Gonzalez


    M83 is excited to announce their latest collaboration: the soundtrack to Yann Gonzalez's first feature film, You And The Night. Anthony warns that You And The Night is not a typical M83 release. "People who only like "Midnight City" are going to be disappointed. Mellow and romantic, this soundtrack pays tribute to French soundtracks from the 70s and is much more intimate than Hurry Up, We're Dreaming and the Oblivion Soundtrack. This score is really for lovers and ghosts."


    Growing up together in Antibes, France, Anthony and his brother Yann were both inspired from an early age by European filmmakers such as Luis Bunuel, Alejandro Jodorowsky and Pier Paolo Pasolini. Similar themes underline each of their individual artistic expressions, via both film and music: an appreciation for the majesty of hope and an overall embrace of humanity. Describing his career up until now, Yann explains "if all of my films are put together they form a kind of ensemble, a sort of community. And that is precisely what You And The Night is about: an emotional community, the utopia of a community." For the Gonzalez brothers community and family allowed them to grow into their roles as filmmakers and musicians, so when the time came to chose someone to create a soundtrack for his first feature film it was obvious that Yann would look to work with his brother. "Music is an organic part of the films I make." "M83's compositions bring together the most diverse kinds of music that can only communicate in the end through the logic of emotion and the faith you place in them."


    For Anthony You And The Night is a film about love, loss, new love and melancholia. He comments "The movie is very emotional and it's the movie of my brother, so it was a very important project for me. Yet as we share the same values, have the same artistic influences, it was also a very natural and uncomplicated process."


    In creating this sultry and luminous soundtrack Anthony reunited with several of his previous collaborators. Joe Trapanese (Oblivion, Hurry Up, We're Dreaming) returned to assist with the orchestral arrangements, whilst long-term M83 collaborator Morgan Kibby (M83, White Sea) and Susanne Sundfør (Oblivion) performed vocals on several tracks on the album. Evolving from their time working together on Oblivion's title track, it seemed a natural step for Sundfør to become involved in the recording sessions for You And The Night. Susanne comments "It was very inspiring to see how Anthony works and how his perfectionism and high ambitions brought out the best in everyone around him. It's something I'm grateful to have been a part of, and I think the soundtrack ended up sounding beautiful and mystical, just like the movie."


    Once again You And The Night highlights the musical richness of M83 and adds an impressive chapter to the growing repertoire of work that Gonzalez has produced since his initial, self-titled release. M83, in 2001, right through to the 2011 Grammy Nominated release Nominated Hurry Up, We're Dreaming, which included the platinum selling hit-single "Midnight City".


    Though of course, as Anthony warns, don't expect to hear anything like that on this record!

    1. L'inconnu
    2. Nous
    3. Vision
    4. a la Lumiere des Diamants
    5. Mon Enfant
    6. First Light
    7. Ali & Matthias
    8. a la Lumiere des Diamants II
    9. Holograms
    10. Vision II
    11. Nous II
    12. Ali & Matthias II
    13. Too Sudden Silence
    14. Adieux
    15. Un Nouveau Soleil
    M83
    $20.99
    Vinyl LP - Sealed Buy Now
  • Astral Rejection (Picture Disc) Astral Rejection (Picture Disc) Quick View

    $19.99
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    Astral Rejection (Picture Disc)

    I Set My Friends On Fire have come a long way since their electro]hardcore cover of Soulja Boyfs gCrank Dath became an internet sensation in 2008. Their Epitaph debut You Canft Spell Laughter Without Slaughter both established them as a unique blend of boy]band pop, Timbaland elctrobeat and Grindcore, and placed them at the cutting edge of a movement that includes breakout bands like Attack Attack and I See Stars.


    Now comes their long anticipated second release, Astral Rejection, continuing the trajectory started with their debut, but finding the band experimenting with dubstep and IDM, and finding a heavier hardcore sound. Building on the successes of the first album, from their triumphant run on the 2010 Scream It Like You Mean It tour with Silverstein and Emery, to the 15 million Youtube views for their Smosh.com collaboration gSex Ed Rocks,h Astral Rejection will launch I Set My Friends On Fire to the stars and beyond.

    1. It Comes Naturally

    2. Infinite Suck
    3. Excite Dyke
    4. My Paralyzed Brother Taps His Foot To This Beat
    5. Astral Rejection
    6. Developer, the Horn
    7. Narcissismfof
    8. Kief Catcher
    9. Erectangles
    10. Life Hertz
    11. Cacafuego, Nuestra Señora de la Concepción!
    I Set My Friends On Fire
    $19.99
    Picture Disc Vinyl LP - Sealed Buy Now
  • Kiss: MTV Unplugged Kiss: MTV Unplugged Quick View

    $34.99
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    Kiss: MTV Unplugged

    Celebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl
    starting in 2014. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
    vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
    been faithfully reproduced for the KISS Army.


    On April 10, KISS will be inducted into the Rock and Roll Hall of Fame - which will be broadcast in May -
    and then will kick off a summer co-headlining tour with Def Leppard starting in June.


    After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. Coming Home delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on Plaster Caster, and the beautiful acoustic medley Goin' Blind. The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune Do You Love Me. Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune Domino. The crowd is really fired up now, next experiencing the charming and soulful power rock ballad Sure Know Something. A World Without Heroes is very subdued and reflective. Rock Bottom is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. Now it gets rough, expresses Stanley, grooving in a racy blues statement. See You Tonight is a romantic and pretty ballad delivered with sweetness, and the group sings, I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside. Then on comes the darker resonance of the band with I Still Love You, expressing grave longing after a grueling breakup. I got to make you see, is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you. The solo during the bridge is reminiscent of the chord structure of the Guess Who's Undun. After this painful, depressing song, new breath is found with Every Time I Look at You, a song of forgiveness, delivered with sincerity and the feeling of hope: Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me. The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. Beth is the most heartwarming song of Kiss' power ballads: Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night. Finally, a Kiss show wouldn't be complete without the ultimate party song, Rock and Roll All Night, a tune still electric without electric guitars.


    - Shawn M. Haney (All Music Guide)

    LP 1
    1. Comin' Home
    2. Plaster Caster
    3. Goin' Blind
    4. Do You Love Me
    5. Domino
    6. Sure Know Something
    7. A World Without Heroes
    8. Rock Bottom


    LP 2
    1. See You Tonight
    2. I Still Love You
    3. Every Time I Look At You
    4. 2,000 Man
    5. Beth
    6. Nothin' To Lose
    7. Rock 'N' Roll All Nite
    8. Got To Choose

    Kiss
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ivy Tripp Ivy Tripp Quick View

    $18.99
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    Ivy Tripp

    Katie Crutchfield's southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came
    from and where she's going. Waxahatchee's latest record, Ivy Tripp, drifts confidently from its predecessors and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. "My life has changed a lot in the last two years, and it's been hard for me to process my feelings other than by writing songs," says Crutchfield. "I think a running theme [of Ivy Tripp] is steadying yourself on
    shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that."


    Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield's home on New York's Long Island-with drums recorded in the gym of a local elementary school-Ivy Tripp presents a more developed and
    aged version of Waxahatchee. "The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: [Waxahatchee's last album] Cerulean Salt is a solid and Ivy Tripp is a gas."


    As far as her goals with Ivy Tripp, Crutchfield says, "I heard someone say that you have to be the change you want to see. I just want to be the kind of musician I want to see in the world. I want to present myself in a way that reflects that."

    1. Breathless
    2. Under a Rock
    3. Poison
    4. La Loose
    5. Stale by Noon
    6. The Dirt
    7. Blue
    8. Air
    9. <
    10. Grey Hair
    11. Summer of Love
    12. Half Moon
    13. Bonfire
    Waxahatchee
    $18.99
    Vinyl LP - Sealed Buy Now
  • Your Number Please Your Number Please Quick View

    $32.99
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    Your Number Please

    One in a long series of Julie London records, this set features the sultry but subtle singer on a dozen standards, each of which she dedicates to a different male singer. No dates or personnel information are given other than the LP stating that Andre Previn arranged for the backing orchestra. This is a worthwhile set, with London adding sensuality to such songs as Learnin' the Blues, When I Fall in Love, The More I See You, and Angel Eyes.

    - Scott Yanow (All Music)
    1. Makin' Whoopee
    2. It Could Happen To You
    3. When I Fall In Love
    4. It's a Blue World
    5. They Can't Take That Away From Me
    6. One For My Baby
    7. Angel Eyes
    8. Love Is Here To Stay
    9. The More I See You
    10. A Stranger In Town
    11. Two Sleepy People
    12. Learnin' The Blues
    Julie London
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Metals Metals Quick View

    $24.99
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    Metals

    On her new 12-song collection, Metals, Canadian singer/songwriter Feist is joined by her longtime collaborators Chilly Gonzales and Mocky. The trio spent a frigid month Trying to sound like we had played together as long as we'd collectively known each other, around 50 years, then decamped for California's rugged Big Sur coastline to record them. Feist co-produced the album with her aforementioned collaborators and Valgeir Sigurosson (Bjork, Bonnie 'Prince' Billy.)


    Recording can be a weightless free float from your day-life, and I like to pick places with certain fertile qualities that can give me a visual hook that I'm there to do something other than what I would otherwise do. And that clean line between land and see, the graphic edge of the continent pointing out toward the east, meaning not the Atlantic next stop Europe feeling, but next stop somewhere you've never been, Feist says. Plus, you are somewhere that looks completely unfound and yet it's been so perfectly recorded literarily. Steinbeck made 1000 albums there! Henry Miller and Anais Nin probably considered that line between land and sea, too. And on top of it, we truly found the perfect room to build a studio in, perched on the cliffs. A giant empty space.


    Metals' songs range from low rumbling and moody ambiences to brutal and intense, as if it sonically maps the fog rolling in and the resulting cracking of thunder. There's a lot more chaos and movement and noise than I've had before, Feist says. I allowed for mistakes more than I ever have, which end up not being mistakes when you open things up and make room for them. It was about un-simplifying things and leaning on these masterful minds I have so much respect for. We were sort of testing the air, like a sea captain licks his finger to see which way the wind is coming from. It was less Brill Building and more naturalistic.

    1. The Bad In Each Other
    2. Graveyard
    3. Caught A Long Wind
    4. How Come You Never Go There
    5. A Commotion
    6. The Circle Married the Line
    7. Bittersweet Melodies
    8. Anti Pioneer
    9. Undiscovered First
    10. Cicades and Gulls
    11. Comfort Me
    12. Get It Wrong, Get It Right
    Feist
    $24.99
    Vinyl LP - Sealed Buy Now
  • Volume 2: 1987-1989 Volume 2: 1987-1989 Quick View

    $69.99
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    Volume 2: 1987-1989

    This box set includes some of the band's most acclaimed albums, new liner notes from David Fair and several new pieces of art from Jad Fair. All albums restored to their original track listings.


    Be careful. You can't unlearn information. I think that the best that you can hope for is a bad memory, but our brains are very remarkable and it is very difficult to actually unlearn something. I came upon this realization too late to help me with visual arts. I had already been taught about proportions and perspective. It's very hard to draw someone in the background larger than their friend in the foreground. Anyone farther away would look smaller. That is how our eyes see them and my brain knows this. I cannot turn off this knowledge and draw it the other way around. I can choose to ignore it, but that is not the same. That is a strategy for dealing with the situation, but not as freeing as simple ignorance would be. It is a nagging strategy that whispers the rules and acknowledges your participation in their breaking.


    Luckily, with music, I do not carry the burden of knowledge. I was not educated in its terms and rules. I am not bound by its limits.


    I know that I have guitar skills. I have played around with one enough to know what feels right to me. If I were to turn it upside down and attempt to play it in a left-handed manner, my ability would feel awkward and diminished. I am not unskilled; I am merely untrained. For me, this is the ideal situation. Others may prefer acquiring rules and limits. I prefer that my art be directed by my heart rather than my brain.


    I have played in bands for nearly 40 years. In all of that time I have only learned three chords. I have resisted acquiring more. If I continue at this rate I am at risk of knowing six chords forty years from now. Instead, I am consciously slowing down. Hopefully in four decades I will remember even less about music convention than I know today.


    Forty years is a long time to wait. In the meantime, here's Half Japanese Vol 2. It might get better in the future, but Vol 2 is here already.


    - David Fair

    Music to Strip By


    1. Stripping for Cash
    2. Thick and Thin
    3. Diary
    4. Big Mistake
    5. Hot Dog and Hot Damn
    6. The Price Was Right But The Door Was Wrong
    7. Blue Monday
    8. U.S. Teens are Spoiled Bums
    9. Point / Counterpoint
    10. Sex At Your Parent's House
    11. The Last Straw
    12. Gator Bait
    13. La Bamba
    14. Colleen
    15. Ouija Board Summons Satan
    16. You Must Obey Me
    17. Salt and Pepper
    18. Ancient Life
    19. Silver and Katherine
    20. Money To Burn
    21. Hidden Charms
    22. My Sordid Past


    Charmed Life


    1. Said and Done
    2. Penny In The Fountain
    3. Evidence
    4. Vietnam
    5. Roman Candles
    6. Love At First Sight
    7. Snake Line
    8. Bright Lights, Big City
    9. Face Rake
    10. Later In A Magazine
    11. Red Dress
    12. Trouble In The Water
    13. Charmed Life
    14. Day And Night
    15. One Million Kisses
    16. Miracles Happen Every Day
    17. Terminator
    18. I'll Change My Style
    19. Fortunate
    20. Real Cool Time
    21. Poetic License


    The Band That Would Be King


    1. Open Your Eyes/Close Your Eyes
    2. Daytona Beach
    3. Lucky Star
    4. Some Things Last A Long time
    5. My Most Embarrassing Moment
    6. Buried Treasure
    7. Open Book
    8. Little Records
    9. Deadly Alien Spawn
    10. Postcard From Far Away
    11. Ventriloquism Made Easy
    12. Something in the Wind
    13. Bingo's Not His Name-o
    14. Put Some Sugar On It
    15. What More Can I Do?
    16. Brand New Moon
    17. Another World
    18. Every Word Is True
    19. I Live For Love
    20. Werewolf
    21. Ride Ride Ride
    22. Sugarcane
    23. I Wish I May
    24. Ashes On The Ground
    25. Curse of the Doll People
    26. Horseshoes
    27. Bluebirds

    Half Japanese
    $69.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Little Death Shaker Little Death Shaker Quick View

    $19.99
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    Little Death Shaker

    Stripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.



    This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)



    The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.



    Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.



    More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.



    With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.



    One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!



    The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!

    1. Allegiance

    2. Little Death Shaker

    3. Some of My Friends

    4. Turnpike/Bedsheet

    5. You'll Never Surf Again

    6. Don't That Lake Just Shine

    7. Whippoorwill

    8. A Little More Credit

    9. Some Kind of Fool

    10. You're Not Standing Like You Used To

    11. Stateline

    12. Meridian, MS

    13. Allegiance 2
    Raymond Byron And The White Freighter
    $19.99
    Vinyl LP - Sealed Buy Now
  • Reflection Reflection Quick View

    $24.99
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    Reflection

    Reflection is the latest work in a long series. It started (as far as record releases are concerned) with Discreet Music in 1975 ( - or did it start with the first Fripp and Eno album in 1973? Or did it start with the first original piece of music I ever made, at Ipswich Art School in 1965 - recordings of a metal lampshade slowed down to half and quarter speed, all overlaid?)


    Anyway, it's the music that I later called 'Ambient'. I don't think I understand what that term stands for anymore - it seems to have swollen to accommodate some quite unexpected bedfellows - but I still use it to distinguish it from pieces of music that have fixed duration and rhythmically connected, locked together elements.


    The pedigree of this piece includes Thursday Afternoon, Neroli (whose subtitle is Thinking Music IV) and LUX. I've made a lot of thinking music, but most of it I've kept for myself. Now I notice that people are using some of those earlier records in the way that I use them - as provocative spaces for thinking - so I feel more inclined to make them public.


    Pieces like this have another name: they're GENERATIVE. By that I mean they make themselves. My job as a composer is to set in place a group of sounds and phrases, and then some rules which decide what happens to them. I then set the whole system playing and see what it does, adjusting the sounds and the phrases and the rules until I get something I'm happy with. Because those rules are probabilistic ( - often taking the form 'perform operation x, y percent of the time') the piece unfolds differently every time it is activated. What you have here is a recording of one of those unfoldings.

    1. Reflection
    Brian Eno
    $24.99
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  • Unvarnished Unvarnished Quick View

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    Unvarnished

    Unvarnished is the 14th studio album by Joan Jett and the Blackhearts released on the Blackheart Records label.


    Joan Jett has been through some dark times over the last 10 years - so many that she refers to it as her 'decade of death.' But she's channeled that grief into a new album, 'Unvarnished,' that contains some of her most personal work.


    I wrote a lot about what teenagers write about: love, sex and partying and having a good time. As you grow up, things change, she explained. You have responsibilities and realize you've got to do stuff. I suppose you could run from that, but you've got to be there for your family and your friends.


    Jett's 'decade of death' included the loss of both parents, which - as one might expect - proved difficult to cope with. They made it possible for me to do this. They encouraged me. They got me the guitar, she recalled. My father, who hated rock & roll, put up with it. He didn't come down on me to stop it. So losing my parents was big, and I think it translated to the music in songs like 'Fragile,' which is about life being fragile, love being fragile, how easy it is to break hearts.


    Those themes carry over into other songs on 'Unvarnished,' as Jett went on to explain. 'Hard to Grow Up' is about responsibility and realizing that I've got to do this, she continued. The song 'Make It Back' is about Hurricane Sandy and people's attitudes. You don't see a lot of press about it as I go around the country. It was very devastating. My town is still beat up. People were really crushed. It gave me a sense of what it's like to be in a war zone.


    It wasn't just personal or communal tragedies that stood between Jett and new material, either. I convinced myself I had writer's block, she explained. It was 'Reality Mentality' that was the song that took me a long time to write. I used to think that songs just came to me. They didn't - you had to sit down and work at it. Just be patient, write a couple of lines, leave it, come back to it and stuff will pop out. And all of a sudden, stuff started coming, and I realized: You don't have writer's block. Your expectations were wrong.


    What it all adds up to, in Jett's opinion, is a record that should resonate with fans. The songs have a serious tone, but they're relatable, she concluded. They're songs about stuff everybody goes through.

    1. Any Weather (606 Version)
    2. TMI
    3. Soulmates To Strangers
    4. Make It Back
    5. Hard To Grow Up
    6. Fragile
    7. Reality Mentality
    8. Bad As We Can Be
    9. Different
    10. Everybody Needs A Hero
    Joan Jett & The Blackhearts
    $18.99
    Vinyl LP - Sealed Buy Now
  • Hypnotic Eye Hypnotic Eye Quick View

    $18.99
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    Hypnotic Eye

    Tom Petty and the Heartbreakers are set to release a brand new album, Hypnotic Eye.


    Their first studio album since 2010, Hypnotic Eye is the band's 13th studio album. It was co-produced by Petty, Mike Campbell, and Ryan Ulyate, reports Rolling Stone . Speaking to the publication about the album, Petty responded to comments that the release sounds like his earlier albums 1976's Tom Petty And The Heartbreakers and You're Gonna Get It from 1978.


    That's what Mike said: 'You sing like you did on the first two albums, said Petty. Maybe this album does sound like that. But it's that band 30 years later... I knew I wanted to a do a rock and roll record. We hadn't made a straight hard-rockin' record, from beginning to end, in a long time.


    The album will feature the songs American Dream Plan B, Faultlines, Red River, Burn Out Town and Shadow People. The release will be supported by a to-be-announced tour. Petty also commented that the band are far from finished. This band just grows and grows, and that's an incredible gift, I can't see us calling it off, he said.

    1. American Dream Plan B
    2. Fault Lines
    3. Red River
    4. Full Grown Boy
    5. All You Carry
    6. Power Drunk
    7. Forgotten Man
    8. Sins Of My Youth
    9. U Get Me High
    10. Burnt Out Town
    11. Shadow People
    Tom Petty & The Heartbreakers
    $18.99
    Vinyl LP - Sealed Buy Now
  • Hypnotic Eye (Limited Edition) Hypnotic Eye (Limited Edition) Quick View

    $29.99
    Buy Now
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    Hypnotic Eye (Limited Edition)


    180 Gram Audiophile Double LP


    Etched Artwork On Side 4


    Includes Bonus Track Playing Dumb


    Tom Petty and the Heartbreakers are set to release a brand new album, Hypnotic Eye.


    Their first studio album since 2010, Hypnotic Eye is the band's 13th studio album. It was co-produced by Petty, Mike Campbell, and Ryan Ulyate, reports Rolling Stone . Speaking to the publication about the album, Petty responded to comments that the release sounds like his earlier albums 1976's Tom Petty And The Heartbreakers and You're Gonna Get It from 1978.


    That's what Mike said: 'You sing like you did on the first two albums, said Petty. Maybe this album does sound like that. But it's that band 30 years later... I knew I wanted to a do a rock and roll record. We hadn't made a straight hard-rockin' record, from beginning to end, in a long time.


    The album will feature the songs American Dream Plan B, Faultlines, Red River, Burn Out Town and Shadow People. The release will be supported by a to-be-announced tour. Petty also commented that the band are far from finished. This band just grows and grows, and that's an incredible gift, I can't see us calling it off, he said.

    LP 1
    1. American Dream Plan B
    2. Fault Lines
    3. Red River
    4. Full Grown Boy
    5. All You Carry
    6. Power Drunk
    7. Forgotten Man
    8. Sins Of My Youth


    LP 2
    1. U Get Me High
    2. Burnt Out Town
    3. Playing Dumb*
    4. Shadow People


    * bonus track

    Tom Petty & The Heartbreakers
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Bang Zoom Crazy... Hello Bang Zoom Crazy... Hello Quick View

    $19.99
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    Bang Zoom Crazy... Hello

    Cheap Trick is part of the very fiber of American music, inspiring and delighting generations with their unique union of massive melodies and razorblade riffs, their own special brand of mischievous wit and maximum rock 'n' roll. Frontlined since 1974 by Robin Zander (vocals, rhythm guitar), Rick Nielsen (lead guitar), and Tom Petersson (bass guitar), the Rockford, IL-born band is set to impact still another era with the spectacular new BANG ZOOM CRAZY HELLO, their 17th studio collection and first in more than five years.


    Co-produced by Cheap Trick and GRAMMY® Award winner Julian Raymond (Glen Campbell, Fastball), songs like "Heart On The Line" and the turbulent first single, "When I Wake Up Tomorrow," are deeply connected to the band's own irrepressible history just as they accelerate their trademark sound and vision into the now. The glorious "Long Time No See Ya" marks another in a long line of salutations spanning "ELO Kiddies" and "Hello There" to "Goodnight" and "Say Goodbye," while the piledriving "Do You Believe Me" showcases dueling solos from Nielsen and six-string icon Wayne Kramer - a milestone meeting of the long established Midwestern mutual appreciation society between Cheap Trick and the mighty MC5. BANG ZOOM CRAZY HELLO prove Cheap Trick to be as energetic and idiosyncratically irresistible as ever before, a callback to their classic canon yet somehow as inventive and exciting as a bunch of crazy kids just coming out of the garage.





    1. Heart On The Line
    2. No Direction Home
    3. When I Wake Up Tomorrow
    4. Do You Believe Me?
    5. Blood Red Lips
    6. Sing My Blues Away
    7. Roll Me
    8. The In Crowd
    9. Long Time No See Ya
    10. The Sun Never Sets
    11. All Strung Out
    Cheap Trick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Skin & Earth Skin & Earth Quick View

    $18.99
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    Skin & Earth

    Throughout a year long process, she began secretly working on an unprecedented idea writing and drawing her own comic book based around this alter ego of sorts. And on top of that, just to make things more difficult - an album to coincide with the whole thing.


    Thus came Skin&Earth, the Canadian singer's fourth record and her most open and vulnerable to date. In the past, Lights wouldn't write about being angry or Lights wouldn't write a song about fighting or Lights wouldn't write about sex, she says. So En is me in another dimension, and I was able to write about all the things that I never wrote about before.


    The album form of Skin&Earth also brings help from some of music's brightest including Corin Roddick of Purity Ring, Big Data and Josh Dun of Twenty One Pilots. Everything that happened on this record was really fun and natural and felt like we were all working towards the same goal, she says. It was this organic mutual fan-ship kind of thing that brought it all together. She continues, This is the most fun I've had doing a record. I've never felt that I understood a record more and I've never felt like I understood a reason for a record more.


    Ultimately for Lights, the most important takeaway from the story of Skin&Earth is of a young woman entranced by a spirit that she and she alone must overcome. This is based on internal, emotional stress and turmoil - stuff that I've dealt with and stuff that a lot of people have dealt with. I've always believed that all those battles can be fought and you come out of this stronger. And that was the foundation of the story, she says. At the end of the day, if nothing else, I want people, especially young women, to see in this character a little bit of themselves - see that an ordinary person can do amazing things and fight battles nobody else can see, and there's no shame in that. In fact, there's a lot of beauty in it.

    1. Intro
    2. Skydiving
    3. Until the Light
    4. Savage (feat. Josh Dun)
    5. New Fears
    6. Morphine
    7. We Were Here
    8. Kicks
    9. Giants
    10. Moonshine
    11. Interlude
    12. Magnetic Field
    13. Fight Club
    14. Almost Had Me
    Lights
    $18.99
    Vinyl LP - Sealed Buy Now
  • Chinatown Soundtrack Chinatown Soundtrack Quick View

    $25.99
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    Chinatown Soundtrack

    Newly Remastered Audio


    Housed In A Deluxe Stoughton Tip-On Jacket


    Sometimes, it doesn't take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro's original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days.


    To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr. Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the savior of Roman Polanski's masterpiece of neo-noir.


    What was clever about it? It wasn't quite straight jazz, it wasn't quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey's mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn't try to speak to the film's 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game.


    "I remember [Evans] speaking about the music having a contemporary feel, contemporary meaning the '30s," Goldsmith said in an interview before his 2004 death. "I said, 'Bob, I don't think so - you see that on the screen, why should I do that in the underscore? Emotions are timeless.'"


    Originally released as a soundtrack in 1974, and long out of print, Cinewax's reissue is remastered from the original tapes and is presented with brand new artwork by acclaimed illustrator and painter Sterling Hundley, with layout by Jay Shaw. Drop the needle and hear why Chinatown is, reportedly, David Lynch's favorite soundtrack. Goldsmith was right about emotions

    1. Love Theme From Chinatown (Main Title)
    2. Noah Cross
    3. Easy Living
    4. Jake And Evelyn
    5. I Can't Get Started
    6. The Last Of Ida
    7. The Captive
    8. The Boy On A Horse
    9. The Way You Look Tonight
    10. The Wrong Clue
    11. J.J. Gittes
    12. Love Theme From Chinatown (End Title)
    Jerry Goldsmith
    $25.99
    Vinyl LP - Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

    $24.99
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    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."


    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."


    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"


    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."


    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."


    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."


    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."


    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."


    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."


    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Concrete Confessional (Picture Disc) The Concrete Confessional (Picture Disc) Quick View

    $21.99
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    The Concrete Confessional (Picture Disc)

    Picture Disc Edition - Limited To 500 Copies


    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $21.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • The Concrete Confessional The Concrete Confessional Quick View

    $24.99
    Buy Now
    x

    The Concrete Confessional

    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $24.99
    Vinyl LP - Sealed Buy Now
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