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Late Night Tales'
Late Night Tales: Django DjangoDjango Django is the latest band invited to curate a prestigious Late Night Tales collection, set for release on 5th May. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics' end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).
Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it's no surprise to learn that Django producer/drummer Dave Maclean's brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).
"Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs," is how Django Django describe themselves. Which is another way of saying they're pop adventurists, as at home with Mad Mike's Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.
Check out mixes that rock between two-step delights like Roy Davis Jr's 'Gabrielle' to Nilsson's lyrically winsome 'Coconut'. At one end of the Django spectrum there's James Last, the terminally unhip Teuton, whose 'Inner City Blues' shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman ('Bass Drums') and Hudson Mohawke and Lunice collaboration TNGHT's 'Bugg'n'. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless 'Surf's Up' makes a welcome appearance halfway through, while Seals & Crofts' "Sweet Green Fields" show what sun-drenched pop can sound like when it's done well. And because it's Late Night Tales there's a sparkling cover version of 'Porpoise Song', the theme from The Monkees daffily brilliant 'Head', an admirably lysergic termination to this waltz through pop's nooks and cranberries. "You should never be afraid to make a fool of yourself for art," Dave Maclean once said. Let's raise a dram to Scotland's favourite fools on the hill.
"We wanted to produce a mix that represented the band. It's what we're all into, so everyone put forward suggestions. It's what we are as a band; and we're kids that have grown up with an obsession about our mum and dad's record collections, like '50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents' collections, with our tastes mixed in. Our Late Night Tales pays homage to that."
Dave Maclean (Django Django)LP1
1. Leo Kottke - The Tennessee Toad
2. Gulp - Game Love
3. Bob James - Nautilus
4. James Last - Inner City Blues
5. Philip Glass - Floe
6. Map Of Africa - Bone
7. Seals & Crofts - Sweet Green Fields
8. The Millennium - To Claudia On Thursday
9. The Beach Boys - Surf's Up
10. Primal Scream - Carry Me Home
1. Massive Attack - Man Next Door
2. TNGHT - Bugg'n
3. Outkast - Slum Beautiful
4. Timmy Thomas - Why Can't We Live Together
5. Harry Nilsson - Coconut
6. Canned Heat - Poor Moon
7. Rick Miller - Future Directions
8. Django Django - Porpoise Song
9. Benedict Cumberbatch - Flat Of Angles pt.4$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Late Night Tales Presents Automatic SoulIt is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to
this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.
You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.
The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's
'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.
Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played.
It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's
a pretty personal journey, which I hope some of you might be willing to share
- Tom Findlay Groove Armada September 2014Unmixed Tracks
1. Rene & Angela - I'll Be Good
2. Zapp - Heartbreaker - parts 1 & 2
3. Timex Social Club - Rumors
4. Mtume - Juicy Fruit
5. Sugardaddy feat. Ronika - Don't Look Any Further
6. Meli'sa Morgan - Fool's Paradise
1. George Franklin Smallwood & Marshmellow Band - You Know I Love You
2. Royalle Delite - I'll Be A Freak For You
3. Bits & Pieces - Don't Stop the Music
4. Donna Allen - Serious (
5. Change - Change Of Heart
6. The Gap Band - I Owe It To Myself
1. 52nd Street - You're My Last Chance
2. Thelma Houston - You Used To Hold Me So Tight
3. Alexander O'Neal - What's Missing
4. Aurra - You And Me Tonight
5. Samson & Delilah - I Can Feel Your Love Slippin' Away
6. Sharon Brown - I Specialize In Love$35.99Vinyl LP - 3 LPs Sealed Buy Now
Late Night Tales: BADBADNOTGOOD (Unmixed) (Awaiting Repress)Canadian quartet BadBadNotGood take on creating the ultimate "late night" selection of tracks from their record collections.
The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, with whom they made 2015's Sour Soul. Their last album, the critically-acclaimed IV, turned heads and their collaborators continue to multiply: Snoop Dogg, Kaytranada and Kendrick Lamar among them.
"We were really excited to have the chance to put together a LateNightTales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people.
Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf. These artists, as well as many, many others, have influenced us to create, and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation."
- BADBADNOTGOOD May 2017
You can even hear little bits of BadBadNotGood through this mix, as though they are transmitting parts of themselves through the music they select. Perhaps the keys on Admas' hilariously expensive 'Anchi Bale Game', maybe, or the arrangements on Delegation's mighty Britsoul tune 'Oh Honey' or the groove from 'Vida Antiga', Erasmo Carlos' Brazilian classic. As Janis almost sang, take another little piece of my art.
This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there's the no-small-matter of the Late Night Tales cover version, in which BadBadNotGood take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
Badbad, indeed: so good they said it twice.LP 1
1. Boards Of Canada - Olson
2. Erasmo Carlos - Vida Antiga
3. Gene Williams - Don't Let Your Love Fade Away
4. The Chosen Few - People Make The World Go Round
5. Esther Phillips - Home Is Where the Hatred Is
6. Delegation - Oh Honey
7. Velly Joonas - KÄes on aeg
8. Stereolab - The Flower Called Nowhere
9. Kiki Gyan - Disco Dancer
10. Admas - Anchi Bale Game
1. Francis Bebey - Sanza Nocturne
2. Thundercat - For Love I Come
3. River Tiber Ft. Daniel Caesar - West
4. Charlotte Day Wilson - Work
5. The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
6. Donnie & Joe Emerson - Baby
7. Les Prospections - Lido
8. Grady Tate - And I Love Her
9. Badbadnotgood - To You (Exclusive Andy Shauf cover version)
10. Steve Kuhn - The Meaning Of Love
11. Lydia Lunch - You, Me and Jim Beam (Exclusive Spoken Word Piece)$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Profile: Best Of Emmylou HarrisAlready celebrated as a discoverer and interpreter of other artists' songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs-three of them co-written with Grammy- and Oscar-winning composer Will Jennings-that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons ("The Road") and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle ("Darlin' Kate") and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On "My Name Is Emmett Till" she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim's perspective; on "Goodnight Old World," she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up's world-weariness with a baby's wide-eyed wonder. "Big Black Dog," with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte's Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: "She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I'm making up for lost time now, that's for sure."Few in pop or country music have achieved such honesty or revealed such maturity in their writing.
Forty years into her career, Harris shares the hard-earned wisdom that-hopefully if not inevitably-comes with getting older, though she's never stopped looking ahead. The candor of Harris's words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she'd previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris's acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves-employing piano, pump organ, and synths as well as playing percussion-conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, "a floaty, dreamy quality.""It's such a beautifully realized sound," says Harris. "We didn't have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on 'My Name Is Emmett Till.' It's a simple part but it just breaks my heart whenever I hear it. It's like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I've been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable."On "The Road,"1. One Of These Days
2. Sweet Dreams
3. To Daddy
4. (You Never Can Tell) C'est La Vie
5. Making Believe
6. East From Now On
7. Together Again
8. If I Could Only Win Your Love
9. Too Far Gone
10. Two More Bottles Of Wine
11. Boulder To Birminham
12. Hello Stranger$21.99Vinyl LP - Sealed Buy Now
REDI-LAT-2587xRae & Christian
Mercury Rising'Mercury Rising' is the third studio album to be released by Rae & Christian. The duo weave together exceptional musicianship paired with a British song writing sensibility and the finest elements of studio production. 'Mercury Rising' was created at producer/musician Steve Christian's studio in Yorkshire with additional recording at songwriter/vocalist/DJ Mark Rae's London base. In London a song writing bond was formed with Ed Harcourt and Gita Langley who make excellent contributions with vocals, songs, strings and keys. Sam Genders of Diagrams threads a story of redemption lost on the Ubahn on '1975', Kate Rogers is on imperious form and rising star Jake Emlyn unravels a whole new level of microphone skills on 'Favourite Game'. The international guests include the one-and-only Jazzy Jeff and Australia's Agent 86 dealing out world class scratch treatments on 'Check The Technique' (Tony D's vocals taken from a session recorded at the birth of Grand Central Records), Brooklyn rapper Masta Ace and Mark Foster of Foster The People, a collaboration born from Mark's L.A. excursion.
'Mercury Rising' is the first new material in many years from R&C. Their 1998 Mercury Music Prize nominated debut 'Northern Sulphuric Soul' (Vitally fresh and timelessly classic deserving a place alongside Massive Attack's Blue Lines" Uncut) and 2002's 'Sleepwalking' (Another triumph, brimming with soulful, languid grooves, deft samples and well-chosen guest singers" Q Magazine) were both released on their Grand Central Records label (Aim, Riton, Boca 45, Only Child), a defining imprint of the late 90s soul/funk/hip-hop/beats scene. Guest vocalists over the two albums included Bobby Womack, Texas, The Congos, The Pharcyde, The Jungle Brothers and Jeru The Damaja.1. Happy - Featuring Mark Foster
2. Check the Technique - Featuring Tony D, Jazzy Jeff, Agent 86
3. 1975 - Featuring Diagrams
4. Still Here - Featuring Gita Langley
6. Dancr - Featuring Mel Uye Parker
7. The Ballad of Roza Shanina - Featuring Ed Harcourt
8. Still life Freefall - Featuring Kate Rogers
9. A2B - Featuring Mystro, Masta Ace and Pete Simpson
10. Favourite Game - featuring Jake Emlyn
12. Mercury Rising$35.99Vinyl LP - 2 LPs Sealed Buy Now
LandNovella's formation was the result of an instant spark-guitarist Hollie Warren,
guitarist Sophy Hollington, and bassist Suki Sou met through mutual friends in
Brighton in 2010, where they quickly realized that they shared a common
love for '60s counterculture and bands like Black Sabbath, the Brian Jonestown
Massacre, and Pale Saints. The addition of drummer Iain Laws in 2011
and keyboardist Isabel Spurgeon in 2014 solidified the group into a propulsive
engine, capable of welding woozy, cosmic psychedelia to sustained
squalls of flanged-out, far-out dream pop. Novella's debut album, Land, is a
controlled blast of mainlined electricity, a tempest of relentless groove and
crystalline vocals that is at once the vicious edge and the calm eye of the
Recorded during one ice-cold week in January of 2014 by Jonas Verijnen
(Moon Duo, Ballet School) and Joshua Third (The Horrors) in an abandoned
clothing factory-turned-studio in Dalston, East London, Land perfectly absorbs
the band's vast array of influences and transforms them into songs
that Fact Magazine described as "equal parts effete jangle and ferocious
riffage." Combining London gloom and cosmic escapism, Sou and Laws
channel Can and the 13th Floor Elevators on the krautrock-inspired jams like
"Follow" and "Something Must Change," while Warren and Hollington stomp
their homemade flanger and phaser pedals to create dueling arcs of electric
guitars. As the band churns and riffs, the girls' voices soar brilliantly, their
glassy clarity recalling the Lynchian shoegaze of Lush or Stereolab. During
quieter, more reflective songs like "Sentences" and "Younger Than Yesterday,"
there are echoes of eerie psychedelia like Broadcast, evident in the myriad
of flutes, synths, and Fender Electric XII guitars.
On Land, Novella captures the wild spirit of creating something new from
pieces of the past. They ward off the overcast London melancholy with
evocative tales of weightless meandering, of drifting over the pavement of
familiar streets while dreaming about exploring fantastical alien landscapes.
These are the yarns of twenty-somethings in limbo, a collection of late night
tales that more often end in avoided glances than locked eyes1. Follow
2. Something Must Change
4. Two Ships
5. Land Gone
7. Blue Swallows
8. Younger Than Yesterday
9. Again You Try Your Luck
10. Skies Open$24.99Vinyl LP + 7 Vinyl Single - Sealed Buy Now
Run River North
2-LP Gatefold Package With Bonus Track
"Run River North stays the course - and finds success." - NPR
"Snappy rock and chamber folk frames their tales of their parents' dreams and struggles to find purchase in America."
- Wall Street Journal
"the band's ambitious folk pop instrumentals, and embellished with frontman Alex Hwang's dulcet, Ben Gibbard-like tones,
is a sense of possibility" - MTV World
In the course of several months, Run River North went from playing a handful of hometown shows in Los Angeles to
performing to an audience of millions on late-night show Jimmy Kimmel Live! It was an explosive trajectory for the sextet,
whose uplifting anthems march to the beat of drums, jangling guitars and a rapturous string section. The rapid ascent from
obscurity launched a new chapter for the band (then called Monsters Calling Home), whose upcoming full-length self-titled
debut ventures further into effervescent rock anchored with a down-home aesthetic.
The band recorded their self-titled debut with producer Phil Ek (Fleet Foxes, Built to Spill, Band of Horses). The songs ebb
and flow with optimism, traversing emotional and musical landscapes woven into the strings duo of Daniel Chae and
Jennifer Rim, alongside the galloping rhythm section of bassist Joe Chun, keyboardist Sally Kang and drummer John
Chong. Together, their voices coalesce as one, a chorus calling out with a gentle urgency. The music of Run River North
explores the ever-shifting search for self, from the energetic indie-rock interludes to the lonesome guitar strums, always
asking the question: Is home a place or is it the people in your life? "We're not a posh, polished pop sound," says Alex
Hwang, Run River North's singer/songwriter. "We have stories we want to tell and they take a little more time. After all, the
journey to find your place is a long one, it's an ongoing, evolving adventure."1. Monsters Calling Home
3. Lying Beast
4. Run River North
5. Growing Up
6. Fight To Keep
7. In The Water
11. Banner$25.99Vinyl LP - 2 LPs Sealed Buy Now
Little Death ShakerStripped 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
5. You'll Never Surf Again
6. Don't That Lake Just Shine
8. A Little More Credit
9. Some Kind of Fool
10. You're Not Standing Like You Used To
12. Meridian, MS
13. Allegiance 2$19.99Vinyl LP - Sealed Buy Now
ADAD-SEC-1019xThe War On Drugs
Lost In The DreamLost In The Dream is the third album by Philadelphia band The War on Drugs,but in many ways,it feels
like the first. Around the release of the 2011 breakthrough Slave Ambient,Adam Granduciel spent the
bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late night television slots. As these dozen songs shifted and grew beyond what they'd been in the studio, The War on Drugs became a bona fide rock 'n'roll band.
That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff
Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played
and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist
in the world), who had played a bit on The War on Drugs' 2008 debut Wagonwheel Blues, and pianist
Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight
months bouncing between a half-dozen different studios that stretched from the mountains of North
Carolina to the boroughs of New York City. Only then did Granduciel-the proudly self-professed
gearhead, and unrepentant perfectionist-add and subtract, invite guests and retrofit pieces. He
sculpted these songs into a musical rescue mission, through and then beyond personal despair and
anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination.
"I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the
band cares about it so much,"he says."That is the crux of it-growing up,dealing with life,having close
friends, helping each other get by. That is what the record's all about.
As such, these tunes reveal a careful and thrilling reinvention of the sound that's become The War on
Drugs' trademark. The signature meld of long tones and scatter shot layers still stands, with phantom
drum machines and organ lines dotting the musical middle distance all across Lost In The Dream.Note
the way the keys whisper against the guitar's growl as the tempestuous"An Ocean in Between the Waves"
approaches pentecostal heat. Hear how,when a sharp and hard riff cuts into the inescapable chorus of
"Red Eyes," synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there's a
new found directness to these tunes, too. Granduciel's voice steps out from behind its typical web of
effects-louder now, with more experiences to share and more steel from having survived them. He
sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of
that idea. With its crisp, unencumbered delivery, "Eyes to the Wind" becomes the album's centerpiece
and the group's new anthem.This is Granduciel's to-date triumph and the exact moment where Lost In
The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips
loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling
Thunder lift of "Eyes to the Wind," Granduciel finds new contentment and direction. Anguish
sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.1. Under The Pressure
2. Red Eyes
4. An Ocean In Between The Waves
6. Eyes To The Wind
7. The Haunting Idle
9. Lost In The Dream
10. In Reverse$21.99Vinyl LP - 2 LPs Sealed Buy Now
Uptown SpecialUptown Special, the fourth album by producer-songwriter-musician Mark Ronson, is a tale of several cities, a wide range of collaborators, and a road trip deep into the American South. However the story of Ronson's latest project really starts back when he was New York's hottest DJ.
In the late 1990s into the early 2000s the New York club scene was percolating with booming hip-hop and glitzy R&B. In those days before he emerged as a multi-talented musical force Ronson manned the turntables of many great parties. "It was a fun time to be playing music," he says. "At clubs like Cheetah you didn't have to play a hip hop record until 1a.m. You could play early '80s classics by Chaka Khan, Boz Scaggs and Michael Jackson and rock the crowd. I'd play Steely Dan's 'Black Cow' at 11:30 and it world work. Then, at 1am you'd play 'Hypnotize' by Biggie and the crowd would go wild. I come back to those memories."
This mix of vintage R&B and pop with contemporary hip-hop is what made Ronson a star DJ. "I never get tired of hearing records like Earth, Wind & Fire's 'Can't Hide Love' next to 'Rock the Boat' by Aaliyah," says Ronson. "I wanted this record to feel like hearing that kind of musical mix on great New York club night."
Uptown Special has all of the flavor of a night with Mark rocking the ones and twos with funk, soul, and psychedelic pop in a style that echoes classic productions by Quincy Jones and Steely Dan, and funneled through its creators sophisticated understanding of arrangement and melody. Of his three previous albums Mark feels like Uptown Special is closest in spirit to his 2003 debut, Here Comes the Fuzz, which came directly out his DJ experience. "The difference," Mark says "is I was reaching for things musically I wasn't quite ready to execute. With all the experience I've gained over the years I had the maturity and knowledge to really pull this together."
The first single, "Uptown Funk," features GRAMMY® award-winning superstar Bruno Mars on vocals and drums, who sings with passion and plays drums with fire that will bring funk back on the radio. Joining Mars on the track is Mark on guitar, Mars' bassist Jamareo Artis and Jeff Brasker on keys. Mark produced Mars' massive hit single, "Locked Out of Heaven," where they developed a close musical kinship. "As a live performer no one out here now puts on a show like Bruno," says Mark. "This record has that same intensity. When you hear him sing you are always aware of how much he puts into a performance." Mark was so taken with the single's power that it inspired the album's title.
Though Ronson is now based out of London, most of Uptown Special was recorded in the United States with stops in Los Angeles, Memphis and Mississippi. Most of the music was recorded with live musicians with Mark anchoring the sessions on guitar, while surrounded by a complimentary mix of gifted young players and R&B vets. Several musicians, who worked with Mark on his historic production of Amy Winehouse's multi-platinum Back To Black and his own breakthrough album, 2007's Version, rejoined him for this album, including drummer Homer Steinweiss, bassist Nick Movshan and guitarist Tommy Brenneck. Also making guest appearances on 'Uptown Special' are bassist Willie Weeks (who played on Stevie Wonder's classic Innervisions) guitarist Carlos Alomar (who created the familiar guitar riff on David Bowie's "Fame") and drummer Steve Jordan (member of the John Mayer Trio).
Mark Ronson's Uptown Special is a unique blend. It's an album with a serious literary pedigree matched to down home greasy funk. It features a progressive pop vocalist from Australia and one reared in Mississippi, the spiritual root of American music. Hot young contemporary players dominate while some tracks are spiced with legendary musicians. It's a mix that reflects the musical taste and life experience of its creator.1. Uptown's First Finale
2. Summer Breaking
3. Feel Right
4. Uptown Funk
5. I Can't Lose
7. Crack In The Pearl
8. In Case Of Fire
9. Leaving Los Feliz
10. Heavy And Rolling
11. Crack In The Pearl pt. II$21.99Vinyl LP - Sealed Buy Now
Your Funeral...My TrialReduced to a quartet for the most part, with Barry Adamson joining Nick Cave, Blixa Bargeld, Mick Harvey and Thomas Wydler on only a couple of tracks, the Bad Seeds turn from the interpretive triumph of Kicking Against the Pricks to another strong high, the mostly-original Your Funeral...My Trial. The one cover is a sharp, unsurprisingly dramatic version of Tim Rose's Long Time Man. As for the rest of the album, Trial shows the Seeds working as, again, a remarkably accomplished and varied act, ever available and ready to explore a wide range of musics distilled into Cave's often dark, always passionate vision. Arguably Cave and company have by now so clearly established their overall style that Your Funeral...My Trial is much more a refinement of the past than anything else, but so good is their work that resistance is near impossible. If anything, the brooding power of the Seeds is more restrained than ever, suggesting destructive endings and overwhelming love without directly playing it. Songs like Jacks Shadow and the gentler but still melancholy moods of Sad Waters, detailing a riverside scene between a couple, are simply grand. The opening title track sets the mood well, Cave handling not merely vocals but Hammond organ, adding a strangely sweet air to the late-night atmosphere of the piece. The Carny is a definite highlight, the cracked music-box/carnival accompaniment courtesy of Harvey utterly appropriate for Cave's tale of a circus gone horribly wrong in ways Edward Gorey would appreciate. Hard On for Love, as the title pretty clearly gives away, is at once sensual and blunt right down to the lyrics, Biblical references and all, as the feverish music rises in a tide of emotion.
- Ned Raggett (All Music)1. Sad Waters
2. The Carny
3. Your Funeral, My Trial
4. Stranger Than Kindness
5. Jack's Shadow
6. Hard On for Love
7. She Fell Away
8. Long Time Man$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Basement TapesRanked 291/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Recorded in Basement of Big Pink with The Band: Modern Americana Starts Here
Audiophile Sound at Last: Sonic Subtleties, Loose Interplay, Organic Spirit, Warm Textures Presented Like Never Before on Definitive Mobile Fidelity Reissue
Dylan at His Most Humorous, Unguarded, Loose: Folk Tales, Weird Narratives, Rock Ballads, Inside Jokes, Allusions Pepper Alchemic Material
Includes This Wheels on Fire, You Aint Goin Nowhere, Tears of Rage, Million Dollar Bash, Yazoo Street Scandal
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and Blood on the Tracks Also Available from Mobile Fidelity
Basements have long been associated with raw, off-the-cuff rock n roll, the damp and dark spaces serving as the woodshedding venues for countless bands. Yet no basement is more famous, and none yielded music as familiarly weird, wholesomely American, joyously loose, and identifiably humorous as that in the upstate New York house dubbed Big Pink the location where, during the summer and early fall of 1967, Bob Dylan and The Band played a vivid tapestry of covers, originals, and traditionals that signaled the advent of Americana. Once again, the Bard changed the world.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of The Basement Tapes ever produced and the first-ever analog reissue. Inimitable, the particulars of The Basement Tapes especially, the gather-round-in-a-huddle assembly of the instrumentalists, home-made character, domestic vibe, and low-volume nature of the recordings come to fore here in a manner that takes the listener down the stairs at 2188 Stoll Road and brings the images of Dylan, Rick Danko, Robbie Robertson, and Co. to life.
Fresh off experiencing a motorcycle accident and the wrath of audiences hostile to his embrace of amplified music, Dylan elected to retreat to the comforts of rural and family life. He soon began collaborating with members of the Band in his house, ultimately moving the sessions to Big Pink. Informal, peaceful, relaxed, open-minded: The collaborations blanket country stomps, roots hootenannies, forgotten spirituals, earthy originals, chaotic marches, dreamscapes, dance tunes, folk laments, catch-as-you-can improvisations. On The Basement Tapes, mythical ghosts and dead legends reappear, reveling in the absurdity, comedy, mystery, aura, and alchemy.
In Invisible Republic, his scintillating book about the sessions, cultural critic Greil Marcus states: At a time when the country was tearing itself apart in a war at home over a war abroad, the music was funny and comforting; it was also strange, and somehow incomplete. Out of some odd displacement of art and time, the music seemed both transparent and inexplicable when it was first heard, and it still does. Indeed, The Basement Tapes appear to emanate from an indefinable chasm between modern and ancient, self-evident and mysterious, shapeless and fully formed, abstract and concrete, histories unwritten and chronicled. But every note chimes with freenessa liberating fun, humble simplicity, and bond-creating camaraderie felt in every hoot, holler, laugh, and false start.
The Basement Tapes capacity to remain so gloriously honest and timeless performances that genuinely could've been made today, ten years from now, or back in the 1930's helps account for their emotional resonance and unsurpassed reputation as a snapshot of how unencumbered American music, and art with deep historical roots and connective cultural tissues, is supposed to sound.
Mobile Fidelity's reissue squares away the late-night bleariness, jovial atmosphere, low-ceiling dimensions, and ensemble-based perspective of the sessions, allowing the listener to become Hamlet, the dog who slept nearby Dylan, Robertson, and Co. as it all went down. This is not to be missed.
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for discount.1. Odds and Ends
2. Orange Juice Blues (Blues for Breakfast)
3. Million Dollar Bash
4. Yazoo Street Scandal
5. Goin to Acapulco
6. Katies Been Gone
7. Lo and Behold
8. Bessie Smith
9. Clothes Line Saga
10. Apple Suckling Tree
11. Please Mrs. Henry
12. Tears of Rage
13. Too Much of Nothing
14. Yea! Heavy and a Bottle of Bread
15. Aint No More Cane
16. Crash on the Levee (Down in the Flood)
17. Ruben Remus
18. Tiny Montgomery
19. You Aint Goin Nowhere
20. Dont Ya Tell Henry
21. Nothing Was Delivered
22. Open the Door, Homer
23. Long Distance Operator
24. This Wheels on Fire$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
LiveSundazed Music is proud to present a genuine psychedelic landmark: Live by Moby Grape, the first official collection of concert recordings by the legendary San Francisco band at its blazing late-Sixties peak. At that time, in rock's hippest city, there was no other band like the original Grape: Jerry Miller, Skip Spence, Bob Mosley, Peter Lewis and Don Stevenson. Their Columbia debut LP, Moby Grape, issued in June 1967, is still acclaimed as one of the greatest rock albums evera thrilling union of blues, soul, country, surf twang and day-glo garage rock, packed into original killer-pop songwriting. Even as extreme Columbia hype, devastating business hassles and Spence's tragic mental collapse threatened to blow up the band, the Grape continued to make immortal albums, including 1968's Wow and the magnificent Moby Grape '69.
But the records told only half of the tale. Moby Grape, in their prime, were also one of the Bay Area'sand America'sbest stage bands, like the Beatles and Rolling Stones in one, with a breathtaking triple-guitar attack and stunning vocal harmonies.
Live is the long-awaited proof. It features more than an hour of dynamite performances from soundboard and broadcast tapes, including tracks from the Avalon Ballroom in 1967 and the band's complete long-lost set at the Monterey Pop Festival, just a week after Moby Grape came out. There are live versions of the great rare Grape songs Rounder and Looper and five tracks from a famous Dutch radio show featuring the hard-charging '69 lineup of Miller, Mosley, Lewis and Stevenson.
And Live climaxes with the historic first-ever release of Spence's acid-guitar masterpiece Dark Magicnever recorded in the studio by the original band but presented here in an epic 17-minute performance at the Avalon, on New Year's Eve 1966. Moby Grape were the hottest band in town that night, with the whole rock & roll world ahead of them. And they sound like it. These four-decade-old recordings have been spectacularly mastered, in you-are-there fidelity, and this album comes with sumptuous packaging and rare photos, in true Sundazed style, plus liner notes by Rolling Stone writer and Moby Grape authority David Fricke. Live presents, at last, the untold part of Moby Grape's incredible story. It is San Francisco psychedelia at its zenith and the best historical rock release of the year.1. Ain't No Use (Avalon Ballroom, San Francisco, 1967)
2. Rounder (Avalon Ballroom, San Francisco, 1967)
3. Looper (Avalon Ballroom, San Francisco, 1967)
4. Bitter Wind (Avalon Ballroom, San Francisco, 1967)
5. Changes (Avalon Ballroom, San Francisco, 1967)
6. Indifference (Avalon Ballroom, San Francisco, 1967)
7. Someday (Avalon Ballroom, San Francisco, 1967)
8. Introduction (Monterey International Pop Festival, 1967)
9. Indifference (Monterey International Pop Festival, 1967)
10. Mr. Blues (Monterey International Pop Festival, 1967)
11. Sitting by the Window (Monterey International Pop Festival, 1967)
12. Omaha (Monterey International Pop Festival, 1967)
13. Sweet Little Angel (San Francisco, 1967)
14. Murder in My Heart for the Judge (RAI, Amsterdam, Netherlands, 1969)
15. I Am Not Willing (RAI, Amsterdam, Netherlands, 1969)
16. Trucking Man (RAI, Amsterdam, Netherlands, 1969)
17. Fall on You (RAI, Amsterdam, Netherlands, 1969)
18. Omaha (RAI, Amsterdam, Netherlands, 1969)
19. Dark Magic (Avalon Ballroom, San Francisco, 1966)$36.99Vinyl LP - 2 LPs Sealed Buy Now