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The Lost Boys Original Motion Picture Soundtrack1987 was a big year for The Brat Pack once again and a huge eerie blockbuster movie called The Lost Boys. Its success truly made way for several hit songs featured on the amazing soundtrack companion LP, which rode the sales and airplay charts with multiple format hit records for over a year, as the album continues to thrill music fans decades later.
The box office hit featured some of the biggest songs of that year with INXS & Jimmy Barnes hit single Good Times as well as 9 more champions like The Who s Roger Daltrey s stellar version of Elton John's Don't Let The Sun Go Down On Me and the classic techno rock smash Cry Little Sister (Theme from The Lost Boys) by Gerard McMann. Superstars like Echo & The Bunnymen also contributed to the hit soundtrack too with their fine interpretation of The Doors classic People Are Strange, plus the great Lou Graham of Foreigner knocks it out of the box with his power smash Lost In The Shadows (The Lost Boys) Through it all The Lost Boys LP will forever be known as one of rocks finest movie and musical soundtracks ever recorded.1. Good Times - INXS and Jimmy Barnes
2. Lost in the Shadows (The Lost Boys) -Lou Gramm
3. Don't Let the Sun Go Down on Me- Roger Daltrey
4. Laying Down the Law -INXS and Jimmy Barnes
5. People Are Strange Echo & the Bunnymen
6. Cry Little Sister (Theme from The Lost Boys)- Gerard McMann
7. Power Play -Eddie & the Tide
8. I Still Believe -Tim Cappello
9. Beauty Has Her Way -Mummy Calls
10. To the Shock of Miss Louise -Thomas Newman$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Oh, Pretty WomanRemastered Audio
The Lost Album From 1964!
Now, for the first time since its appearance in the MONUMENT VINYL BOX released on Black Friday 2013, this is what would have been Roy's fourth Monument album: Oh! Pretty Woman, the missing Monument masterpiece. Made up of songs recorded late in his Monument career and carefully selected by Roy's boys - his sons Wesley, Roy Kelton, and Alex Orbison - this album features specially created artwork so that it looks just as it would have in 1964, had Roy not left Monument.
Some songs have made their way onto hits compilations, like the title track Oh, Pretty Woman and It's Over. The haunting It's Over (1964, #9 Pop) spoke of golden days before they end. It winds up to an Orbison crescendo that reminds you that you are on the edge of your seat, knowing not how you got there. Oh, Pretty Woman (#1 Pop): the smash of all smash hits. It entered the charts twice in 1964 and garnered Roy international superstardom and a million dollar contract with another label, thus ending a magical time, with magical people, making magical music at Monument.1. Oh, Pretty Woman
2. Borne On The Wind
5. Indian Wedding
6. It's Over
7. Working For The Man
8. The Crowd
9. What'd I Say
10. Yo Te Amo Maria
11. (I Get So) Sentimental
12. Mama$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
White Lightning: Lost Cadence SessionsSurf, Cycles and Super Guitar Crunch! The kids of 1958 loved 'em, and their first single for Cadence Records shot up the charts like a label owner's dream. This is the fantastic and fiery album that was supposed to have been released as a follow-up to one of the all-time great instrumental classics, the ultra-menacing "Rumble." But faster than you can say "Drag Race," everyone-Cadence label-owner Archie Bleyer included-was talking about this new threat to the morals of American youth. That's why Link and his boys were off the imprint, and this album of prime distorto-guitar-crunch cool remained unreleased for nearly 50 years. Well here it is, and it's every bit as dirty and dangerous as you would expect!1. White Lightning
3. Drag Race
4. Pancho Villa
5. Walking with Link
7. Dance Contest
8. Missing Link
9. Heartbreak Hotel
11. Rebel Rouser
13. The Freeze
14. School Girl$24.99Vinyl LP - Sealed Buy Now
Black Sheep Boy (10th Anniversary Edition)In celebration of the ten-year anniversary of this iconic album, Jagjaguwar is proud to present the Black Sheep Boy 10th Anniversary Edition, a three-LP set combining the classic Black Sheep Boy album and its counterpart the Black Sheep Boy Appendix with an all new unreleased album entitled There Swims a Swan: full-band recordings made six months prior to the release of Black Sheep Boy which illuminate the album's roots in the traditional American songbook.
Featuring beautiful, emotional readings of songs popularized by such artists as Washington Phillips, Lead Belly, the Louvin Brothers, and Roscoe Holcomb, There Swims a Swan takes the listener on a trip through the songs that inspired Sheff while composing Black Sheep Boy and reads like a run-through of that album's themes. Black Sheep Boy is celebrated for its album artwork as well as its music, and the Anniversary Edition collects that artwork in a meticulously reworked package, combining every previous element of William Schaff's imagery with a large new piece by Schaff depicting an updated Black Sheep Boy. The release also includes lengthy liner notes by Will Sheff walking the listener through the circumstances surrounding the album.
For Okkervil River fans (the most high-profile of whom was recently revealed to be President Barack Obama, who included Down Down the Deep River on his 2015 summer playlist), the Anniversary Edition is a loving, comprehensive, richly expanded presentation of a record many consider to be one of the band's best. For those new to the band, this might be the best place to start, the first step on a long road, the opening to a forest you can get lost in.LP1 - Volume I
1. Black Sheep Boy
2. For Real
3. In A Radio Song
5. Get Big
6. A King And A Queen
7. A Stone
8. The Latest Toughs
9. Song Of Our So-Called Friend
10. So Come Back, I Am Waiting
11. A Glow
LP2 - Volume II
1. Missing Children
2. No Key, No Plan
3. A Garden
4. Black Sheep Boy #4
5. The Next Four Months
6. Another Radio Song
7. A Forest
8. Last Love Song For Now
LP3 - Volume III
1. Goodnight Irene
2. I'm In Love With Susan Smith
3. See See Rider
4. Knoxville Girl
5. Satan Is Real
6. Good Liquor Gonna Carry Me Down
7. Willow Tree
9. Oh, The Wind And Rain
10. What are They Doing in Heaven Today
11. Trouble in Mind$37.99Vinyl LP - 3 LPs Sealed Buy Now
Safe HavenRuth B.'s debut album Safe Haven includes 12 tracks written and composed by Ruth herself and produced by Joel Little, who previously collaborated with Lorde on her multi-platinum debut. The album features Ruth's breakthrough hit "Lost Boy,", and the new single, "Superficial Love," which features production by Mike Elizondo (Twenty One Pilots, Fiona Apple, and Regina Spektor).1. Mixed Signals
4. Superficial Love
5. If This is Love
6. Lost Boy
8. If By Chance
9. World War 3
10. Safe Haven
11. In My Dreams
12. First Time$23.99Vinyl LP - Sealed Buy Now
Holy FireIt's all a long way from the group's early years in Oxford, where Yannis Philippakis (26), Jack Bevan (27), Walter Gervers (28), Edwin Congreave (28) and Jimmy Smith (28) convened after spells in various well regarded bands such as The Edmund Fitzgerald, whose intricacies were a league away from the Libertines-influenced indie skiffle and American garage rock that dominated at the time.
Debut album Antidotes (2004) attempted to capture the live energy and sense of spontaneity that had made Foals one of the most sought-after live acts in the UK. 2007 follow-up Total Life Forever was a surprise to many (Foals never sit still for long) dealing in more expansive, eloquent sounds and a more mellow feel inspired in part by Foals' long-time enthusiasm for weed. Now, as they approach their 30s, Foals are moving on from the kind of lost boys club element to how we've lived for the past six years to make their best music yet.1. Prelude
3. My Number
4. Bad Habit
6. Late Night
7. Out of the Woods
8. Milk & Black Spiders
11. Moon$24.99Vinyl LP - Sealed Buy Now
3The third full-length release from L.A.-based duo HONEYHONEY, 'III' is an album born from fascination with the sweet and the sleazy, the light and dark, the danger and the magic. Since Ben Jaffe and Suzanne Santo released the critically-acclaimed 'Billy Jack' in 2011, they've kept on the road, growing their fan base tenfold both at home and internationally. Working on this new album with Dave Cobb (the producer behind Jason Isbell and Sturgill Simpson), lead singer/banjo player/violinist Suzanne Santo and vocalist/guitarist Ben Jaffe twist their gritty, harmony-driven brand of Southern-flavored rock & roll through tales of lost souls, broken boys and girls with gold in their spit. The two songwriters also take a mirror to their own experience in lust and heartache - never shying away from revealing the messy truth. This album reflects their continued growth, and holds nothing back. It's easy to understand why HONEYHONEY's following ranges from lovers of the Black Keys and White Stripes to The Civil Wars. Whether they rattle, soothe or joyfully inspire, HONEYHONEY instill each song with a straight-from-the-gut honesty and elegance of storytelling that make 'III' both cathartic and electrifying.1. Big Man
2. Yours to Bear
3. Back to You
4. Whatchya Gonna Do Now
5. Numb It
6. Bad People
7. Burned Me Out
8. You and I
9. Father's Daughter
10. God of Love
11. Sweet Thing
12. Marry Rich$21.99Vinyl LP - Sealed Buy Now
Sooner Or Later
Sooner Or Later Brings Back Into Print All Neo Boys Releases That Have Long Been Unavailable To All But Scouring Collectors, And Also Releases Material That Never Saw The Light Of Day
In 1978, the city of Portland, OR erupted with a radical form of artistic expression some refer to as "punk" or "new wave." Restless teenage crowds were gathering in quiet alleys and meeting halls, anxious to shake off their cultural ties, and at the heart of this legendary movement was the powerful all-girl punk group the Neo Boys. Though an active band for just five years (1978-82), teenage sisters Kt (bass) and Kim Kincaid (vocals), together with Pat Baum (drums) and guitarists Jennifer Labianco and Megan Hengtes forged a place for women in the growing punk rock scene, and redefined gender roles in the 80's movement of rock and roll.
With their bleached hair, melodic bass lines, surfy guitar strums and straight-forward poetic lyrics, they were a stand-out in the rising new wave/punk scene. Neo Boys regularly shared bills with Greg Sage and The Wipers, opened for Nico, played their first show with Television and participated in founding Portland's first all-ages collective DIY performance space, Clockwork Joes.
Yet somehow this incredible legacy was nearly lost in the annals of history. Calvin Johnson, a Neo Boys fan since hearing their first single thirty years ago, worked with the band members to track down the missing tapes of their recordings through a rabbit hole of Northwest basements and closets. The result is Sooner or Later (KLP247), a comprehensive double LP collection of Neo Boys recordings from 1977-1982. Included are their long out-of-print 1980 7" EP (released on Greg Sage's Trap Records), and the 1982 self-released EP Crumbling Myths. Sooner or Later also contains studio recordings, early demos and live sessions that have never before been available to the public.
Sooner or Later is divided between the Neo Boys' early, raw punk era and their more accomplished '80s era during which they recorded Crumbling Myths (which was originally meant to be an album but was cut down to a seven song EP at the last moment). "Time Keeps Time," a bouncy bass-heavy track, made popular again by Grass Widow's cover on their Milo Minute 7", demonstrates the Neo Boys timeless appeal. And Kim Kincaid's soft, not-too-sweet vocals in "Nothing To Fear," which makes two appearances on the collection, speaks to the power of the band's ideals, and the importance of pursuing your artistic vision, even in the face of adversity.
The Neo Boys were an outspoken feminist fixture in the development of the NW underground music scene, and this legacy is cemented with the release of their complete recordings, Sooner or Later.
"Neo Boys have been an influence not only on my approach to melody, but also to a world of imagination where anything is possible. Their music is just as pertinent and relatable today as it was 30 years ago, and with existential songs about alienation, societal problems and love, they created a world I have taken refuge in during times when I felt the effects of narrow attitudes about gender and women's voices in music." - Hannah Lew, Grass WidowLP 1
2. No Venue
3. Put A Penny In
4. Never Comes Down
5. I'm Free
6. I Don't Belong
8. Abnormal Chick
9. Empty My Head
10. Give Me The Message
11. Rich Man's Dreams
12. Never Comes Down
13. There Is A Place
16. Time May Tell
17. Little Man
18. Image of Guilt
19. Broken Mirror
20. Let Go
21. Running In The Shadows
1. Poor Man's Jungle
2. City Unlimited
3. In Disguise
5. Days In Heaven
6. Between Borders
7. Under Control
8. Dirty White Lies
9. Obscure Emotion
10. No Form
12. Time Keeps Time
13. Cheap Labor
14. Hands Down
15. Nothing To Fear
16. Someday Maybe
17. Ancient Youth
18. On Common Ground
19. In This Circle of Time
20. Under Control
21. Nothing To Fear
23. Living For A Change$25.99Vinyl LP - 2 LPs Sealed Buy Now
Comb The Feelings Through Your Hair
a revelation -- dynamic, hooky, energetic!
The '90s indie rock lashings of Grooms, add a
reminder to dust off your Polvo/SY LPs
...some of the most exciting new sounds the
Kings County has to offer."
Having lived, worked, and created in the ever evolving Williamsburg neighborhood of Brooklyn for over a
decade, native Texan Travis Johnson has felt the direct impact of the growth and dissolution that comes
with rapid gentrification. His band Grooms practiced, and recorded at Brooklyn's Death By Audio for
seven years (first as Muggabears, then as Grooms) before they were forced out of their spiritual and
literal home in November 2014 when DBA shut its doors. A little over a year before, with the band's
income not providing enough money to support any of its members, bass player and co-writer Emily
Ambruso went on hiatus from the band, leaving Johnson as the only original member. Despite these
unfortunate blows, Johnson soldiered on, soon recruiting Jay Heiselmann on bass, and actor/comedian
Steve Levine on drums.
After months of experimenting with sound collages, samples, and electronic beats, the band recorded an
obsessively detailed and melodically complex album, with a heavy focus on mood and texture. Unlike
their previous album Infinity Caller (which Speedy Ortiz's Sadie Dupuis called ...an exercise in explosion
and restraint hallmarked by sweeping guitars, stuttery drums, and cryptic, airy vocals...) many of the
songs on Comb... bring the band's rhythm section to the fore, and Johnson's trademark guitar stylings
often take a backseat to his psychedelic sample-collages and ambient electronics. Fortunately the new
approach works, balancing pop structures with masterful experimental production that shifts in tone and
color in harmony with Johnson's tales of acceptance, loneliness, and impotent violence.
On Comb..., that violence is most evident on Something Wild, a song about destroying the high-priced
waterfront condos that contribute to the rising cost of living in neighborhoods like Williamsburg and
Greenpoint, and then feeling conflicted about it. Love is the subject matter on Bed Version (a song
which Johnson describes as a fantasy about seeing the joy in my girlfriend's face as she realizes she's
not cosmically alone.), and the album becomes wistful on Cross Off (a remembrance and longing for
the good old days when Ambruso was still an active member of the band), but even on these songs
Levine's alternately Krautrock and Elvin Jones-inspired drums, and Heiselmann's propulsive bass help to
maintain the album's intense atmosphere. Album standouts like Comb the Feelings Through Your Hair
and Doctor M deliver head-bobbing pop hooks as Johnson ponders his long-term struggle with
addiction, while other songs, Savage Seminar, Will the Boys?, and Grenadine Scene from Inside,
explore the thoughts, and feelings of fictional characters in the films Magnolia, Lost Boys, and Steel
Whether singing from a fictional or personal perspective, Johnson's songs on Comb... are all loosely
about letting go of bitterness and resentment. Like the Brooklyn neighborhood where he lives and works,
his internal real estate is constantly being reevaluated, razed, and rebuilt. Fortunately his personal
growth has yielded an album that attentive listeners will find relatable and consistently rewarding.1. Bed Version
2. Comb The Feelings Through Your Hair
3. Cross Off
4. Something Wild
5. Doctor M
6. Half Cloud
7. Will the Boys?
8. Savage Seminar
9. Grenadine Scene From Inside
10. Foster Sister
11. Later A Dream$16.99Vinyl LP - Sealed Buy Now
Surfs UpThe Beach Boys' 1971 album Surf's Up was the second release on their own Brother Records and it is often considered a lost minor classic in the band's catalog. Its socially conscious lyrics and haunting harmonies stand among the group's best. Highlights include Long Promised Road, Feel Flows, Til I Die and Surf's Up.1. Don't Go Near the Water
2. Long Promised Road
3. Take a Load off Your Feet
4. Disney Girls (1957)
5. Student Demonstration Time
6. Feel Flows
7. Lookin' at Tomorrow (A Welfare Song)
8. A Day in the Life of a Tree
9. 'Till I Die
10. Surf's Up$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Little HoneyLucinda Williams new Lost Highway release, Little Honey features many songs she has been performing live for years, the original Circles And X's which she initially wrote in 1985 and a legendary duet with Elvis Costello on Jailhouse Tears. The Eric Liliestrand and Tom Overby produced affair also features guest appearances from Matthew Sweet, Susanna Hoffs, Jim Lauderdale, Tim Easton and Charlie Louvin. In support here are Doug Pettibone on guitar, David Sutton on bass, Chet Lyster on guitar, Butch Norton on drums and Rob Burger on keyboards.
Im in a different phase of my life, so there are more happy moments on this album, the singer-songwriter says of her ninth studio set. Darkly introspective, is one phrase people have used to describe a lot of my songs. There are moody songs, but Im looking outside myself a little bit more. These arent boy meets girl, boy leaves girl, girl gets bummed out songs,theres a lot more than that going on.1. Real Love
2. Circles And Xs
3. Tears Of Joy
4. Little Rock Star
5. Honey Bee
6. Well Well Well
7. If Wishes Were Horses
8. Jailhouse Tears
10. Heaven Blues
12. Plan to Marry
13. Its A Long Way to the Top (If You Wanna RocknRoll)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Quiet NightsDiana Kralls 12th album Quiet Nights is an intimate recording of ballads and bossa novas from the team that brought you her best-selling Grammy Award-winning album The Look of Love. Accompanied by her quartet and orchestra, Diana offers up her sensual vocals and consummate piano skills on a collection of tunes that includes The Boy from Ipanema, Walk on By, a stunning rendition of the Bee Gees How Can You Mend A Broken Heart and the standard Every Time We Say Goodbye among others. Orchestra arranged and conducted by Claus Ogerman. Produced by Tommy LiPuma and Diana Krall.1. Where Or When
2. Too Marvelous For Words
3. I've Grown Accustomed To His Face
4. The Boy From Ipanema
5. Walk On By
6. You're My Thrill
7. Este Seu Olhar
8. So Nice
9. Quiet Nights
10. Guess I'll Hang My Tears Out To Dry$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Nursing Home, the second album by Lets Wrestle, was recorded in Chicago with Steve Albini. With themes that include being trapped in the suburbs and dancing boys on drugs, the band show that their view of the world is the same, theyve just put on some darker sunglasses. Lets Wrestle may have lost some of their naivety lyrically, but its certainly still there.
If you ask singer Wesley Patrick Gonzalez what the record sounds like hell tell you Thin Lizzy and The Cars, which I guess to some extent is true. Though I wont bother to list other bands the record brings to mind, I will say that its heavier than its predecessor, maybe due to Albinis engineering, but the underlying melody displayed previously remains, with the few quiet songs on Nursing Home being perhaps the most poignant the band have recorded. - Dan Boleyn1. In Dreams Part II
2. If I Keep on Loving You
3. In the Suburbs
4. Bad Mammaries
5. Dear John
6. For My Mother
7. Im So Lazy
8. Theres a Rockstar in My Room
9. I Forgot
10. I Am Useful
11. I Will Not Give In
12. Getting Rest$18.99Limited Edition Vinyl LP - Sealed Buy Now
World Wide Live180 Gram Double LP
Since the Scorpions' career was at its peak, World Wide Live could not have been recorded at a better time. This album contains all of their early-'80s hits, and while they aren't as energetic on-stage as they are in the studio, the band still perform with a great amount of flamboyance. The record is the Scorpions' only worthwhile live album and is a must for their fans.
Recorded in California, France, and West Germany during 1984's Love at First Sting Tour, World Wide Live captures Scorpions at the indisputable peak of their career. Propelled by the crossover success of "Rock You Like a Hurricane," Scorpions were playing the biggest shows of their life but hadn't yet lost their early hunger. The most crucial aspect of this kind of live album is the sound. After all, it's extremely hard to retain a metal band's cohesive attack when recording in cavernous sports arenas. Fortunately, Scorpions worked with their longtime engineer Dieter Dierks, who was able to maintain a sound quality that was full-bodied and very realistic.
These recordings are rare among concert albums in that they somehow translate both the largeness of the venues and the tightly wound attack of the music. Highlights include "Blackout," "Bad Boys Running Wild," and "Holiday." "Rock You Like a Hurricane" sounds like it was written specifically for this type of venue, and by the time you reach that performance, you start to understand the additional juice these songs are given in the live setting.1. Countdown [Instrumental]
2. Coming Home
4. Bad Boys Running Wild
5. Loving You Sunday Morning
6. Make It Real
7. Big City Nights
8. Coast to Coast
10. Still Loving You
11. Rock You Like a Hurricane
12. Can't Live Without You
13. The Zoo
14. No One Like You
15. Dynamite$38.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-MAT-2983xBelle And Sebastian
Fold Your Hands Child You Walk Like a PeasantBelle & Sebastian's songs have always been instantly familiar while simultaneously original and unexpected. Listening to Belle & Sebastian, you have the inexplicable feeling that you have heard these songs somewhere before, filed away with the mothballs of your youth, or that, maybe, you have stumbled upon long-lost tapes of a young Nick Drake being backed by Village Green Preservation Society-era Kinks under the production of some low-rent Phil Spector. The fact that Belle & Sebastian have arrived at their distinct, anachronistic sound quite naturally and by accident is a large part of their charm. It's not surprising, then, that Belle & Sebastian's fourth full-length record, Fold Your Hands Child, You Walk Like a Peasant, has arrived with the band's sincerity intact. What is surprising, however, is the record itself: an eclectic mix of the soulful and the sublime, something of a departure for the band. Unlike their last record, the amazing Boy with the Arab Strap, the songs here are not instantly recognizable, but more subtle. The hooks don't automatically grab; instead, the songs' intent is to break you down, seeping into your bloodstream and working on you from the inside out like an infection.
The eclectic feel of the record owes itself to the fact that this is, by far, Belle & Sebastian's most record by committee affair yet, with songwriting contributions from several different band members and songs that seem to have been built up from simple ideas into lush orchestral pieces with the musical input of the band's many different instrumentalists. While Stuart Murdoch still writes and sings the bulk of the material, he collaborates with bandmates on a number of songs, including the delicately soulful Don't Leave the Light on Baby, written with keyboardist Chris Geddes. Unfortunately, songs by Belle & Sebastian cofounder and bassist Stuart David are not to be found on Fold Your Hands (he left the band during the recording). However, violinist Sarah Martin contributes her first song with the haunting Waiting for the Moon to Rise, while cellist Isobel Campbell adds the record's most surprising track, Beyond the Sunrise, sounding like a lost Leonard Cohen gem with its spare and fragile arrangement. Guitarist Stevie Jackson, who contributed some of the better songs on Arab Strap, manages only one on this outing, but it's one of the best: The Wrong Girl, a tale of misplaced love juxtaposed against swinging Spector- like strings and horns. By the time the band reaches Women's Realm, an infectious, life-affirming romp, the record's message, although never spelled out, is clear: Through all the melancholy and solitude and terrible things that could go wrong, life is still worth fighting for. --Paul Ducey1. I Fought In A War
2. The Model
3. Beyond The Sunrise
4. Waiting For The Moon To Rise
5. Don't Leave The Light On, Baby
6. The Wrong Girl
7. The Chalet Lines
8. Nice Day For A Sulk
9. Woman's Realm
10. Family Tree
11. There's Too Much Love$21.99Vinyl LP Buy Now
On The Scene '73Import
Previously unreleased live broadcast of intimate Tom Waits performance featuring incredible rarities - plus interviews with the man himself.
Securing his first proper record deal with David Geffen's Asylum label in 1972, Tom Waits would go on to release seven records with the label in as many years. The first of these, Closing Time, was released in March 73 and comprised the most unique collection of original compositions that American critics and consumers had witnessed since the 1960s heyday of Beatles, Beach Boys and Bob Dylan. Informed by the wordsmiths of the beat generation, the blues howlers of a former age, the smooth jazz vocals of Frank Sinatra and Tony Bennett, and the country flavoured ballads that Ray Charles had turned to in the early 1960s, Waits developed a cult following with his portrayals of modern American domesticity and love sought and lost. On the 12th August 1973 Waits was to be found performing an in-house set for the renowned L.A. radio series Folk Scene, broadcast weekly by KPFK FM, Tom's performances were augmented with interviews that provide a fascinating insight into his career at this time. Included too on this LP are five additional tracks from a performance Tom made in Santa Monica a few months later on 10th November 1973. Also the subject of an FM broadcast, two further cuts from The Heart of Saturday Night are complimented by a triumvirate of Waits rarities that have seldom been heard before or since.LP1
1. Virginia Avenue
3. San Diego Seranade
5. Ol 55
7. Semi Suite
9. Fumblin With The Blues
13. Depot, Depot
15. I Hope I Dont Fall In Love With You
17. (Looking For) The Heart Of Saturday Night
19. Ice Cream Man
21. Big Joe And Phantom 309
23. Fridays Blues
24. Shiver Me Timbers
25. Diamonds On My Windshield
26. Getting Drunk On The Bottle
27. Tijuana (with Jack Tempchi)$37.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Tyler Bryant And The Shakedown (Pre-Order)A Band On The Verge Of Rock N Roll Greatness!
After carving out a fervent fan base and drawing widespread critical applause with their heady, high-voltage brand of guitar-driven rock, shooting from both hip and heart, Nashville's Tyler Bryant & The Shakedown find themselves at the epicenter of an advanced rock 'n' roll adventure that continues to take them around the world, appearing at some of the biggest venues along the way
Starting with a guest spot on AC/DC's 'Rock or Bust' World Tour in 2016, the quartet - Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age - have continued to share events and stages with some of rock's most legendary names, including Guns N' Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.
At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown - The Shakedown to friends and fans - have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records - the most immediate and exciting result being an 11-track, self-titled studio album set to be the label's inaugural release, with November 3rd locked in as the day of the launch
"So many great things have happened over the past few months," exclaims Caleb, "and it's all just so surreal. I remember seeing that Guns N' Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn't it be amazing if we appeared on both of those shows and we did!"
Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown
"The instant we started playing, I knew there was something special," reflects Caleb. "We played our first show a week later and haven't stopped since!"
The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.
All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown's sound. As Tyler recalls, "his bass sound scared me and he brought an edge and an attitude to the band that we didn't even know we needed."
2013's 'Wild Child' album announced the quartet's arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.
Following the release of 'The Wayside' EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N' Roses on a European tour
"We had just decided to self-produce a record completely on our own," says Tyler. "I'll never forget driving home that morning and getting a call from our manager saying, 'You wanna go back to Europe with Guns N Roses?' That was a great kick-start to the first day of tracking."
So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.
Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world - music based on authenticity and emotion, under-pinned by core values and beliefs.
In this respect, Tyler Bryant & The Shakedown - who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin' Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three - are a flagship representation; what's more, in 'Tyler Bryant & The Shakedown' they've delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.
"This is the definitive Shakedown record as of now, and that's why we decided it should be self-titled," explains a fired-up Tyler. "It's the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It's not just a guitar album; it's a song album, and I'm proud to hang my hat on this one."
The first single / video, 'Heartland', introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, "There's a slow beat in the heartland, going down in the quicksand, stack 'em up and watch the cards fall, if it happens to one, then it happens to all".
"It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they're singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in.
Elsewhere, 'Backfire' struts along on a stomping drum groove driven by thick distortion with lyrics "about pulling the short end of the straw and feeling vengeful". Then there's 'Aftershock'. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.
"That's a tune about feeling the effects of a situation long after it's come and gone.
As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N' Roses (again), The Who & Alice Cooper - as well as making their first appearance at Rock In Rio - this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled
"I want people to put this on and literally escape," Tyler leaves off. "I hope they feel free. That's what rock 'n' roll makes me feel. You don't have to think about your bills or any of the other things that have the power to bring you down when you've got your fist up in the air, your eyes closed and you're lost in the music. Angus Young told me, 'You've got to make the audience think you're taking them on a journey, and they'll go with you. If you believe it, they will too'. I believe it with this record."1. Heartland
2. Don't Mind The Blood
3. Jealous Me
5. Ramblin' Bones
6. Weak And Weepin'
7. Manipulate Me
8. Easy Target
9. Magnetic Field
11. Into The Black$29.99Vinyl LP - Sealed PRE-ORDER Buy Now
Maze of WoodsInventions are the collaborative sum of longtime friends Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. Their 2014 eponymous debut album introduced an ambition to create music that was both challenging and comforting. Their new album, Maze of Woods, opens with a vocal sample declaring, I wanted to do something that I don't know how to do. Using this as a mission statement, Inventions have crafted a complex and exuberant album from an array of instruments, samples, found sounds, beats, chants, and raw bursts of noise, with a much greater emphasis on strong vocal accompaniment in every song. Two albums released in the span of 10 months speaks to the drive that these two have felt since they started playing together. Much like on the first record, they again mixed the album in a house on the Oregon coastline, with final mixing and production all done by Smith and Cooper. Inventions have stated that much of the inspiration for Maze of Woods comes from the closing paragraph of Denis Johnson's novella Train Dreams. In that paragraph, Johnson describes the nonverbal howl of a feral wolf boy, a pre-language that is yearning and instinctual; a statement of wordless distress and love. Maze of Woods is the product of two masters of their craft getting lost in the wilderness, doing something that they don't know how to do, and emerging with something wholly unexpected and beguilingly beautiful.1. Escapers
4. Slow Breathing Circuit
5. A Wind From All Directions
8. Feeling The Sun Thru The Earth At Night$19.99Vinyl LP - Sealed Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÃ‰ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Sky Blue Sky2-LP Wilco Set also Comes Complete with the CD of the Album!
It's been a while since the last offering from Jeff Tweedy and Co, but three years of slavering from fans is about to be rewarded with this seventh studio album. Well... Sky Blue Sky was well worth the wait! Though Wilco are known as purveyors of alt country rock, Sky Blue Sky is an astounding demonstration of their ability to move between soulful acoustic folk, jazzy blues, country skank and pumping rock. Tweedy has the vocal range of three people, from country lilt to blues ache to folk sweetness - all this often in the space of one song. And what songs they are. 'You Are My Face' is a classic Wilco segue, as a sleepy 'Beatles-esque' ditty is suddenly interrupted with a jazz guitar explosion twinned with Tweedy's achy blues voice before returning seamlessly to piano tinkle and smooth vocals. There are stories of love lost and found, told with originality, humour and sweetness. 'How can I warn you my tongue turns to dust? Lack of disgust doesn't mean that I don't care. It means I'm partially there,' sings Tweedy on the delicately beautiful 'Please Be Patient With Me'. The instrumentation is a mini-rock opera in itself. Glorious riffs, thumping piano and virtuoso guitar solos from Nels Cline are orchestrated with skill, complementing the intricately composed and woven melodies. Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime. Our highest recommedation!
Wilcos first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of 07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of Londons The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight: Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime.
Sky Blue Sky is as eloquently straightforward as Wilcos last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedys lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tinged What Lightthe albums first singleand concludes with a deeply affecting, til-death-do-us-part lullaby, On and On and On.
There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs like You Are My Face and Shake It Off in thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the bands Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals)all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim ORourke returns as music contributor.1. Either Way
2. You Are My Face
3. Impossible Germany
4. Sky Blue Sky
5. Side With the Seeds
6. Shake It Off
7. Please Be Patient With Me
8. Hate It Here
9. Leave Me (Like You Found Me)
11. What Light
12. On and on and on$24.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
Second Full-length Release For Hardly Art
Recorded In Analog At Tiny Telephone In San Francisco
There are times when beauty and sadness are inextricably linked. Massachusetts-based Gem Club understands this fragile symmetry. The band-singer/pianist Christopher Barnes and his collaborators, cellist Kristen Drymala and vocalist Ieva Berberian-create music that is intimate, graceful, and filled with melancholy.
In 2009, Gem Club's primary songwriter Christopher Barnes began playing local solo shows. The enthusiastic reception led him to bring Drymala and Berberian into the fold, and the six-song Acid and Everything EP was self-released the following year. Breakers, their subsequent full-length, paired plaintive piano melodies with impressionistic lyrics. Made primarily in Barnes's bedroom, the album displayed how music, even at its most minimal and hushed, could be cathartic, even transcendent.
For the new In Roses, Gem Club have ventured beyond the isolation of the bedroom to record in San Francisco at John Vanderslice's analog studio Tiny Telephone. Barnes worked closely with arranger and conductor Minna Choi of The Magik*Magik Orchestra, who, Barnes says, "helped reshape the new songs in fresh and unimagined ways," The resulting album is more expansive, more majestic, than prior Gem Club releases. There are spacious, grand flourishes-the church-choir voices on "Idea for Strings"; the reverberating drumbeats that propel the melody of "Braid"-yet the music retains the intimacy of previous works.
Because In Roses is an album of haunting piano songs, it might seem felicitous to the listener that Christopher Barnes once lived in a disused Boston piano factory. Nights, from behind neighboring doors, he could hear strangers fighting, throwing loud parties, even shooting scenes for porn films. While life exploded around him, Barnes retreated, "trying to re-create these landscapes with music." But he is quick to note that In Roses takes a different approach to the landscapes of the world than before. "Whereas Breakers was more about the body and inward-gazing, the new album is about me looking out on relationships I've had or wish I've had." Many lyrics address "the crashing realization that lives are no longer happening the way we want." Other songs are elegies for those Barnes has idolized or loved, but has lost: "Soft Season" is inspired by the life and death of early-90s gay adult film actor Joey Stefano ("I'm a boy on my back," Barnes sings, "and I'm more of a man"); the harrowing closer "Polly" is a song he wrote about his relationship with his late aunt.
Beauty and Sadness is the title of a 1964 novel by the late Japanese writer Yasunari Kawabata, but the name could also serve to describe the music of Gem Club. During one scene of the book, Kawabata writes, "He heard a sound that only a magnificent old bell could produce, a sound that seemed to roar forth with all the latent power of a distant world." With In Roses, the beautiful and sad sounds of Gem Club come roaring forth with increasing power.
--Scott Heim1. [Nowhere]
2. First Weeks
5. Idea for Strings
6. Soft Season
8. Speech of Foxes
10. Marathon (In Roses)
11. Polly$16.99Vinyl LP - 2 LPs Sealed Buy Now
Wait Don't WaitWait Don't Wait is the band's second full-length album - and their first release via Tender Loving Empire. Joy as an act of revolutionary defiance in the face of oppression is the name of their game, and it sounds too damn good to ignore. On the New Wave by way of Progressive Jazz banger, "Sleepy Eyes", an imposing kick and warping synth take o like a supersonic jet. In an 'I mean Serious Business' manner, Westman declares, "When the time is right I will take you home oh oh oh / When the feeling's right I will let you know," and it is clear that this is her call to make. The bounce continues, and - out of nowhere - the dancefloor falls into space and soothing jazz chords float over the classic puttering of a Roland CompuRhythm CR-78.
Just as suddenly, the four-on-the-floor beat returns, and soon saxophone, flute, guitar, and synth stabs pop in and out. Not since Beasties Boys' Paul's Boutique have such abrupt changes within one song felt so damn right. "Let Me Go", another knockout, begins with a grimy bassline and a classic hip hop clap with Westman and Vait trading verses, asking those universal questions of love and love lost. On a dime, the song transforms to near power ballad - soaring upward and lifting the listener out of the muck of the day with the refrain "Home is where I'd be if my heart could just decide", and in the same way all pop masterpieces do, it seems to end too soon - a serious 'back button' burner. With the release of Wait Don't Wait, SISTERS are not only presenting a pop record full of bangers that demands repeat listens, they are also methodically working toward creating a world that is safe for everyone. SISTERS deliver unrestrained joy, and it is desperately needed right now. The world has been waiting, but it needs wait no more.1. Scene Here
2. Heart Beats
3. Let Me Go
4. Sleepy Eyes
5. Glitter Lights
8. Posing In The Field
9. My Little Head
10. Night Walk
11. Y Do U Take So Long?
12. Love You Too$19.99Vinyl LP - Sealed Buy Now
Allegory & SelfRemastered Reissue Of The Classic Hyperdelic Record
Legendary Conceptual Audiovisual Group Formed By Throbbing Gristle Co-Founder Genesis P-Orridge & Alternative TV's Alex Fergusson
Vinyl Has Been Out Of Print Since 1988
Guest Appearances By Dave Ball (Soft Cell), Rose Mcdowall (Strawberry Switchblade), Hilmar Orn Hilmarsson & Monte Cazazza
Includes Psychic TV's Biggest Hit Ever, "Godstar"
Beginning in 1982, the conceptual audiovisual troupe labeled Psychic TV set outon a multimedia journey filled with subversion, liberation, and rebellion. Materialized between Throbbing Gristle co-founder Genesis P-Orridge and AlternativeTV songwriter Alex Fergusson, Psychic TV started pulling in familiar faces with the likes of Peter "Sleazy" Christopherson, Paula P-Orridge, Jhonn Balance,David Tibet, John Gosling, and countless others. While the members' previous works took root in the counterculture zeitgeist of late '70s UK punk and conceptual art, it was no longer a question of how to rebel against authority, but rather how to carefully subvert it through collective infiltration. Parallel to Psychic TV,its members formed the anti-cult faction The Temple of Psychick Youth, further propagating the Psychic TV message and vision.
While the ensuing years saw Psychic TV's major label infection and record breaking live album release binge, it wasn't until 1988 that the band started to ready itself for a chart-friendly pop endeavor in the form of Allegory and Self.This would be the band's most notable and successful endeavor, but tragically, it would be the final songwriting collaboration between P-Orridge and Fergusson .Allegory and Self was a perfect storm of catchy pop melody along with subversive counter-culture reference and occult leanings, packaged in a perfect bundle of underground hits.
The record's opening track "Godstar," a song gushing obsessive praise upon the fallen Rolling Stones member Brian Jones, would give the album its most notable identity. "Godstar's" melodic hooks and haunting, Phil Spector-era lyrical chant gives into to all the hallmarks of a chart-topping hit. "Just Like Arcadia"and "Being Lost" follows in similar footsteps, charging along with a somewhat whimsical Beach Boys-esque pop quality. The album also contained a sneak-peak into what direction Psychic TV was heading into going forward, apparent in the acid house number "She Was Surprised." Tracks like "Starlit Mire" and "Thee Dweller" reflect more of what the Psychic TV live experience was akin to in the '80s, aggressive and hypnotic. Altogether, Allegory and Self would stand alone as the band's signature apex from the original '80s lineup.1. Godstar
2. Just Like Arcadia
3. Southern Comfort
4. We Kiss
5. She Was Surprised
6. Caresse Song
7. Starlit Mire
8. Thee Dweller
9. Being Lost
10. Baby's Gone Away
11. Ballet Disco$20.99Vinyl LP - Sealed Buy Now