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In The Air Tonight'
Face ValuePhil Collins Take A Look At Me Now Retrospective Reissue Campaign release
Remastered by Nick Davis
Initially released shortly after Collins' 30th birthday, Face Value was propelled to international multi-Platinum status with the help of the smash hit single In The Air Tonight. Other notable tracks on the album include the follow-up singles I Missed Again and If Leaving Me Is Easy, as well as Behind The Lines which was written with Collins' Genesis colleagues Tony Banks and Mike Rutherford.
The career of Phil Collins is one that, by any measure, stands among the most creative, prolific, and impressive in the history of modern music. It is a career that really has been many careers - musician, singer, composer, producer, actor - from art rock beginnings to pop stardom, from big band leader to film soundtracks and Broadway. It has been an exceptional musical life spanning four decades, some 100 million solo albums sold (250 million if you count his work with Genesis), an extraordinary string of hits, eight Grammy Awards, an Oscar, a Golden Globe, numerous industry accolades, and, above all, an inestimable influence on countless fellow artists and passionate fans around the globe.1. In The Air Tonight
2. This Must Be Love
3. Behind The Lines
4. The Roof Is Leaking
6. Hand In Hand
7. I Missed Again
8. You Know What I Mean
9. Thunder And Lightning
10. I'm Not Moving
11. If Leaving Me Is Easy
12. Tomorrow Never Knows$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
RitualIn This Moment's sixth studio album, RITUAL, will be released via Atlantic Records in partnership with Roadrunner Records.
Produced by longtime collaborator - and multiple GRAMMY® Award nominee - Kevin Churko (Five Finger Death Punch, Ozzy Osbourne), RITUAL sees In This Moment pushing their inimitably dark sound forward with a provocative sense of pervading doom and metallic blues power.
Highlights include a dramatic reimagination of Phil Collins' classic "In The Air Tonight" as well as "Black Wedding," a walk down the aisle of musical madness that sees lead singer Maria Brink sharing the mic with legendary Judas Priest frontman Rob Halford.
"It's like we're going into the next realm," says Brink. "I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I've never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it's without overt sexuality. It's that deeper serious fire inside of my heart."
"When fans hear this, I want them to feel the music, whether they take away sadness, anger, or happiness," adds lead guitarist Chris Howorth. "As a kid, I remember listening to records and putting them on repeat over and over again. I'd love for the world to listen and absorb this as a piece of work."1. Salvation
2. Oh Lord
3. Black Wedding (feat. Rob Halford)
4. In The Air Tonight
5. Joan of Arc
6. River of Fire
7. Witching Hour
8. Twin Flames
9. Half God Half Devil
10. No Me Importa
12. Lay Your Gun Down$24.99Vinyl LP - Sealed Buy Now
God Bless Tiny Tim (Pre-Order)
50th Anniversary Edition In Pink Colored Vinyl
Limited To 900 Copies
First-Ever Vinyl Reissue In The U.S
If you think, based on "Tiptoe Thru' the Tulips
with Me" and his nationally televised marriage
to Miss Vicki on The Tonight Show, that Tiny
Tim was a mere novelty act, think again. Behind
that ukulele, pasty white make-up, falsetto, and
prominent proboscis was a serious scholar of
American music, perhaps the only performer of
the '60s (and certainly the only performer of his
age group) keeping the torch alive for songs from
vaudeville and Tin Pan Alley.
Tim (born Herbert
Buckingham Khaury) also was blessed with a
stupendous vocal range, from baritone to his
trademark falsetto, and was adept on not just
ukulele but guitar, mandolin, and violin. Even with all that talent, though, had Tiny Tim
just made a straight '20s trad jazz/pop/folk album for his debut record, God Bless Tiny Tim
would not be the stone-cold cult classic it is today. But the album married Tim's innate
eccentricity with stupendously lush production from Richard Perry, who was fresh from
working on Captain Beefheart's debut, Safe as Milk, and would go on to produce everybody
from Diana Ross to Rod Stewart.
With Perry's production, and Artie Butler's arrangements,
God Bless Tiny Tim featured an incredible assortment of instruments, from didgeridoo
to koto to celeste to tympani, with nary a ukulele to be found on many of the tracks.
Furthermore, the album was sprinkled with some of the psychedelic fairy dust that was in
the air at the time (1968), full of non sequiturs both verbal and musical (like the cover of
Sonny Bono's "I Got You Babe"). The result: an album that stands outside of time, defying
categorization or description.
Now, to celebrate its 50th anniversary, Real Gone Music is
releasing God Bless Tiny Tim on LP for the first time since its original issue in the U.S. in
a pink vinyl edition limited to 900 copies. This record belongs in any serious-or not-soserious!-record
collection.1. Welcome to My Dream
2. Tip-Toe Thru' the Tulips with Me
3. Livin' in the Sunlight, Lovin' in the Moonlight
4. On the Old Front Porch
5. The Viper
6. Stay Down Here Where You Belong
7. Then I'd Be Satisfied with Life
8. Strawberry Tea
9. The Other Side
10. Ever Since You Told Me That You Love Me (I'm a Nut)
11. Daddy, Daddy, What Is Heaven Like?
12. The Coming Home Party
13. Fill Your Heart
14. I Got You, Babe
15. This Is All I Ask$25.99Colored Vinyl LP - Sealed PRE-ORDER Buy Now
Yours Conditionally (Awaiting Repress)
White Colored Vinyl
Critically acclaimed group Tennis is set for the release of their highly anticipated fourth full-length album, Yours Conditionally, on Mutually Detrimental via Thirty Tigers. The record was composed both on land and at sea during a five-month sailing trip through the Sea of Cortez. Upon returning, Tennis' husband-and-wife team of Patrick Riley and Alaina Moore self-produced the record in a small cabin in Fraser, CO. It was mixed by Spoon's Jim Eno at Public HiFi.
This summer the group premiered their first new music from the record, "Ladies Don't Play Guitar," hailed as "a smolderingly sardonic feminist anthem perfectly suited for social climate of today" by Consequence of Sound, while Stereogum noted that "even through her sardonic sneer, [singer Alaina] Moore's voice is as melodious as ever, and the song itself has that classic Tennis pep in its step. It's perfect for catching sun on the high seas, but is also much needed social commentary on the expectations placed on female musicians." The Verge added that the song is "a great introduction to their sound if you're unfamiliar: a wistful piano line, a biting, sarcastic vocal from Alaina Moore, and a little fuzz to keep things grounded."
Now based in Denver, Moore and Riley began writing music together as a way to document the history of their time living aboard a sailboat. The result was their first release, Cape Dory. Moore and Riley followed Cape Dory with Young and Old, which The New Yorker described as "winsome as it is ebullient" and debuted #1 on Billboard's Heatseeker Chart and #1 on CMJ Top 200, where it remained for three straight weeks. The album also debuted on Soundscan's "New Artist Chart" at #1, remaining there for nine consecutive weeks. Their newest record comes on the heels of the group's most recent release, 2014's Ritual in Repeat, which received rave reviews from The New York Times, NPR's "All Things Considered" and "Fresh Air," TIME, Vogue, Pitchfork, The FADER, Entertainment Weekly and many more. The band has performed on "The Late Show with David Letterman," "The Tonight Show with Jay Leno," "Conan" and "Last Call with Carson Daly."1. In The Morning I'll Be Better
2. My Emotions Are Blinding
3. Fields Of Blue
4. Ladies Don't Play Guitar
6. Baby Don't Believe
7. Please Don't Ruin This For Me
8. 10 Minutes 10 Years
9. Modern Woman
10. Island Music$19.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now