- Lowest Price
- Highest Price
Real Live Wires
• 140 Gram Vinyl
• 1000 Only Limited Edition
This great live set captures Talking Heads at The Park West, in Chicago, in 1978. After playing a selection of showcases in Europe at the start of the year - and taking time-out to record their second album in the Bahamas - the group were amidst a tour criss-crossing the USA from New York to Los Angeles.LP 1
1. The Big Country (Live)
2. Warning Sign (Live)
3. The Book I Read (Live)
4. Stay Hungry (Live)
5. Artists Only (Live)
6. The Girls Want to Be with the Girls (Live)
7. Don't Worry About the Government (Live)
1. The Good Thing (Live)
2. Uh-Oh Love Comes to Town (Live)
3. Love-Building on Fire (Live)
4. New Feeling (Live)
5. Psycho Killer (Live)
6. Thank You for Sending Me an Angel (Live)
7. Take Me to the River (Live)$37.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live Wire/ Blues PowerWatermelon Man
Blues At Sunrise
Please Love Me
Look Out$21.99Vinyl LP Reissue Buy Now
Post To WireImport
Richmond Fontaines Post To Wire finally gets the vinyl treatment. What's more, it has a bonus 7 with two previously unreleased songs from the album's recording sessions. These two tracks are included as downloads too.
Post To Wire was released through El Cortez/DÉcor Records on the 12th of April 2004 and caught the attention of Uncuts editor Allan Jones who gave the album a 5 star lead review as Album of the Month as well as placing it number 4 in albums of 2004 year end polls. Uncuts discovery of the year Fans of a certain kind of orphaned Americana are likely to fall on Post To Wire like apostles on The Grail. A dark and mesmerising masterpiece, brilliant. Allan went on to give the band a 5 page feature and numerous glowing live reviews that year.
This type of response helped the band from being an un-discovered US band on their 5th album who previously sold 200 copies in Europe to going on to sell over 10,000 copies of what has been oft described as their masterpiece.
The bands strength are the story-based songs of singer Willy Vlautin, which were often compared to the stark short stories of writers such as Raymond Carver, Bukowski and Larry Brown. Post To Wire landed the band with their first UK release via DÉcor/El Cortez. Four more have followed, the last two, We Used To Think The Freeway Sounded Like A River and The High Country have been released on vinyl by Diverse Records. The band played the album in its entirety (along with The High Country) at their London gig in September.1. Longer You Wait
2. Barely Losing
3. Montgomery Park
4. (Walter's on the Lam)
6. (Postcard from California)
7. Two Broken Hearts
9. (Postcard Written With a Broken Hand)
10. Post to Wire
12. Always on the Ride
13. (Postcard Postmarked Phoenix, Az)
14. Allison Johnson
16 Valediction$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live Songs 2011Import
When Cohen became known as a musician in his late 30s with his albums Songs Of Leonard Cohen and the sophomore Songs From A Room, people were surprised that his music seemed to come out fully formed.
Many were familiar with his work as an author and poet, but did not know that he had been a musician for most of his life. For Cohen, making music was another way to bring his poetry to the people. The dark thrall of his songs portray an artist that is ever able to trace the hidden contours of love, lust, sex, religion, politics and history.
Live Songs was released in 1973; Cohen's fourth album was a collection of recordings made at a number of concerts in Europe between 1970 and 1973. The collection consists of songs from 1969's Songs From A Room, such as 'Bird On A Wire', 'Story of Isaak' and a new version of 'Seems So Long Ago, Nancy' (now simply dubbed 'Nancy'), and a number of new songs.
The epic climax is unmistakably the 13-minute 'Please Don't Pass Me By (A Disgrace)', in which Cohen describes his personal descent into hell & oblivion. The song tormented Cohen to such a degree that he rarely sang it again.
A beautiful collection of songs that shows Cohen in his most raw & vulnerable moments1. Minute Prologue
2. Passing Thru
3. You Know Who I Am
4. Bird on the Wire
7. Story of Isaac
8. Please Don't Pass Me By (A Disgrace)
9. Tonight Will Be Fine
10. Queen Victoria$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beautiful Lies You Could Live InBeautiful Lies You Could Live in was the sixth Tom Rapp/Pearls Before Swine release and the fourth and last on Warner Brothers. Originally released in 1971 with a more country/rock sound, Beautiful Lies includes a cover of Leonard Cohen's "Bird On A Wire" and a brief setting of A.E. Housman's poem, Epitaph on an Army of Mercenaries, sung by Elisabeth Rapp.1. Snow Queen
2. A Life
4. Simple Things
5. Everybody's Got Pain
6. Bird On A Wire
7. Island Lady
8. Come To Me
10. She's Gone
11. Epitaph$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live at Fillmore East (Awaiting Repress)The Allman Brothers Band At Fillmore East on Numbered Limited Edition 180g Vinyl 2LP from Mobile Fidelity
Telepathically Executed Double Album At Fillmore East Among Ten-Best Live Records Ever Made
Ranks #49 on Rolling Stone's 500 Greatest Albums of All Time List: Includes Epic Takes of Whipping Post and In Memory of Elizabeth Reed
Peerless Sonics: Mobile Fidelity Analog Reissue Provides Fifth-Row Seat to Historic March 1971 Concerts
Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the venue belongs to one group: The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180g 2LP of At Fillmore East joins the unparalleled reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist, yet none possesses the audiophile sensibilities found here - sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.
While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort - anchored by iconic producer Tom Dowd's stellar production - presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.
Indeed, At Fillmore East is the rare sound of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.
This title is not eligible for discount.1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don't Love Me
5. Hot 'Lanta
6. In Memory of Elizabeth Reed
7. Whipping Post$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Cost of LivingIncludes Poster
The United States' myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of political bands versus apolitical bands simply doesn't exist. Either you are comfortable and unfazed by the current reigning power structures, or you use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.
The position of Providence, RI's Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded rock music: they are here to topple the white-cis-het hegemony and draft a new history. Downtown Boys began by combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as their sound and audience have grown.
Cost of Living is their third full-length, following a self-released 2012 debut and 2015's Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto (Fugazi; producer of Blonde Redhead, The Gossip), one of indie-rock's most mythological figures, in the producer's chair. Picciotto fostered the band's improvisational urges while pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.
Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They're using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. In just one example, album-opener A Wall rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it's designed to crush.
Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while singer/lyricist Victoria Ruiz spits out her frustrations and passions. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!
- Matt Korvette, Pissed Jeans1. A Wall
2. I'm Enough (I Want More)
3. Somos Chulas (No Somos Pendejas)
4. Promissory Note
5. Because You
6. Violent Complicity
7. It Can't Wait
9. Heroes (Interlude)
10. Lips That Bite
11. Clara Rancia
12. Bulletproof (Outro)$17.99Vinyl LP - Sealed Buy Now
Rub My MindBarb Wire Dolls are the most explosive and exciting new punk band I've seen in decades! They are gonna change the face of music and save rock and roll as we know it! - Mickey Leigh/brother of Joey Ramone
When Motörhead's legendary frontman Lemmy saw BARB WIRE DOLLS live at Whisky A Go-Go back in 2015, he immediately took them under his wing and signed them personally to the Motörhead Music record label.
BARB WIRE DOLLS is: Isis Queen (vocals) Pyn Doll (lead guitar) Krash Doll (drums) Iriel Blaque (bass) Remmington (rhythm guitar)1. Back In The U.S.S.A.
2. If I Fall
3. Desert Song
4. Hole Of Isolation
6. Call Me
7. We Are Champions
8. Edge Of Innocence
9. Fade Away
11. Where Mountains Drink The Wine
12. Fire To Burn$23.99Vinyl LP - Sealed Buy Now
Document & Eyewitness 1979-1980For those unfamiliar with Document and Eyewitness, it really doesn't do it justice to describe it simply as a collection of live recordings from three turn-of-the-80s Wire gigs. What makes it more than that is the unorthodox nature of the main performance and the way it was presented on record. The centrepiece of the original vinyl release was a recording of the final gig of Wire's 70s phase. Wire's set was composed of largely new (and often under-rehearsed) work,accompanied by a series of artistic actions and interventions.
The evening was memorable for the unusually hostile reaction from sections of the audience, which has perhaps elevated it beyond a simple passing moment. If the crowd was expecting a standard gig, the level of outrage, expressed in vociferous abuse suggested that the band's intentions were lost on those in attendance, who were instead confounded by the apparent artistic pretensions on display. The approach was to couple selected live tracks with a spoken commentary on the proceedings by long-term Wire fans Adrian Garston and Russell Mills. Hence the title, Document and Eyewitness. For the album, the Electric Ballroom material was supplemented with recordings from a July 1979 show at the Notre Dame Hall (a straightforward band performance), along with one track from a 1979 gig in Montreux.1. 5/10 (Electric Ballroom Version)
2. 12XU (Fragment) (Electric Ballroom Version)
3. Underwater Experiences (Electric Ballroom Version)
4. Everything's Going to Be Nice (Electric Ballroom Version)
5. Piano Tuner (Keep Strumming Those Fucking Guitars) (Electric Ballroom Version)
6. We Meet Under Tables (Electric Ballroom Version)
7. ZEGK HOQP (Electric Ballroom Version)
8. Eastern Standard (Electric Ballroom Version)
9. Instrumental (Thrown Bottle) (Electric Ballroom Version)
10. Eels Sang Lino (Electric Ballroom Version)
11. Revealing Trade Secrets (Electric Ballroom Version)
12. And Then.. Coda (Electric Ballroom Version)
13. Go Ahead (Notre Dame Version)
14. Ally in Exile (Notre Dame Version)
15. Relationship (Notre Dame Version)
16. Underwater Experiences (Notre Dame Version)
17. Witness to the Fact (Notre Dame Version)
18. Two People in a Room (Notre Dame Version)
19. Our Swimmer (Notre Dame Version)
20. Heartbeat (Montreux Version)
21. Our Swimmer (Single Version)
22. Midnight Bahnhof CafÉ (Single Version)
23. Second Length (Our Swimmr)
24. Catapault 30$34.99Vinyl LP - 2 LPs Sealed Buy Now
Like WolvesRochester, NY's LIKE WOLVES have been slugging it out for three years now. After 2 self-released 7s, as well as a split 7 with Hex labelmates OAK AND BONE (on Barbarossa Records), they are ready to drop their debut LP. This album is 9 slices of raw and raging punk, full of wild, nervous energy, and more than a few nods to the angular garage-y sounds of groups like Hot Snakes and Drive Like Jehu. A group of live wires coming unhinged, but still crafty and calculated in their approach. Recorded live at Moresound Studio in Syracuse, NY and in time for a national tour to present the new jams.Golden Year
Her as Earth
You Will Know Darkness
Live and Leave
Storm Season$11.99Vinyl LP - Sealed Buy Now
Dance to The MusicWhen the irresistible sound of Dance To The Music lit up the nation's airwaves in early 1968, it was obvious that Sly Stone's whole new thing was about to blow everyone's mind sky-high. This live-wire chart smash used the time-tested introduce the band technique to showcase trumpeter Cynthia Robinson, Sly's brother/guitarist Freddie Stone, saxman Jerry Martini, Sly's sister/pianist Rosie Stone, bassist Larry Graham and drummer Greg Errico all from different cultural/racial backgrounds. This radical new sound would have far-reaching musical implications the second album by Sly & the Family Stone is full of grooves and beats just as intoxicating as Dance To The Music, featuring addictive heavyweight numbers like Higher and Ride The Rhythm tunes ripe for Cynthia's cautionary warning, All the squares go home!1. Dance To The Music
3. I Ain't Got Nobody (For Real)
4. Dance To The Medley (Music Is Alive; Dance In; Music Lover)
5. Ride The Rhythm
6. Color Me True
7. Are You Ready
8. Don't Burn Baby
9. I'll Never Fall In Love Again$28.99Vinyl LP - Sealed Buy Now
ReplicantWith a battery of custom built software instruments, samples, and 7 live lopers, Christopher Tignor and master percussionist Theo Metz saturate our senses with new colors reflecting the urgent vitality of their South Bronx neighborhood. At times the two seem to lock talons like eagles in a death spiral, as Metz's brutal percussive athleticism keeps pace with Tignor's machines in an aural game of chicken.1. Like Waves We Will Keep Coming On
2. Shoot Between Heartbeats
3. Coded Lanuage For
4. Landscape Architechture
6. Crystal Beaches
7. The Light Behind Your Light Is Changing$19.99Vinyl LP - Sealed Buy Now
Light ScienceFor nearly thirteen years Christopher Tignor lived in the 3-story commercial space in Greenpoint, Brooklyn where he conceived and practiced with his band Slow Six. In 2008, thanks to a tipped off fire marshal, a move was inevitable, and the walls had to come down. Drastic measures would be necessary in order to keep making music on his own terms, living completely immersed in his studio and practice space. Step one was relocating to the Mott Haven neighborhood of The Bronx. Far removed from an overwhelming hipster scene he had never connected with, he found himself surrounded by the working-class grit and intensity typically associated with The South Bronx. The new musical landscape Wires Under Tension creates uncannily echoes this transition.
Charged with the desolation of a Mad Max dystopia, the songs on Wires Under Tension's debut Light Science form a narrative in motion from lightness to darkness. The band's name reflects the duo's ongoing struggle to balance this tension as they wrestle with an unpredictable and unforgiving machine of their own making. Wordless voices of the horns and violin feel like lightning riding a stormy sea of drums and drones. That lightning illuminates the duo's muscular rhythms, formidable dynamic, and unique musicianship. As they beckon us into their storm, they seem to effortlessly sidestep the cliches found in much of today's instrumental music, delivering exciting and mysterious gems from their unique netherworld.
1. Electricity Turns Them On
2. Irreversible Machines
3. A List Of Things To Light On Fire
4. Wood, Metal, Bone
5. Position And Hold
6. Mnemonics In Motion
7. ????$18.99Vinyl LP - Sealed Buy Now
Possessed EPFull Color Sleeve
Just in time for Summer, Wrongtom emerges with a new vinyl EP on Tru Thoughts to take over the air-
waves and sound systems across the festval season and beyond. Out on 12' vinyl in a full colour sleeve
with an eerie, ouija board-inspired theme, the Possessed EP' continues in the spirit of his series of
'Wrongtom Meets' projects, boasting collaborations with Tippa Irie, JC Lodge, The Ragga Twins, Desta
Zion, The Correctonal Horns and Deemas J as well as a bonus cut from his long-standing live reggae/
dub collectve the Stoneleigh Mountain Rockers.
The Possessed EP' uses the killer rhythm from 'In East London' track Suzy Hangs Out', this inspired
move sprang from a chat about beats with Mark Professor, who happened to pass the rhythm on to
reggae singer JC Lodge 's husband Errol, who passed it on to JC. Oblivious to all this, Wrongtom was
then contacted out of the blue a while later with the beautiful Possession', showcasing the talent
of the revered singer who was signed to Tommy Boy records back in the day and collaborated with
Shabba Ranks and many others. So, with that brilliant track suddenly in my hand, I thought maybe I
should get a few diferent people on this rhythm and do what the classic reggae producers did', says
Wrongtom: release a set of versions'.
Wrongtom signed to Tru Thoughts in 2013, releasing the 'In East London' album under the Wrongtom
Meets Deemas J collaborative name, which brought praise from all corners for its uplifing and cele-
bratory yet down and dirty, vintage dub-infused sound. The tastemakers who lined up to heap praise
on the album ranged from The Quietus, The Wire and FACT to Record Collector, MOJO, Q, Clash and
beyond.1. Wrongtom Meets Tippa Irie - Afraid A' You
2. Wrongtom Meets Jc Lodge - Possession
3. Wrongtom Meets Ragga Twins - Jugglin' (Edit)
3. Wrongtom Meets Desta Zion - Love Endure
4. Wrongtom Meets Deemas J - In South London
5. Wrongtom Meets The Correctional Horns -Repossession$11.99Vinyl EP - Sealed Buy Now
Compilation From Electronic Punk-hop Duo From Nottingham
Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly
found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic
situations arising from that trap. After a year of working ideas out in both the studio and in live performances, Williamson moved south and took the cause
to London for a couple of years and trod the boards there for a couple of years, before returning to Nottingham in 2009.
Soon after that return he met Andrew Fearn and the Sleaford Mods became a duo. Fearn's first work was on the production of "Wank" - the Mods' fifth album. Soon after that started stalking the stage and studio with Williamson. Andrew's involvement meant that Jason was now able to stop creating
the samples and loops that littered the early recordings and concentrate on the lyrics, whilst Andrew created numerous tunes for Jason to vent his spleen
Just after the release of "Wank" the duo were invited to play a three day festival curated by Nottingham's Rammel Club. During that weekend a working
relationship with Nottingham's abstract-punk Harbinger Sound label was formed. A relationship which - a year later - resulted in the release of the
"Austerity Dogs" vinyl album. This release would be followed by numerous shows around the UK and Europe, including further festival appearances. As
word- of-mouth praise for the album slowly spread out and onto the record-buying publics' radar, "Austerity Dogs" soon sold out of its intial run of 300
copies and has gone one to, as of today, a fourth pressing of the vinyl edition was also released. Rave reviews would start to appear in
magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on-line, both here and abroad. The album
featured, and topped, many writers polls for the best records of 2013.
Somewhere between punk, hiphop and spoken word lie UK duo Sleaford Mods. (They are neither mods, nor from Sleaford. They're from Nottingham.)
Jason Williamson spews a tapestry of bile over low-tech, muscular backing by Andrew Fearn, the result is somewhere between The Fall, McClusky,
Happy Mondays and John Cooper Clark. The pair have been making music for eight years now but really started to get attention with last year's terrific
Austerity Dogs and look to go even wider with the just released Divide and Exit. On it Sleaford Mods are in full rebellion mode. Williamson hold equal
contempt for the rich, conservatives, liberals, phonies in general, idiots, jolly fuckers, etc all via a nonstop torrent of brilliantly, hilariously profane lyrics.
Ipecac Recordings will be introducing the coolest thing to come out of the UK in a long time. With the release of a compilation from
Sleaford Mods titled CHUBBED UP+. Sleaford Mods are a stripped down, political, electronic punk-hop band from working class Nottingham. This stuff is
real and it is spot on!1. Committee
3. 14 Day Court
4. Black Monday
5. Jolly Fucker
6. Tweet Tweet Tweet
8. Routine Dean
10. Pubic Hair Ltd
11. Bring Out The Cannons
12. Fear Of Anarchy$15.99Vinyl LP - Sealed Buy Now
Prestige Series Gold Cartridge
The Prestige (and upscale Reference) cartridges from Grado are the first released since the elder Grado's retirement, but they mark an evolution, not dramatic change, of the classic Grado style. There are three basic levels in the Prestige lineup: Black/Green, Blue/Red, and Silver/Gold. In each of these pairings, the latter model is the same as the former, but is able to meet more astringent test specifications. The Green, for instance, is taken from the top 15% of the Black models production.
The newly redesigned Silver1 and Gold1 have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. The Silver1 and gold1 models use a four piece OTL cantilever technology, ultra-high purity long crystal (UHPLC) oxygen free copper wire in the coils and Grado's specially designed elliptical diamond mounted on a brass bushing. The Gold1 model is selected from the Silver1 production run and meets higher test specifications. Approximately 5% of the production run meet these standards and become Gold1 models.
What People are saying about the Gold... "The Prestige Gold's sound was readily identifiable, but after just a few seconds it didn't matter much, so engaging were the results."
- Wayne Garcia - The Absolute Sound
"It's a definite Best Buy!"
- Hi Fi Choice / Alan Sircom
"Beefheart's Clear Spot, the undoing of many an under-performing cartridges, didn't faze the Grado." - Hi Fi Choice / Alan Sircom "It was lively and detailed but never edgy on vocal sibilants, and didn't over-emphasis leading edges on acoustic guitar."
- Hi Fi Choice / Alan Sircom
"While the Prestige Gold cannot provide quite the same ultra-refined, take-you-to-the-mountaintop listening experiences that big buck moving coils can, it takes you a long way up the path toward analog excellence, and for a pennies-on-the-dollar price."
- Chris Martens / The Absolute SoundFrequency Response: 10-60Principal: MI
Channel Separation at 1KHz: 35
Input Load: 47K
Output at 1KHz 5CM/Sec.: 5mV
Recommended Tracking Force: 1.5
Stylus Type: E
Compliance CUs: 20
Stylus Replacement F: U
This product is not eligible for discount.$260.00Cartridge Buy Now
Klipsch Stadium Home Music System
Klipsch's strong partnership with Live Nation Entertainment, the world's foremost live entertainment company, has inspired a series of wireless music systems. The Klipsch Music Center Series is named after one of the five most ticketed live music venues in the world.
Designed to match both the class and acoustic trademark of a high-end component audio system, the Klipsch Stadium™ home music system perfectly masters the performance levels given to it at any time. Its appearance is exceptionally solid and visually powerful, yet in a size that can be placed in many different home settings.
The Klipsch Stadium speaker is an ultra-high-performance home music system with a striking look that is visually powerful, yet in a size suited for multiple home environments. It has the ability to reproducing spectacular, live-music dynamics at even "background" volume levels while having capacity to fill even a large space with live-concert level output with superb clarity. Klipsch Stadium is capable of matching the performance level of a "high-end" component audio system and is the "Modern HiFi" music system that precisely masters the performance levels you desire from it at any given time.
The Latest Technology
Tractrix® Horn technology used in the Klipsch Stadium speaker provides more sound being reproduced from every watt of power, with less distortion than other driver designs. Sound impact is astonishing. The Linear Travel Suspension (LTS) tweeters, taken from our esoteric Palladium speaker line, minimizes distortion with a true, piston-like driver excursion. Midrange drivers use Faraday Rings, also derived from our Palladium speakers, to allow for a consistent voice-coil magnetic field to reduce distortion. Tractrix port technology reduces port chuffing for the densest, most musical bass while the dual opposing subwoofers provide deep bass with no cabinet vibration. The high resolution, 400 watt digital amplifier uses advanced DSP technology for even sound at any volume level.
Futureproof Connectivity and Convenience
Wireless music streaming via your Wi-Fi network, with the option to steam to multiple Klipsch Stadiums in your home via AirPlay. Bluetooth® wireless technology audiophile aptX® and DLNA streaming, as well as a USB input for charging most portable music devices and wired iDevice music playback, and both an Optical Digital and Dual RCA analog inputs to connect other devices. Download the free Klipsch Air App on your iDevice for network setup instructions, manual EQ adjustment, custom naming of multiple Klipsch Stadiums on an Airplay network and even a jukebox option that allows multiple iDevices to stream music in a group listening environment.
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.$1,999.00Stadium Home Music System Buy Now
Right On TimeThere's a narrative at work in The Brought Low's best songs, chronicling existence in the inner-cities outer boroughs and the pratfalls of hard work, hard liquor and hard time. The essence of these stories mirror the band's own: the past couple years has been a repetition of arrivals and departures: family dying and being born, band members entering in and then walking out. There was a local new wave revival whose aesthetic they couldn't have less to do with, a cycle of touring, working, and touring again, a decrepit practice space that's become a decrepit second home. On the other side of the tunnel they've come out stronger, more resolute in their conviction, and wired for maximum impact.
Singer/ guitarist/ songwriter Benjamin Howard Smith and drummer Nick Heller have been the nucleus of The Brought Low since the rolling thunder of their NYC debut in 1999. The band's universally-lauded self-titled debut album on Tee Pee Records earned them a loyal audience, and the howling overdrive of their impassioned live shows have become the stuff of city folklore. 2003 saw the addition of bassist Robert Russell as well as second guitarist Kevin Eleven, who left the band shortly after recording concluded, returning them to their original power trio format. Following the release of Right On Time, The Brought Low band has planned a series of guerrilla tours throughout the country that will carry them well into 2007.1. A Better Life
2. Hail Mary
3. This Aint No Game
4. Tell Me
5. Dear Ohio
7. Vernon Jackson
8. Shake Down
9. Blues For Cubby
10. There's a Light$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-CON-2618xGodspeed You! Black Emperor
Luciferian TowersPressed On 180-Gram Vinyl
Housed In A Gatefold Jacket With Printed Inner Sleeve
Includes 24 x 24 Poster
this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.
1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!
2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!
3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.
4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.
finally and in conclusion;
the "luciferian towers" L.P. was informed by the following grand demands:
+ an end to foreign invasions
+ an end to borders
+ the total dismantling of the prison-industrial complex
+ healthcare, housing, food and water acknowledged as an inalienable human right
+ the expert fuckers who broke this world never get to speak again
much love to all the other lost and wondering ones,
xoxoxox god's pee / montrÉal / 20171. Undoing A Luciferian Towers
2. Bosses Hang
4. Anthem For No State$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Coin Coin Chapter Three: River Run Thee"Roberts is carving out her own aesthetic space, startling in its originality and gripping in its historic and social power." - Peter Margasak
"Primarily interrogating her own sense of identity as an African American woman, Roberts calls upon numerous other voices - from her family's history, her culture's mythology - to create living artifacts of collective cultural memory: simultaneously disorienting and exhilarating in their chaotic multiplicity." - The Quietus
"Roberts is a major talent." - The Wire
Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid composers, band leaders, horn players and experimental sound practitioners of the past decade. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011, has placed her at the forefront of stylistic
innovation and radicalization, transcending jazz - or any other genre boundaries - while confirming the deep substance and soul that guides her compositional agenda. Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining
recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Doris Duke Impact Award in 2014.
Roberts has long employed the phrase "panoramic sound quilting" to describe the
process surrounding her Coin Coin work. The third chapter in her Coin Coin series
finds Roberts implementing this metaphor most explicitly, constructing a sound art
tapestry from field recordings, loop and effects pedals, and spoken word recitations,
alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee
could arguably be considered first and foremost a vocal work, and notwithstanding
its experimental and esoteric structure, a deeply narrative work as well. Not unlike
2013's Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an
uninterrupted album-length flow, this time in what Roberts calls "a fever dream" of
sonic material, woven in surrealist fashion. Fragments of traditional song act as the
main touchstones on the album, with Roberts' singing voice riding atop waves of
radiophonic texture, layered spoken word and an often dislocated, wandering horn
Working once again with engineer Radwan Ghazi Moumneh, and returning again to
Montreal's Hotel2Tango studio (the location for her Chapter One recording in 2010),
Roberts ran the river run thee tape back multiple times, adding new layers in real
time, from start to finish (as opposed to calculated, isolated overdubs). The result is
a visceral audio document that combines structure and improvisation in the fullest
sense: not just in the playing and performing, but in the very marrow of the work's
compositional DNA. It is also, for the first time in the Coin Coin cycle, a solo work,
emerging from a lengthy solitary road trip Roberts took through the American South
in early 2014, amassing historical and documentary information through interviews,
site visits and field recordings.
Coin Coin Chapter Three: river run thee signals yet another highly adventurous and
socially engaged definition of what Jazz can mean in this day and age, and a
fascinating extension of the Coin Coin cycle, where rather than surfacing and
reactivating through the group dynamics of a musical ensemble, history is inhaled
and exhaled through a solitary practice seeking to evoke and echo its tangled
thicket of febrile strands.1. All Is Written
2. The Good Book Says
3. Clothed To The Land, Worn By The Sea
4. Dreamer Of Dreams
5. Always Say Your Name
6. Nema, Nema, Nema
7. A Single Man O' War
8. As Years Roll By
9. This Land Is Yours
10. Come Away
11. With Me Seek
12. J.P.$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UndeadA Premium RTI Pressing, From The Original U.K. Mono Masters
Immortalized on the silver screen, Ten Years After's landmark performance of "I'm Going Home" at Woodstock galvanized their reputation as road warriors capable of rousing large crowds - such as the 400,000 festival-goers mesmerized by Alvin Lee's white lightning on his bright red Gibson ES-335."I'm Going Home" could also light up a room as small as Klooks Kleek in London, as heard on their second album, 1968's Undead. But while it was the first recording of the song (with wires running from Decca Studios next door to capture it), it hardly came from nowhere. Alvin Lee and bassist Leo Lyons learned the value of extended jamming as far back as 1962 while playing Hamburg in the Jaybirds, and not long after they began covering Gene Vincent's "I'm Going Home (To See My Baby)" in Ten Years After - it was reworked into something entirely original. Or more specifically: stripped down, repainted, rebuilt and retooled into a drag racer that would scorch crowds for years to come. Undead was the first recorded evidence of that live legacy. Condensed to the best five of the May 14, 1968, set, the album sees the band do further long bluesy jamming with "I May Be Wrong, But I Won't Be Wrong Always," "Spider in My Web," and pound Gershwin into submission (courtesy drummer Ric Lee) on "Summertime/Shantung Cabbage." And on a killer cover of "(At the) Woodchopper's Ball," the band's jazzy blues is hot enough to turn Woody Herman's classic into sawdust - replete with Alvin Lee and organist Chick Churchill trading solos. Rightly regarded as one of the best live albums of its era, Undead is reissued here in its rare mono mix, which has been out of print everywhere for nearly 50 years.It's very much alive on this vinyl edition, which features primo sound and the beautiful negative-image original cover.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. I May Be Wrong, But I Won't Be Wrong Always
2. Woodchopper's Ball
3. Spider In My Web
4. Summertime/Shantung Cabbage
5. I'm Going Home$24.99Vinyl LP Mono - Sealed Buy Now
Porcupine MeatNaming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."
Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.
Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.
Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."
Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.
During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.
Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."
Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."
Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."
The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.
For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.
Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."
Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.1. I Don't Want Nobody Hanging Around
2. Porcupine Meat
3. Got Me Accused
4. Snake in the Grass
5. Funk O' De Funk
6. Me, Myself and I (feat. Joe Bonamassa)
7. Catfish Stew
8. It's Your Move (feat. Dave Alvin)
9. Nighttime Gardener (feat. Keb Mo)
10. I Think Your Dress Is Too Short
11. Standing on Shaky Ground
12. I'm Tired (Tangle Eye Mix)$25.99Vinyl LP - 2 LPs Sealed Buy Now
GetawayIncludes Bonus CD compiling 2001's Slush Fund EP & 2003's Syd's Pink Wiring System Album
2001's Getaway may be the best illustration of whatever mercurial, inexplicable musical power animates The Clean. After the band's initial rush of activity between 1978 and 1982, the trio lay dormant until the end of the '80s, when a string of reunion shows inspired the Kilgours and Scott to start recording again. After three well-received albums in the first half of the nineties-1990's Vehicle, 1994's Modern Rock, and 1996's Unknown Country-The Clean disappeared again until the end of the decade, when another tour inspired another record.
While playing gigs across New Zealand in celebration of their original label Flying Nun, David says they brought along a TEAC 4-track quarter-inch tape machine. "As usual, we started jamming and recording, and before you know, we thought we may be onto an LP." Speed and spontaneity ended up defining Getaway. Robert says, "I remember writing 'Silence or Something Else' while the others went for a long walk. It was done by the time they got back. I probably would have gone for a straighter version, but I still like it." David remembers, "Hamish wrote the instrumental 'Jala' in about five minutes in a motel outside of Turangi." At one point in the process, Yo La Tengo's Ira Kaplan and Georgia Hubley were visiting from America, and they ended up on the record too. Getaway came out in August of 2001, with cover art by Hamish who says that his original artwork was the actual size of a compact disc case. After that, The Clean set out on another tour-including in New York City, where they happened to be during the terrorist attacks on 9/11. They coped with the tragedy by playing gigs with their American friends, and staying in the same creative space they'd been in since before they started working on the album. "I remember we did some great gigs on the New Zealand tour, debuting some of the new material," Hamish says. "'Stars' was a favorite for the big 12-string sound."
A live version of the pulsing, soaring "Stars"-along with a couple of other Getaway songs and Clean classics like "Fish," "Side On," "Quickstep," and "Point That Thing Somewhere Else"-appear on the rare 2003 album Syd's Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund, from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct. Indeed, they've done justice to a key album in The Clean discography-a record that honors the band's origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing "Crazy," the jaunty acoustic snippet "Cell Block No. 5," and the trance-inducing "Circle Canyon" are more fine examples of Scott and the Kilgours' interest in immediacy and a strong vibe, applied to catchy melodies. "Each album is a completely different beast," Robert says. "We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all." But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.LP 1
4. Golden Crown
5. Cell Block No. 5
6. E Motel
7. Twighlight Agency
8. Poor Boy
9. Silence or Something Else
1. Alpine Madness
2. Circle Canyon
4. Holdin' On
5. Reprise 1*2*3* & 4*
Slush Fish (2001)
2. Slush Fund
3. Filling A Hole
5. Point That Thing Somewhere Else
6. Wipe Me I'm Lucky
Syd's Pink Wiring System (2003)
10. I Wait Around
11. Hold On To The Rail
12. At The Bottom
13. Do Your Thing
16. Side On
18. Jala$27.99Vinyl LP + CD - 2 LPs Sealed Buy Now
An Ancient ObserverNonesuch Records releases its second album from pianist Tigran Hamasyan, An Ancient Observer, in 2017. An Ancient Observer is the follow-up to Hamasyan's label debut, Mockroot, of which the Guardian said, A phenomenal piano player, an irrepressible entertainer, a promising experimenter with hi-tech gizmology and a creative world-music composer. Mockroot plays vivaciously to all those strengths. The musician says of his new solo recording, which features ten new compositions: These songs are musical observations about the world we live in now, and the weight of history we carry with us.
An Ancient Observer's songs-two of which are based on Armenian melodies-were written over the last four years. Some of the pieces are through-composed and completely written out, while others are composed with ample space for Hamasyan to improvise. Many include vocals layered into the mix. As with most of his compositions, Hamasyan cites a wide range of influences, from Baroque dance to hip-hop, with pedals connected to a synthesizer on a few tracks-while the sounds of his native country also are present, as always.
Hamasyan has returned to Armenia, where his daily life inspired these new pieces: I gaze out of my window and see the biblical mountain Ararat with perpetual snow on its peak, with electrical towers with wires in the foreground cutting the picture, and satellite dishes melted onto old and modern houses-ancestral smoke coming out of their chimneys-and birds hovering above the trees along with occasional airplane trails in the vast sky. It is a dialogue, this interaction of God-given ancient nature with our modern human achievements, he says. For me it is an awakening, and a beautiful feeling, to be able to observe the magnificence of this sleeping volcanic giant, which has existed for millions of years and was observed by the Ararat Valley Koura-Arax culture through to the present day citizens of the Armenian republic. I can see and observe the same birds, animals, rivers, and mountains that the craftsman of 4,000 years ago painted on a clay vessel. He was observing the same thing I observe now, and what remains is his or her beautiful work of art.1. Markos and Markos
2. The Cave of Rebirth
3. New Baroque 1
4. Nairian Odyssey
5. New Baroque 2
6. Etude No. 1
7. Egyptian Poet
8. Fides Tua
10. Ancient Observer$18.99Vinyl LP - Sealed Buy Now