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Walk Away ReneeLong Awaited Reissue of the 1967 Debut by the Baroque Rock Legends Sourced from the Original Stereo Master Tapes
The work of the Left Banke has long been an elusive holy grail for vintage pop fanatics. The legendary baroque rock combos work ranks with the greatest American music of the 1960s, and remains beloved by discerning pop connoisseurs around the world. Out of print for decades and despite its longstanding unavailability, the Left Bankes music has attained an ever-increasing level of prestige over the years, and continues to exercise a powerful mystique amongst the groups legion of admirers.
The Left Bankes 1967 debut album Walk Away RenÉe/Pretty Ballerina is widely regarded as one of the greatest debut albums of the 60s, thanks to frontman Steve Martins evocative lead vocals, the haunting harmonies of band members Tom Finn and George Cameron, the ambitious songwriting of keyboardist Michael Brown, and exquisite, classically-influenced arrangements that were unlike anything else in popular music at the time. Walk Away RenÉe, released the previous year as the bands first single, remains one of the eras most recognizable (and most-covered) standards. In addition to Walk Away RenÉe and its followup hit Pretty Ballerina, the album also features such memorable numbers as She May Call You Up Tonight, Barterers and Their Wives and Shadows Breaking Over My Head.
The long-awaited reissue of this classic debut on 180 gram vinyl LP has been sourced from the original stereo master tapes and includes the albums original track listing.1. Pretty Ballerina
2. She May Call You Up Tonight
3. Barterers And Their Wives
4. I've Got Something On My Mind
5. Let Go Of You Girl
6. Evening Gown
7. Walk Away Renee
8. What Do You Know
9. Shadows Breaking Over My Head
10. I Haven't Got the Nerve
11. Lazy Day$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Left Banke TooBeloved 1968 Lost Classic Available Again After More Than 40 Years!
Sourced from the Original Stereo Master Tapes
The Left Banke was one of the most distinctive pop bands of the 60s, renowned for the unique baroque rock that allowed them to stand out during that heady musical era. While the bands 1967 debut album, and its signature hits Walk Away RenÉe and Pretty Ballerina have long been acknowledged as classics, the bands 1968 sophomore effort The Left Banke Too has maintained a persistent under-the-radar mystique, beloved by a loyal cadre of followers yet little-known by the general public.
The Left Banke Too emerged from a turbulent period of the bands brief but eventful history. Despite the success of their 1967 debut album Walk Away RenÉe/Pretty Ballerina, the Left Bankes lineup splintered soon after its release, with keyboardist and main songwriter Michael Brown exiting the group. His former bandmates Steve Martin, Tom Finn and George Cameron regrouped and rose to the occasion for The Left Banke Too, crafting a musically inventive, emotionally evocative set thats every bit as magnificent as its predecessor.
The trios exquisite vocal interplay and adventurous songwriting are prominent on such intoxicating tracks as Theres Gonna Be a Storm, Goodbye Holly, Dark Is the Bark and the Brown-penned Desiree, which is widely regarded as one of the groups greatest studio achievements. Several of The Left Banke Toos tracks also feature backing vocals by a young Steven Tyler, several years before he achieved stardom with Aerosmith.
This lost classic is once again available on 180 gram vinyl LP and has been sourced from the original stereo master tapes.1. Goodbye Holly
2. Theres Gonna Be a Storm
3. Sing Little Bird Sing
4. Nice to See You
5. Give the Man a Hand
6. Bryant Hotel
7. Desiree* (mono)
8. Dark is the Bark
9. In the Morning Light
10. My Friend Today$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Crown SoundtrackPressed On Double 180-Gram Audiophile Vinyl
First Pressing Of 750 Individually Numbered Copies On Silver Crown Vinyl, Black Vinyl Thereafter
PVC Protective Sleeve
Music From The Golden Globe 2017 Awards Winning Netflix Drama Series
Main Theme By Hans Zimmer, Music By Rupert Gregson-Williams
The Crown is a drama television series, created and written by Peter Morgan and produced by Left Bank Pictures and Sony Pictures Television for Netflix Original. The show is a biographical story about the early reign of Queen Elizabeth II of the United Kingdom.
The first season was released in its entirety in November 2016. Reception to the series was overwhelmingly positive, with critics praising cast performances, direction, writing, cinematography, production values, and relatively accurate historical accounts of Queen Elizabeth's reign. A second season has been commissioned.
Netflix got one of Hollywood's most prolific and prestigious musicians to compose The Crown's main theme: Hans Zimmer. The 10-time Oscar nominee has gifted us with some of the most iconic soundtracks of our time including The Dark Knight, Inception, and his Academy Award-winning music for The Lion King.
The rest of the music in the series was written by Rupert Gregson-Williams, another Hollywood composer whose work you may be familiar with from the likes of Hotel Rwanda, The Legend Of Tarzan, Hacksaw Ridge and Over the Hedge.
The Crown received two awards at the Golden Globes 2017; best performance by an actress in a television drama (for Claire Foy) and the crown jewel award, best television series drama.LP 1
1. The Crown: Main Title (Hans Zimmer)
2. Duck Shoot
5. The Letter
7. Edward Returns
8. In This Together
1. Margaret And Townsend
2. The Anointing
3. Someone Remarkable
4. Where Does That Leave Me?
5. Margaret Calls Elizabeth
6. Bit Of Fluff
7. Dressing Down
8. Mary Is Dead
9. Mary And Edward
10. Chasing Margaret
11. Head Of The Family$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
BeginThe Millennium looms large in the hearts of fans of the '60s sunshine pop genre. The studio group was the creation of legendary tunesmith/studio genius Curt Boettcher, who had previously been instrumental in the formation of the fabled '60s cult acts the Ballroom and Sagittarius. In 1968, Boettcher assembled a group of talented California singers and musicians (including singer/guitarists Lee Mallory, Sandy Salisbury, Joey Stec and Michael Fennelly and Music Machine drummer Ron Edgar) to record the Millennium's sole album, Begin.
Begin, produced by Curt Boettcher and Keith Olsen, with assistance by California rock legend Gary Usher, is an exquisite progressive pop opus, combining breezy melodies, ambitious baroque arrangements, stirring psychedelic touches and angelic vocal harmonies to create a suite-like concept album that perfectly captures the optimistic mood of the time in which it was made.
At the time the most expensive rock album that Columbia Records had ever financed, Begin proved to be too melodic for the emerging underground FM radio format and too avant-garde for AM Top 40. Although it didn't find a large audience at the time of its release, Begin is now acknowledged as a landmark work and a sunshine-pop cornerstone. It retains a loving place in the hearts and minds of its fans, who hold it in the same high esteem as the works of such harmony-driven '60s acts as the Beach Boys, the Left Banke and the Mamas and the Papas.
Begin is an absolute must for any fan of '60s pop and vintage psychedelia. Sundazedï¿½s CD edition of the album adds two rare bonus tracks and extensive liner notes to the original album, while the vinyl version is an exact replica of the original 1968 LP. Both versions are sourced from the original stereo masters.'1. Prelude
2. To Claudia on Thursday
3. I Just Want to Be Your Friend
4. 5 A.M.
5. I'm With You
6. The Island
7. Sing to Me
8. It's You
9. Some Sunny Day
10. It Won't Always Be the Same
11. The Know It All
12. Karmic Dream Sequence #1
13. There Is Nothing More to Say
14. Anthem (Begin)$28.99Vinyl LP - Sealed Buy Now
You're A Very Lovely WomanAmong folk-rock devotees and power-pop cultists, Emitt Rhodes is a legendary figure with a powerful mystique. The prodigiously talented singer/songwriter/multi-instrumentalist first came to prominence as the teenaged leader of The Merry-Go-Round, a unique L.A. baroque folk-rock quartet whose lone 1967 album is now regarded as being in the same class as the debut discs of such 60s contemporaries as the Byrds, Love, the Left Banke and the Buffalo Springfield.
The Merry-Go-Roundwhich also included guitarist Gary Kato, ex-Leaves bassist Bill Rinehart and former Grass Roots drummer Joel Larsonscored an early hit with the infectiously jangly Live. The song (which would be covered in the 80s by the Bangles) became a major regional hit in the Los Angeles area. Lives equally distinctive B-side, Time Will Show the Wiser, was covered the following year by Fairport Convention. The bands second single, the bittersweet, orchestrated Youre a Very Lovely Woman, was an equally impressive achievement.
Those three songs are all featured on Youre a Very Lovely Woman, which offers a consistently intoxicating mix of Beatlesque vocal harmonies, ringing folk-rock guitars, sparkling songcraft and playful baroque and psychedelic touches.
Although The Merry-Go-Round would disband two years after releasing their only LP, the album has gained steadily in notoriety and prestige over the years. Original copies of the album have become rare collectors items, regularly changing hands for exorbitant prices among fans.
Now, Youre a Very Lovely Woman is once again available on vinyl to thrill longtime admirers and new fans alike. Mastered from the original analog tapes and pressed on high-quality high-definition vinyl, the album includes complete, meticulously reproduced original cover art.1. Live
2. Time Will Show the Wiser
3. On Your Way Out
4. Gonna Fight The War
5. Had To Run Around
6. We're In Love
7. You're a Very Lovely Woman
8. Where Have You Been All My Life?
9. Early In the Morning
10. Low Down
11. Clown's No Good
12. Gonna Leave You Alone$24.99Vinyl LP - Sealed Buy Now
ValtariYou can forgive Sigur Rós for being hazy on the details of the recording of their sixth album Valtari. It's either the album they always wanted to make, or the album they almost didn't make, depending on how you look at it.
In 2011, the band started the painstaking forensic task of piecing together a cohesive and magical work from disparate constituent parts. If this sounds unromantic, the results are anything but. Something alchemical occurs when the four members of Sigur Rós are in the room together, and even if Valtari is more a "studio based" album than any of its predecessors (which usually start life as rehearsal room jams), the long hours of experimentation and unsentimental editing have yielded incredibly persuasive results.
In English Valtari translates as "steamroller" and there is something right about the title in terms of the process of its creation. The last three tracks of Valtari are like one long slow gorgeous fade out, as the listener, having been softened up by the slightly more "songy" start to the album, is left with the subtly shifting, deep introspective beauty of the last 24 minutes.
After that, penultimate track, Valtari is like the far heart of the album; eight minutes that feel like being alone in row boat on a chill day, small irregular waves lapping the wooden hull as a dense fog bank rolls in and ice slowly encases every surface. Below the fathomless green, deep endures. Gatefold 2LP with MP3 coupon.1. Ég anda
2. Ekki múkk
8. Fjögur píanó$26.99Vinyl LP - 2 LPs Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
Dolls of HighlandKyle Craft grew up in a tiny Louisiana town on the
banks of the Mississippi, where he spent most of his
time catching alligators and rattlesnakes instead of
playing football or picking up the guitar. He's not the
product of a musical family, and bands never came
through town. It was only a chance trip to K-Mart that
gave him his first album, a David Bowie hits compilation
that helped inspire him eventually to channel his
innate feral energy into songwriting and rock and roll.
That self-made talent drives every note of Dolls of
Highland, Craft's exhilarating, fearless solo debut.
"This album is the dark corner of a bar," he says. "It's
that feeling at the end of the night when you're
confronted with 'now what?'"
Craft knows the feeling well--Dolls began to take shape
when everything he took for granted was suddenly over,
including an eight-year relationship. "All of a sudden I
was left with just me for the first time in my adult
life," he says. He ventured far away from the ghosts of
his home in Shreveport, Louisiana to make a new life
for himself in Portland, Oregon, living under a friend's
pool table while he demoed new songs and tried to
determine what came next.
The album was tracked at a home studio in Shreveport,
where Craft briefly returned for an intensely-productive
reckoning with his past. "I dedicated the album to
Shreveport and called it Dolls of Highland for all the
girls and ghosts in town who influenced it so strongly."
Craft then returned to Portland, where Brandon
Summers and Benjamin Weikel of The Helio Sequence
helped move the album from its DIY beginnings to a
more fully realized work. Craft played most of the
instruments on the album, and the record captures the
power of his live performance.
And then there's Craft's unforgettable voice - "I'm
fully aware that I have a very abrasive, very loud voice,
but Bob Dylan is the one that taught me to embrace
that," says Craft. Craft's talent and singular creativity
move the conversation into new and unpredictable
places. And this album is very much about moving
forward. "After everything fell apart, it didn't take very
long for me to learn who I was and what I should be
doing," says Craft, who is walking out on the other side
with Dolls of Highland.1. Eye of a Hurricane
4. Lady of the Ark
5. Gloom Girl
6. Trinidad Beach (Before I Ride)
7. Future Midcity Massacre
8. Black Mary
10. Dolls of Highland
11. Jane Beat the Reaper
12. Three Candles$18.99Vinyl LP - 2 LPs Sealed Buy Now