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I Robot (Awaiting Repress)Alan Parsons Project I Robot on Numbered Limited Edition 180g 45RPM 2LP From Mobile Fidelity
Perfectionism, Innovation, Complexities, and Reference-Grade Production Make Alan Parsons Project's Conceptual I Robot a Timeless Classic: Sci-Fi Arrangements Steeped In Drama and Moodiness
More Music, More Information, More Detail, More Nuance, More Everything: Mobile Fidelity 180g 45RPM 2LP Set the Definitive-Sounding Analog Version of 1977 Audiophile Standard
A Demonstration Disc for the Ages: Immaculate Highs and Lows, Supreme Spaciousness, See-Through Transparency, 3D Imaging, Wider Grooves on System-Testing Pressing
Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous-sounding 180g 45RPM 2LP set and the question becomes irrelevant.
Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.
Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages - the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings - including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.
Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as The Voice call into question human behavior - and their relationship to increasing robotic supremacy - in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.
I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. Some Other Time employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace Don't Let It Show. The origins of Nucleus stem from a unique analog keyboard concoction dubbed the Projectron, devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with Total Eclipse arriving as an aptly frightening track that presages the climactic Genesis Ch. 1 V. 32.
Does man or machine win in the end? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.
This title is not eligible for discount.1. I Robot
2. I Wouldn't Want To Be Like You
3. Some Other Time
5. Don't Let It Show
6. The Voice
8. Day After Day
9. Total Eclipse
10. Genesis Ch. 1 V.32$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
PrimeIt's an interesting foray deeper into the world of electronics once more that the band manages to imbue with their unpredictable spirit. - I Guess I'm Floating
Back and forth between being a grand, dispassionate epic and a more nuanced study of individuality and personhood. - No Fear Of Pop
Prime is a long-playing record written and recorded by the band Conveyor. The music on this record was composed and performed alongside two midnight screenings of George Lucas' THX 1138 in December 2013 at Nitehawk Cinema in Brooklyn, NY. The bulk of the recordings were subsequently captured live on the 3rd of January 2014 at the Silent Barn in Brooklyn, NY.1. Theme I
2. Theme II
3. Theme III
4. Theme IV
5. Theme V
7. Theme VII
8. Theme VIII
9. Theme IX
10. Theme X
11. Theme XI
12. Theme XII
13. Theme XIII
14. Words of Love (Buddy Holly cover) [vinyl only]$24.99Vinyl LP - 2 LPs Sealed Buy Now
OVSE-ATL-0840xMarina and The Diamonds
The Family Jewels on vinyl for the first time! Diamandis' debut studio album - it debuted at number five on the UK Albums Chart with first-week sales of 27,618 copies, and was eventually certified gold by the British Phonographic Industry. Produced by Liam Howe (Ex-Sneaker Pimps), Biff Stannard (Kylie) and Pascal Gabriel (Ladyhawke), The Family Jewels is part autobiography/part fairytale with the sound ranging from the uber-shiny pop of "Shampain" to the fragile elegance of "Obsessions" and "Numb", the pop-punk of "Girls" and the joyful quirkiness of "Mowgli's Road" and "Hermit the Frog". This steely determination even fed into the production of the album with Marina making producer Liam Howe record 482 vocal takes for one song.
The end result is an album that functions as a fully formed piece of art. Heartbreaking and emotional at times as exemplified in "I Am Not A Robot", which reached no.26 in the UK Charts, Marina lays herself open and vulnerable for her fans, the diamonds.
Diamandis was ranked in second place on the Sound of 2010 poll organised by BBC, behind English singer-songwriter Ellie Goulding. Mowgli's Road was released as the lead single from Diamandis' debut studio album on 13 November 2009. It was followed by Hollywood on 1 February, which reached number 12 on the UK Singles Chart.1. Are You Satisfied?
3. I Am Not A Robot
5. Mowgli's Road
9. The Outsider
11. Hermit The Frog
12. Oh No!
14. Numb$34.99Vinyl LP - Sealed Buy Now
Nonagon Infinity (Awaiting Repress)Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)
"Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.
The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."
"We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."
To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.
"We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."
Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.
"I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."
"Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.
"That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."
To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.
"In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."
'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.1. Robot Stop
2. Big Fig Wasp
3. Gamma Knife
5. Mr. Beat
6. Evil Death Roll
7. Invisible Face
8. Wah Wah
9. Road Train$19.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Mediator Between Head And Hands Must Be The HeartIt was the city of Belo Horizonte, Brazil that launched the ascent of their native sons in SEPULTURA (Portuguese for "grave") in 1983 with a trajectory unsuspectingly aimed at the worldwide metal music scene. A band with humble economic beginnings whose musical identity was forged in the context of living through Brazil's authoritarian military dictatorship, SEPULTURA would go on to become Brazilian ambassadors to the metal world, revered master architects of the death/thrash genre, and the most successful heavy metal band from the Federal Republic of Brazil.
When SEPULTURA experienced a line-up change in the mid-1990s that was widely covered by the metal press around the world, remaining members recruited American Derrick Green in 1997 to front the band, a position the Cleveland, Ohio native has held for the past fifteen years and counting. This past June, long-time guitarist Andreas Kisser (who joined in1987), original bassist Paulo Jr., and drum prodigy Eloy Casagrande, SEPULTURA entered the studio in Venice, California with renowned producer Ross Robinson (KORN, MACHINE HEAD, FEAR FACTORY) - who also worked on the band's landmark 1996 release, »Roots« - and co-producer Steve Evetts (THE DILLINGER ESCAPE PLAN, SYMPHONY X, INCANTATION) - who previously worked on SEPULTURA's »Roorback« (2003), the »Revolusongs« EP (2002), and »Nation« (2001) - to record the band's seventh studio album with Green (and their second album for Nuclear Blast): »The Mediator Between The Head And Hands Must Be The Heart«, scheduled for release this October.
Inspired by Austrian filmmaker Fritz Lang's classic 1927 movie "Metropolis," SEPULTURA leans heavily on the strength of their thrash metal influences to make a statement against the dehumanizing effects of technology. Guitarist Andreas Kisser delves a little deeper:
"In the movie, a crazy millionaire wants to transform a robot into a real person. That's kind of the opposite of what we live today. More than ever, we are robotized through the worldwide web, Google glasses, chips under our skins and globalized slavery our society suffers nowadays. Being that the novel was written in the early 1920s, it's almost prophetical. The phrase that inspired me - the main message of the story - points to the heart as being the human factor that keeps a man a man - not a robot. The heart beats with freedom of choice. We have to think for ourselves to create a real world, not a matrix."
Exploring the miseries and privileges associated with technological power, »The Mediator Between The Head And Hands Must Be The Heart« - SEPULTURA's angry dystopian documentary in sonic form - also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion, and the still-widening divide & unbridgeable gap between pampered citizens who live in decadent luxury and the working poor who withstand unbearable living & working conditions to simply survive.
The album's opening track, 'Trauma Of War', begins as a cacophony of noise that gives rise to an urgent panic that spins into a paranoiac distress about others making decisions that will lead to our demise in war. In 'The Vatican', we listen as yearning souls pray to their god to alleviate their suffering as the furious vocals, guitars, and drums document the moment when the faithful come face-to-face with the reality of their absent god too self-absorbed with being adored to notice humanity's cries for help. 'The Bliss Of Ignorants' is an indictment by those who intimately know the depths of human suffering against those who don't wish to know. 'Grief' weeps with its gnosis of such a feared emotion. With so many recent natural disasters throughout the world, who could deny the truth behind human greed & corruption sung about in 'Manipulation Of Tragedy'?
With both the 2014 FIFA World Cup championship and the 2016 Olympic Games headed to Rio de Janeiro, Brazil, a worldwide audience will surely be mesmerized by the glamour surrounding these world-broadcasted events. But there are those who bear witness to what won't be televised; there are those who have seen the decades of daily strife of Brazilian citizens with wide-open eyes.
»The Mediator Between Head And Hands Must Be The Heart« never lacks confidence in what SEPULTURA knows: "I live in São Paulo, one of the big metropolises in the world with more than 20 million people living and working in it," asserts Kisser. "I know how it is to live in daily chaos. Our music reflects a lot of that feeling."
Featuring a guest appearance by former SLAYER drummer Dave Lombardo, »The Mediator Between Head And Hands Must Be The Heart« does what many great albums do: it captures a moment in time and carves out a place to have a dialogue with listeners with an honesty that rings so true, it becomes a part of our arsenal with which to defend ourselves against the wrongdoings of the world.1. Trauma Of War
2. The Vatican
3. Impending Doom
4. Manipulation of Tragedy
6. The Bliss Of Ignorants
8. The Age Of The Atheist
10. Da Lama Ao Caos (Chico Science & Nação Zumbi cover)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Travellers In Space And TimeI wanted to make a futuristic pop record, to reach out to the kids of the future. It is what I imagine their more highly-evolved pop might sound like: shiny soul music with robots and humans singing together. We are sending a pop music message through time. So says The Apples in stereo / Elephant 6 collective mastermind Robert Schneider. The Apples' new album and seventh studio effort, Travellers in Space and Time is the follow-up to their critically acclaimed hit album New Magnetic Wonder and their second release in association with Elijah Wood's Simian Records. Travellers finds the studio-obsessed indie rockers continuing the hook-heavy pop mastery they achieved on New Magnetic Wonder, an album that spawned performances on Conan O'Brien and Stephen Colbert, along with numerous commercial placements (Pepsi, Samsung, New Balance) and even a performance of hit single Energy by the contestants of American Idol. Well over a year in the making, the new material recasts the Apples' signature pop sounds in chrome-plated futurism, all while adding a dance-driven vibe channeling ELO, Barry Gibb, Wild Honey-era Beach Boys and Off The Wall-era Michael Jackson.The Code
Dream About the Future
Strange Solar System
No One in the World
Told You Once
It's All Right
Next Year About the Same Time
Floating in Space
Nobody But You
Time Pilot$20.99Vinyl LP - Sealed Buy Now
The Cars (Awaiting Repress)Ranked 282/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!
The Cars Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple
My Best Friend's Girl, Just What I Needed, You're All I've Got Tonight Among the Tunes on the Hit Parade
One of the most successful and enjoyable debuts in history, The Cars self-titled album doubles as a greatest-hits collection. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.
Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orrs low, understated singing and Ocaseks cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accentscountry-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.
The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Bakers trademark touches with harmony vocals abound.
And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP allows the musics oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners senses and hold them at bay. Mobile Fidelitys unparalleled pressing epitomizes the sensation of moving in stereo!
This title is not eligible for discount.1. Good Times Roll
2. My Best Friend's Girl
3. Just What I Needed
4. I'm in Touch With Your World
5. Don't Cha Stop
6. You're All I've Got Tonight
7. Bye Bye Love
8. Moving in Stereo
9. All Mixed Up$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
MUSD-MFSL-412xHall and Oates
Private EyesPrivate Eyes on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1981 Album Established Parameters for Decade's Celebrated Pop Sounds
Includes Private Eyes, I Can't Go For That (No Can Do), Did It in a Minute
Meticulous Merger of Pop, Soul, Rock, and R&B Crossed Over Into all Fields
Stylish, Sophisticated Production Comes to Fore on Mobile Fidelity Reissue, Mastered from the Original Master Tapes
Hall and Oates could've easily followed the protocol established on their breakthrough Voices, done nothing else, and watched 1981's follow-up Private Eyes scale the charts. Yet the duo continues to press forward, further refining the era-defining stylistic mÉlange that propelled them to mass stardom a year prior. The creative and artistic peak of the all-time best-selling male duo's output, Private Eyes delivers relentless pop bliss and functions as an instruction manual that, as Rolling Stone opined, still teaches "the way to make rock girls, disco girls, and new-wave girls scream together."
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the Top 5 album's sharp, widescreen production values with awe-inspiring detail and palpable realism. For the first time, listeners can get inside the songs' internal mechanisms by experiencing first-hand the vast surfeit understated sonic effects. Well-appointed tones now grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing also claims enhanced intimacy and balance. Offering tremendous insight, Mobile Fidelity's LP doubles as a lesson in the construction and sustain of big, bold grooves.
Advancing their rhythmic support and melodic symmetry, Hall and Oates give extra space to their still-underrated backing band, affording the material a muscular punch and organic warmth crucial to their success and ability to transcend the largely artificial era. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard noises, Hall and Oates wisely merge the period's savvy sounds with tried-and-true soulful instrumentation.
Reflecting the album's infallible level of quality control, no song disappoints. The three Top 40 singles-the title track, "I Can't Go For That (No Can Do)," and "Your Imagination"-feature clever elements such as hand-clapped choruses and staccato piano lines. The distinctive traits complement the duo's hallmark harmony vocals and add R&B flavors to already-scintillating pop concoctions. Yet Private Eyes' pleasures advance well beyond the radio singles.
Whether witnessed via the taut tension of "Some Men," reggae-splashed "Tell Me What You Want," or Motown homage "Looking for a Good Sign," the group's blend of dance vibes, electrifying hooks, keyboard loops, and sleek beats epitomizes seduction, style, and swagger. Private Eyes is an 80s juggernaut that hasn't lost a step. Utterly classic.
This title is not eligible for discount.1. Private Eyes
2. Looking for a Good Sign
3. I Can't Go For That (No Can Do)
4. Mano a Mano
5. Did It in a Minute
6. Head Above Water
7. Tell Me What You Want
8. Friday Let Me Down
9. Unguarded Minute
10. Your Imagination
11. Some Men$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MUSD-MFSL-447xHall and Oates
Rock 'N Soul Part 1Rock 'N Soul Part I On Numbered Limited Edition 180 Gram LP From Mobile Fidelity
The Definitive Hall and Oates Greatest-Hits Compilation: Rock 'n Soul Part I Loaded With Nine Top 10 Singles, Including Kiss On My List and Private Eyes
Mastered From the Original Master Tapes and Pressed On 180 Gram LP At RTI
All The Signature Songs From The 1970s And 80s Are Here, From Sara Smile And She's Gone To Maneater
Other compilations have longer track lists and go farther back into their career, but no Hall and Oates greatest-hits collection surpasses Rock 'n Soul Part I. Originally released at the height of the duo's career in fall 1983, the 12-song set functions as a time machine back into an era when Daryl Hall and John Oates dominated the charts with songs that have long since become standards. While a majority of the anthology draws from the group's trio of mammoth RCA albums spanning 1980 through 1982, it also includes the pair's only three Top 10 smashes from the 1970s: Sara Smile, She's Gone, and the chart-topping Rich Girl. One-stop shopping for the absolute best of Hall and Oates doesn't come any easier.
Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's analog reissue presents nine Top 10 Hall and Oates singles with awe-inspiring detail and palpable realism. Lifelike tones grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing claims enhanced intimacy and balance. The collective harmonies sound sharper, the dynamics richer, and the soundstages wider and deeper. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard devices, Hall and Oates wisely merge the period's savvy styles with tried-and-true soulful instrumentation.
Indeed, with one listen to this definitive-sounding version of Rock 'n Soul Part I, and you'll understand why the duo's music not only ruled radio and record stores in the Reagan era but also continues to be referenced by influential artists today. You already likely know every song - or nearly every one of them - here by heart. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks with #1 singles such as Kiss On My List and Private Eyes, the collaborators simultaneously crossed over into multiple markets and eradicated boundaries.
All the trademarks - swinging verse structures, call-and-response choruses, stick-in-your-head bridges, sleek keyboard layers, doo-wop fills, and, in some places, reggae-nodding accents or cool saxophone lines to stir up the mood and atmosphere - that make the duo's music irresistible pulse throughout Rock 'n Soul Part I. Eight of the singles included here cracked the Top 5. They remain prototype intersections of blue-eyed soul, edge new wave, and dance, blueprints for pop mastery that catapulted Hall and Oates to becoming the most successful duo in rock history.
Hear the Rock and Roll Hall of Fame inductees' standard-setting equilibrium between polish, melody, muscle, and craft on their signature hits like never before.
This title is not eligible for discount.1. Say It Ain't So
2. Sara Smile
3. She's Gone
4. Rich Girl
5. Kiss On My List
6. You Make My Dreams
7. Private Eyes
8. Adult Education
9. I Can't Go For That (No Can Do)
11. One on One
12. Wait for Me$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
IterationRepetition is a form of change, reads one of Brian Eno's Oblique
Strategies. Seth Haley knows the concept well, and his style of
technicolour synth-wave takes the mantra as a challenge. Six
years after Galactic Melt introduced the cosmic story of Com
Truise, Iteration now concludes his sprawling saga. True to its
name, the album is built on Com Truise hallmarks: neon-streaked
melodies, big drums, robotic grooves, bleary nostalgia. But
Iteration is also the most elegant and streamlined that Haley's
singular music has ever sounded.
At the album's heart is an elaborate narrative, one full of longing,
hope, anxiety, and triumph. Iteration illustrates the last moments
Com Truise spends on the perilous planet Wave 1, before he and
his alien love escape its clutches to live in peace. ...Of Your Fake
Dimension launches the interstellar drama with its anthemic
swells and widescreen sound design, before lovesick songs like
Dryswch and Propagation outline scenes wrought with
cybernetic pathos. Later, the frantic rhythms of Syrthio conjure
images of panicked flight as Haley's gorgeous synth melodies gild
the action in quiet heartbreak. Then comes the resounding When
Will You Find The Limit , when Iteration's pain and sadness finds
liberation in the vast unknown. The closing title track ends it all in
a gush of majestic revelry.
So goes the winding story that Iteration tells, and yet there's more
behind its telling. I try hard not to write from my personal life, but
it's inevitably going to seep into the music, Haley explains. It's
basically like I'm scoring this film in my head, but that film I'm
scoring is also somehow my life. There are glimpses of the
difficult time the East Coast native spent adjusting to a new life in
Los Angeles, fighting homesickness and burnout while also
touring the world. It was a time full of uncertainty, transition, and
self-realization. After a year and a half of living in California,
Hayley finally recaptured his creativity by finding new excitement
in his work. I put more air, more breathing room in the
music-that was the big change, he says. And once that clicked,
the album just poured out of him. It was like an information
dump. I feel like I finished the record in two weeks.
Such a clear refinement of the Com Truise sound took time to
develop, but Iteration is well worth the patience and persever- ance it cost. Some of Haley's smartest, catchiest work is here,
from the weightless pop of Isostasy to Ternary's lush
synth-funk. A song like Vacuume somehow balances massive
bass drops and smashing drums with angelic gasps, and
Usurper gracefully pairs subtle poignancy and uplifting dance
beats. For me, it feels like change, Hayley says of his second
album, and yes, this is Com Truise like never before. By embracing
the music's inherent nature and peerless qualities, Iteration finds
new avenues of expression in its vivid, familiar surroundings.1. ... Of Your Fake Dimension
11. When Will You Find The Limit...
12. Iteration$22.99Vinyl LP - 2 LPs Sealed Buy Now
Willie And The Boys: Willie's Stash Vol. 2Legacy Recordings is set to release Willie Nelson and the Boys, the eagerly-awaited second installment in the acclaimed Willie's Stash archival recordings series.
Following in the musical footsteps of 2014's December Day, the first volume in the Willie's Stash series (featuring Willie's Sister Bobbie), Willie Nelson and the Boys is another family collaboration, this time showcasing Willie and sons, Lukas Nelson and Micah Nelson, performing a selection of well-loved American country music standards and classics, including seven penned by the immortal Hank Williams Sr.
The Willie's Stash series will present a variety of archival releases, each personally curated by Willie Nelson, culled from decades of recording and touring, providing unique perspectives on one of America's most vital musical forces.
Consisting mainly of studio recordings laid down during the extraordinary 2011 sessions for Heroes, Willie's Legacy debut, Willie Nelson and the Boys (Willie's Stash, Vol. 2) is produced by Willie's longtime friend and collaborator Grammy-winning Buddy Cannon and recorded by Steve Chadie at Pedernales Recordings Studio in Austin, Texas.
Musicians on the album include Willie Nelson (vocals, Trigger), Lukas Nelson (vocals, electric guitar, resonator guitar), Micah Nelson (vocals), Mickey Raphael (harmonica), Kevin Swine Grantt (bass), Bobby Terry (acoustic guitar, electric guitar), Jim Moose Brown (piano, B-3 organ, Wurlitzer), Mike Johnson (steel guitar), Tony Creasman (drums), Barry Bales (upright bass on My Tears Fall) and Lonnie Wilson (drums on My Tears Fall). Move It On Over featured background vocals by the Spur Of The Moment Singers: Buddy Cannon, Mickey Raphael, Kevin Swine Grantt, Bobby Terry, Jim Moose Brown, Mike Johnson, Tony Creasman, Melonie Cannon, and Shannon Finnegan.
According to Willie, the album is ....kinda like the country version of 'Stardust.' Where you have all these great songs and standards that the young people have never heard, then all of a sudden you have a whole new audience out there.
I really love the live element of this record, said producer Buddy Cannon. There was a fire in the studio during those sessions, especially on these particular tracks. It was as though the band was in a Nashville honky tonk and Willie and Lukas strolled in and jammed with the band for an hour. That's what this record is. It's honest excitement. I've never cut a record before that has this element.... It's a great joy to see Willie, Luke and Micah all equally part of a record that I love so much.
Born in Austin, Texas and raised in Maui, singer/songwriter/guitarist Lukas Nelson entered the music scene as a youngster and, by the age of 13, had joined his father Willie Nelson's band, touring as rhythm guitarist and honing the stagecraft that lead to his own career. Moving to Los Angeles, he launched in own ensemble, Lukas Nelson & Promise Of The Real (POTR) in 2008; POTR served as Neil Young's back-up group on The Monsanto Years album and subsequent tour. Lukas and his father worked together on Willie's 2012 Legacy album, Heroes, which featured a number of father-and-son vocal-and-guitar duets.
Micah Nelson has performed with a variety of artists at events including FarmAid, Neil Young's Bridge-School Benefit, Desert Trip festival, Lightning in a Bottle, Coachella, Bonnaroo Festival as well as on TV shows such as Conan O'Brien, Jimmy Fallon, Jimmy Kimmel and more. Micah has been involved in the ensemble Insects vs. Robots, recorded and toured with Neil Young and made multi-instrumental contributions to the 21st century post-modern American rock band Promise Of The Real. Micah is currently the singer/songwriter/guitarist in his future-folk project Particle Kid.
Willie Nelson and the Boys (Willie's Stash, Vol. 2) is the artist's 10th release since signing to Legacy Recordings in 2012. His last Legacy album, God's Problem Child, was released on April 28, 2017 (the eve of Willie's 84th birthday on April 29) and promptly entered the Billboard Country chart at #1, making it the artist's second US country chart-topper in less than two years; Nelson's 6th Legacy release, Django and Jimmie, an unforgettable musical collaboration with Merle Haggard, debuted at #1 on the Billboard Country chart in June 2015.1. Move It On Over (Hank Williams Sr.)
2. Mind Your Own Business (Hank Williams Sr.)
3. Healing Hands Of Time (Willie Nelson)
4. Can I Sleep In Your Arms (Hank Cochran)
5. Send Me The Pillow You Dream On (Hank Locklin)
6. I'm So Lonesome I Could Cry (Hank Williams Sr.)
7. I'm Movin' On (Hank Snow)
8. Your Cheatin' Heart (Hank Williams Sr.)
9. My Tears Fall (Alyssa Miller)
10. Cold, Cold Heart (Hank Williams Sr.)
11. Mansion On The Hill (Hank Williams Sr. and Fred Rose)
12. Why Don't You Love Me (Hank Williams Sr.)$19.99Vinyl LP - Sealed Buy Now
Death To False MetalFirst Time On Vinyl
Mastered For Vinyl And Lacquers Created By Kevin Gray
Pressed On 180 Gram Black Audiophile Vinyl At RTI
Gatefold Jacket With A Matte Finish
11 X 22 Matte Insert
Limited And Hand Numbered
Death To False Metal is not a traditional collection of studio leftovers or songs from the vault, but a wholly original follow-up to Weezer's just-released Hurley. The album was created using the basic tracks of 10 previously unreleased recordings-nine never-before-heard songs plus one cover-to assemble a brand new and truly modern-sounding record. The result is an evolution for the band, a giant step forward with a nod to the past.
''These were great songs, great recordings, but for some reason they didn't make the final cut for previous records,'' Weezer frontman Rivers Cuomo stated. ''Some just weren't right for the albums we were recording at the time-just a bit ahead of their time or too 'rock.' Now, the time is right to introduce them. Together, they are the album that should logically follow Hurley.''
Featuring tracks the band originally began recording from the late '90s to late '00s, Death To False Metal was a labor of love for Cuomo and his co-producer Shawn Everett, as well as the entire band. Each track was individually evaluated by the production team of Cuomo and Everett to figure out how to make each of the songs reach their full potential, and ultimately fit harmoniously on the album. After that process, they then brought in each band member in to complete the parts needed. Some of the ten songs received a major overhaul, while others got the equivalent of a sonic tune-up.
''Turning Up The Radio'' is the result of Cuomo's 2008 collaborative YouTube project, ''Let's Write A Sawng,'' for which he invited fans to submit ideas. As they went through the steps of composing a tune, eventually, 15 people became involved. This track is one of only two songs not solely penned by Weezer for Death To False Metal.
''Blowin' My Stack,'' ''Losing My Mind'' (which features some of the most raw and personal emotions in a Weezer song), ''I'm A Robot,'' and a rock cover of the massive R&B hit ''Un-Break My Heart'' were all first recorded prior to the release of 2005's Make Believe. ''I Don't Want Your Loving'' was originally laid down as a demo for 2002's Maladroit. The abrasive punk-metal ''Everyone'' hails from post-1998 Pinkerton period, as does the pop song ''Trampoline.'' The piano-based ''Odd Couple'' and new-wave-style ''Auto-Pilot'' were laid down prior to 2008's Weezer (aka ''The Red Album'').
The title Death To False Metal comes from a phrase that Cuomo and his younger brother used when they were kids. Musical integrity was a matter of life or death then, and now the new album is a reminder of how important music is for both Weezer and their many fans. At a time when many of their contemporaries seem to have forgotten how to rock, Weezer is ready to teach them. Cuomo and fellow axe-slinger Brian Bell crafted nine epic guitar solos-one for nearly every song on Death To False Metal-and with the band's signature hooks in full effect, Weezer's school of rock is back in session.1. Turning Up The Radio
2. I Don't Want Your Loving
3. Blowin' My Stack
4. Losing My Mind
6. I'm A Robot
8. Odd Couple
10. Un-Break My Heart
11. Mykel & Carli$28.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now