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  • Live Live Quick View

    $39.99
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    Live

    Triple Live Album Available For The First Time On Vinyl


    Pressed On Non Metallic Gold Colored Vinyl


    Roxy Music's Reunion And World Tour Of Their 30th Anniversary Of The Band


    Includes The Hits Virginia Plain, Do The Strand, Editions Of You, Street Life, Love Is The Drug, Both Ends Burning, For Your Pleasure, Dance Away, Jealous Guy, More Than This, And Avalon


    Roxy Music, one of the seminal British rock acts, reunited for the first time in eighteen years in 2001 for a 50 date world tour that would take in the UK and Europe, North America, Australia and the Far East. This Triple LP presents the finest moments of that tour.


    Formed in 1971, Roxy Music instantly grabbed the public's attention with their mixture of style, glamour and romance combined with innovative music, dazzling virtuosity and fabulous melodies. They had string of hit singles and albums from their debut album, Roxy Music, in 1972 through to their worldwide bestseller Avalon in 1982.

    LP 1
    1. Remake Remodel
    2. Street Life
    3. Ladytron
    4. While My Heart Is Still Beating
    5. Out Of The Blue
    6. A Song For Europe
    7. My Only Love


    LP 2
    1. In Every Dream Home A Heartache
    2. Oh Yeah
    3. Both Ends Burning
    4. Tara
    5. More Than This
    6. If There is Something
    7. Mother Of Pearl
    8. Avalon


    LP 3
    1. Dance Away
    2. Jealous Guy
    3. Editions OF You
    4. Virginia Plain
    5. Love Is The Drug
    6. Do The Strand
    7. For Your Pleasure

    Roxy Music
    $39.99
    Colored Vinyl LP - 3 LPs Sealed Buy Now
  • Hard Drugs Hard Drugs Quick View

    $24.99
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    Hard Drugs

    Hard Drugs is an indie rock opera that tells a twisted love story by putting emphasis on the songs themselves rather than an elaborate stage production. The final product is a 13-song double LP showcasing an orchestral mix of roots, rock, punk, savvy percussion and heartbreaking harmonies conceived by Jeffry Lee and executed with help from a cache of his talented friends. Collaborators include members of Blood Meridian, Black Mountain, Lightning Dust, Pink Mountaintops, Bonnie 'Prince' Billy, Limb Lifter, Bughouse, Bend Sinister, Fan Death, The Mohawk Lodge and Bison, among many others.
    Hard Drugs
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Drugs 'N Hymns (Awaiting Repress) Drugs 'N Hymns (Awaiting Repress) Quick View

    $13.99
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    Drugs 'N Hymns (Awaiting Repress)

    Drugs 'n Hymns is the newest release from LA-based artist Rocco Deluca. The album finds the blues-steeped musician forging a solo path armed with his National guitar, distinctively emotive voice and 10 reflective, vivid song-stories. The hypnotically spare compositions conjure a world of characters seeking a certain solace and salvation while continually mired in the disturbed darkness. The album was anti-produced by Rocco DeLuca and features guests such as the Echo Park Jubilee Tambo Flower Unsung Heroes Choir. Drugs 'N Hymns is a fascinating recording in its quiet intensity, conveying a wide swathe of emotions from quietude mixed with underlying dread to hopeful exhilaration.


    Rocco DeLuca was born in Southern California surrounded by a vibrant arts community that inspired him to follow his muses at an early age. By seven he was learning to play listening to Billy Holiday, Nina Simone and the Delta Blues heroes of the 1920s. He soon crossed paths and performed with the likes of John Lee Hooker, Johnny Cash and June Carter and Daniel Lanois, an amazing musical association key in the evolution of DeLucas unique sound whether fronting a band or playing solo.


    Says Daniel Lanois: I fully believe in DeLuca. I think that hes got the power to be a contemporary troubadour, as I see it, and I hope I can be his friend for a long time, whether I am operating in the same limelight, ahead of him, behind him, in his shadow, whatever it takes, Ill be there. The one thing that I love about Rocco DeLuca is he is driven by his own heart.

    1. Lucky
    2. My My
    3. Sibylle
    4. Amen
    5. Pray On
    6. Windows
    7. They Stride Like Gods
    8. Snake Oil Salesman
    9. Gorky
    10. Drugs n Hymns
    Rocco DeLuca
    $13.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • No Love Deep Web No Love Deep Web Quick View

    $25.99
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    No Love Deep Web

    Death Grips shocked the world and their record label when they released their second release of the year No Love Deep Web, but upon listening it's pretty clear that this is a mixtape that the label had no intention of releasing. No Love Deep Web was probably just an elaborate way to hype up the band, and it's safe to say it worked. No Love Deep Web had over 34.2 million downloads on BitTorrent thanks to the help of Twitter, and I think its safe to say their plan worked. Speaking of the album itself, it employs very minimalistic stripped down beats and has a much chiller vibe overall compared to the previous two records. That doesn't mean the beats are soft though, because they are harder than the phallus on the album cover. No Love Deep Web is one big grimy middle finger to the music industry and one of the most sordid albums ever released by a group on a major label.


    This isn't your father's hip hop, but that should be common knowledge by now. If you go into this expecting insightful lyrics and smooth flow over catchy beats you're going to have a bad time, hell even if you expect to understand the lyrics most of the time you're going to get very little out of No Love Deep Web. MC Ride is his schizophrenic self on tracks like No Love and World Of Dogs, but he also comes down to earth and actually calms down a bit on tracks like Artificial Death In The West adding a lot more depth to their sound. The whole album feels like the fever dreams of a severely withdrawn drug addict, tracks like World Of Dogs, No Love and Hunger Games sound like a sick drug addicts crash back down to earth and their gritty existence. The line I got some *** to say just for the *** of it perfectly encapsulates not only MC Ride's style, but No Love Deep Web, and Death Grips' whole career.


    The beats on this thing are raw and stripped down, some of the tracks don't even have a melody some of the time, just drums and vocals like in Lock Your Doors. The beats are fidgety electronic bells and whistles, lots of interesting sounds and synths creating a gritty atmosphere for MC Ride to spit his insane lyrics over. The rawness and harsh production of the beats help point to the fact that this is a mixtape and not a studio release, the minimalistic approach also creates a fresh sound compared to the over produced and at times gimmicky production on The Money Store, and this approach will likely convert a few people who were not fond of the over the top nature of The Money Store.


    No Love Deep Web inevitably sounds a tad rushed, no *** it was made in only a few months, but it definitely did its job as a hype generator. It doesn't do enough different to warrant its early release date and the band's sound is getting a bit tiring. The main problem though is the lack of standout tracks, with most of the hooks gone and with such stripped down beats a lot of the songs blend together in an unflattering way. Exhausting as it can be at times, No Love Deep Web turned out to be another great addition to Death Grips' ever expanding discography that is likely to turn a few heads just as all of their previous work has done.

    - Robert Lowe (Sputnik Music)

    1. Come Up And Get Me
    2. Lil Boy
    3. No Love
    4. Black Dice
    5. World Of Dogs
    6. Lock Your Doors
    7. Whammy
    8. Hunger Games
    9. Deep Web
    10. Stockton
    11. Pop
    12. Bass Rattle Stars Out The Sky
    Death Grips
    $25.99
    Vinyl LP - Sealed Buy Now
  • The Name Of This Band Is Talking Heads The Name Of This Band Is Talking Heads Quick View

    $34.99
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    The Name Of This Band Is Talking Heads

    Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable A Clean Break and Love Goes to a Building on Fire, as well as early versions of Memories Can't Wait and Air. The second LP comes from the Remain in Light tour, recorded in 1980 and 1981.


    In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. Drugs gets revamped for live performance, and Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on The Great Curve and Crosseyed and Painless, where his deranged feedback soloing has never sounded better. At this point in their career, Talking Heads were still basically an underground band; it was Burning Down the House that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases.


    - Sean Westergaard (All Music Guide)

    LP 1
    Recorded for WCOZ broadcast, Northern Studios, Maynard MA, November 17, 1977
    1. New Feeling
    2. A Clean Break
    3. Don't Worry About the Government
    4. Pulled Up
    5. Psycho Killer
    Recorded at The Capitol Theater, Passaic NJ, January 17, 1979
    6. Artists Only
    7. Stay Hungry
    8. Air
    9. Love - Building On Fire
    10. Memories (Can't Wait)


    LP 2
    Recorded at Emerald City, Cherry Hill NJ, November 8, 1980-November 9, 1980; Central Park, New York, August 27, 1980; Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
    1. I Zimbra
    2. Drugs
    3. Houses in Motion
    4. Life During Wartime
    5. The Great Curve
    6. Crosseyed and Painless
    7. Take Me to the River

    Talking Heads
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dopamine Dopamine Quick View

    $21.99
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    Dopamine

    It's no surprise that Michigan's BORNS moved to L.A. before recording Dopamine-it's pure Southern California in a bottle. In the studio, Garrett Borns' sunkissed falsetto and intricately penned confessionals are given a glitzy bump. "Electric Love" explodes with a crunchy T. Rex-style riff before it takes a turn for sweet, breathy indie pop. On "The Emotion", BORNS channels Jeff Buckley and Bjôrk in equal measure over a shimmering wash of guitars. But what threads these lilting gems and electro-pop heaters together is that most narcotising of emotions-love is the drug he's thinking of.
    1. 10,000 Emerald Pools
    2. Dug My Heart
    3. Electric Love
    4. American Money
    5. The Emotion
    6. Holy Ghost
    7. Past Lives
    8. Clouds
    9. Dopamine
    10. Overnight Sensation
    11. Fool
    Borns
    $21.99
    Vinyl LP - Sealed Buy Now
  • A Deeper Understanding A Deeper Understanding Quick View

    $25.99
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    A Deeper Understanding

    The War On Drugs has announced their fourth full-length album, A Deeper Understanding, set for release via Atlantic Records. A Deeper Understanding is the band's first album since 2014's universally acclaimed Lost In The Dream, and their debut album with Atlantic.

    For much of the three and a half year period since the release of Lost In The Dream, The War On Drugs' frontman, Adam Granduciel, led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker-but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today's modern landscape. Calling on his bandmates - bassist Dave Hartley, keyboarding Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez -- continuously throughout the process, the result is a band record in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration, and exuberance, Granduciel's gritty love of his craft succeeded in pushing the band to great heights.

    1. Up All Night
    2. Pain
    3. Holding On
    4. Strangest Thing
    5. Knocked Down
    6. Nothing To Find
    7. Thinking of a Place
    8. In Chains
    9. Clean Living
    10. You Don't Have To Go
    The War On Drugs
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Patch The Sky Patch The Sky Quick View

    $18.99
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    Patch The Sky

    Here's the deal. In 2012, people loved Silver Age (to a degree that surprised me, pleasantly),
    likewise Beauty & Ruin in 2014 (despite the heaviness of the subject matter,
    which I thought might be a bit alienating... apparently not. Another pleasant surprise.).


    But PATCH THE SKY is the darkest one.


    After the Letterman performance in February 2015 where "dust fell from the rafters,"
    it would have seemed logical to go the punk rock route-an entire album of two minute
    songs-but that wasn't where my soul was at.


    I withdrew from everyday life. I wrote alone for six months. I love people, but I
    needed my solitude. The search for my own truth kept me alive. These songs are my
    salvation.


    I've had a solid stretch of hard emotional times, and thanks for the condolences in
    advance. I don't want to go into the details-more death, relationships ending, life
    getting shorter-because they're already in the songs. Just listen and see if you can fit
    yourself into my stories. The words make you remember. The music makes you forget.


    But PATCH THE SKY is also the catchiest one.


    I always aim for the perfect balance of bright melodies and dark stories. I've used this
    juxtaposition for years. This time, I've tuned it to high contrast.
    The first side of the album is generally simple and catchy. The second side is heavier
    in spirit and tone. Opposing forces and properties.


    I love both sides of PATCH THE
    SKY.


    At the core of these songs is what I call the chemical chorus-you hear it once and
    your brain starts tingling. The heart rate picks up. It gets worse-you know it's coming
    again and you can barely stand the anticipation. Then, the beautifully heartbreaking
    bridge appears, and you're all set up-hooked for life. Music is an incredibly powerful
    drug. I want to be your drug dealer. I have what you need.


    -Bob Mould

    1. Voices in My Head
    2. The End of Things
    3. Hold On
    4. You Say You
    5. Losing Sleep
    6. Pray for Rain
    7. Lucifer and God
    8. Daddy's Favorite
    9. Hands are Tied
    10. Black Confetti
    11. Losing Time
    12. Monument
    Bob Mould
    $18.99
    Vinyl LP - Sealed Buy Now
  • XXX: 30 Years of Girls, Girls, Girls (Awaiting Repress) XXX: 30 Years of Girls, Girls, Girls (Awaiting Repress) Quick View

    $19.99
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    XXX: 30 Years of Girls, Girls, Girls (Awaiting Repress)

    Limited Edition 30th Anniversary Blue Marble Vinyl

    Girls, Girls, Girls is the fourth studio album by the American heavy metal band Mötley CrÜe, originally released on May 15, 1987.

    The album contains a more blused riffed style than their previous albums. The record contains the hits Wild Side and Girls, Girls, Girls. The record also reflects the band's hard-living lifestyle, and pays homage to their love of riding Harley Motorcycles, drinking whiskey, drug use, life on the Sunset Strip, and spending nights at strip clubs. However, there are darker sides to the album as well, notably Dancing on Glass and Wild Side. The power ballad You're All I Need tells the story of the death of a lover, and the song Nona is a tribute to Nikki Sixx' grandmother, who died during the recording of the album. Pressed on limited edition 30th Anniversary blue marble vinyl.

    1. Wild Side
    2. Girls Girls Girls
    3. Dancing On Glass
    4. Bad Boy Boogie
    5. Nona
    6. Five Years Dead
    7. All In the Name Of...
    8. Sumthin' For Nuthin'
    9. You're All I Need
    10. Jailhouse Rock (live)
    Motley Crue
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Invisible Way The Invisible Way Quick View

    $17.99
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    The Invisible Way

    The Invisible Way is Low's tenth album in 20 years as a band. Low's Alan Sparhawk says of the album: "While driving though Chicago, on tour, we stopped finally to visit Wilco at their studio, The Loft. They had invited us to come check it out several times over the years, but this would finally be the day. It's a great place-a sea of instruments in a relaxed, open working environment. It's cool, but what really converted us was hearing the new Mavis Staples tracks they were working on: big, simple, raw, and intimate. How is this different from any other Low record? Mimi sings lead on five of the eleven songs (she usually only does one or two, despite being a fan favorite). Piano, lots of piano...and an acoustic guitar. Songs about intimacy, the drug war, the class war, plain old war war, archeology, and love."
    1. Plastic Cup
    2. Amethyst
    3. So Blue
    4. Holy Ghost
    5. Waiting
    6. Clarence White
    7. Four Score
    8. Just Make It Stop
    9. Mother
    10. On My Own
    11. To Our Knees
    Low
    $17.99
    Vinyl LP - Sealed Buy Now
  • Deep Trip Deep Trip Quick View

    $18.99
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    Deep Trip

    Destruction Unit are an American band formed in the Sonoran desert of Arizona. Dug up from the sonic landfills of the cosmos, these radical desert dwellers have built a reputation for both mesmerizing and terrorizing crowds with their sheer
    power and intensity.


    Formed by Ryan Rousseau, D. Unit was initially a synthheavy three piece whose other members were Jay Reatard and Alicja Trout (Lost Sounds); likewise Rousseau was also in the Reatards before Jay went solo. Born out of the nucleus of the Memphis Goner Records scene and transplanted into Tempe, AZ, Rousseau has grown the band in the last few years into a full sonic assault, which now includes three guitar players (himself, Nick Nappa & Jesco Aurelius), his brother Rusty Rousseau on bass, and a 19 year-old classically trained drummer, Andrew Flores. This line-up has released several cassettes on their own label Ascetic House, a small run lP, Void on Jolly Dream and most recently a limited edition 7 on Suicide Squeeze.


    Deep Trip is their first proper studio album, produced by Ben Greenberg of The Men, Hubble, and Pygmy Shrews at Vacation Island in NY. It's the first long player which truly captures their burning spirits. Morphine boogie for the 21st century noise addict. A spiritual odyssey of sadomasochistic self-loathing with songs about love and freedom. Selling drugs to make music to sell drugs to; aggressive psychedelic sprawl at its finest. The future of Rock and Roll burning through three twin reverbs and a pound of grass.

    1. The World On Drugs
    2. Slow Death Sounds
    3. Bumpy Road
    4. God Trip
    5. Final Flight
    6. The Holy Ghost
    7. Control The Light
    8. Night Loner
    Destruction Unit
    $18.99
    Vinyl LP - Sealed Buy Now
  • Revolver Revolver Quick View

    $22.99
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    Revolver

    Ranked 3/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time!


    Sourced From the Original Master Tapes!


    Pressed on 180 gram vinyl


    Cut at Abbey Road Studios


     


    Their first psychedelic masterpiece, Revolver, represents The Beatles at their most creative and cohesive form, still a tight rocking unit firing on all cylinders but with a surging freedom of self-expression. It is arguably their greatest album, in which they introduce whole new vistas of sound yet still contain them within tightly structured and performed songs.


    Recorded before The Beatles' personalities began to clash and in advance of the fog brought on by drug use, Revolver encompasses practically every imaginable style and then some. Gentle harmonic pop "I Want to Tell You," stained-glass acid rock "She Said She Said," upbeat soul "Got to Get You Into My Life," Indian "Love You To," and what, at the time (and in some ways still is,) the most cutting-edge pop composition ever devised, "Tomorrow Never Knows," -- a song that single-handedly re-imagined and rewrote the rules of production.


    Before the woolly politics of flower power had really taken over psychedelia, Revolver remains sharp and acerbic, its cutting quality emphasized by great electric guitar-playing from both George and John. The band looked fantastic too, in hipster suits and dark glasses. Pound for pound and song for song, Revolver is as good as it gets, a real monster.


    A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.

    1. Taxman
    2. Eleanor Rigby

    3. I'm Only Sleeping
    4. Love You To
    5. Here, There And Everywhere
    6. Yellow Submarine
    7. She Said She Said
    8. Good Day Sunshine
    9. And Your Bird Can Sing
    10. For No One
    11. Doctor Robert
    12. I Want To Tell You
    13. Got To Get You Into My Life
    14. Tomorrow Never Knows
    The Beatles
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Learning To Crawl Learning To Crawl Quick View

    $34.99
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    Learning To Crawl

    What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.



    Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.



    The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?



    Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.



    New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.



    Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.


    This title is not eligible for discount.

    1. Middle of the Road
    2. Back on the Chain Gang
    3. Time the Avenger
    4. Watching the Clothes
    5. Show Me
    6. Thumbelina
    7. My City Was Gone
    8. Thin Line Between Love and Hate
    9. I Hurt You
    10. 2000 Miles
    Pretenders
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • From A Whisper To A Scream (Pure Pleasure) From A Whisper To A Scream (Pure Pleasure) Quick View

    $34.99
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    From A Whisper To A Scream (Pure Pleasure)

    One of Esther Phillips finest '70s releases, From A Whisper To A Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him!, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto Home Is Where The Hatred Is, Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It's meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive From A Whisper To A Scream (Allen Toussaint) and a staggering Baby, I'm for Real (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.



    Musicians:



    • Esther Phillips (vocal)

    • Pee Wee Ellis (arranger, conductor)

    • Hank Crawford (alto saxophone)

    • David Liebman (bassoon, flute)

    • Eric Gale (guitar)

    • Gordon Edwards (bass)

    • Airto Moreira (percussion)

    • Bernard Purdie (drums)




    Recording: December 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Home Is Where The Hatred Is
    2. From A Whisper To A Scream
    3. To Lay Down Beside You
    4. That's All Right With Me
    5. 'tTll My Back Ain't Got No Bone
    6. Sweet Touch Of Love
    7. Baby, I'm For Real
    8. Your Love Is So Doggone Good
    9. Scarred Knees
    Esther Phillips
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Audioengine A2+ Speakers (Satin Black) Audioengine A2+ Speakers (Satin Black) Quick View

    $249.00
    Buy Now
    x

    Audioengine A2+ Speakers (Satin Black)


    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.


    A2+ is the gateway drug for computer audio.

    - Steve Guttenberg, CNET


    Premium Powered Desktop Speaker System


    The award-winning Audioengine 2 powered desktop speakers just got better. With a built-in digital-to-analog converter (DAC), the Audioengine 2+ allows you to send high-quality digital audio direct from your computer's USB port.


    - Excellent sound with elegant simplicity and a new standard for computer audio

    - Versatile connections, including USB digital audio and subwoofer output

    - Designed for your desktop but also sounds great across the room


    Upgrade your Audio

    The Audioengine 2+ is the new standard for computer audio and these small, but high-performance speakers are the perfect upgrade for your computer. Everyone knows the difference between custom-built, small batch products and the disappointment of mass-produced and over-marketed products. The A2+ was designed and hand-built with the goal of exceeding expectations of both value and performance.


    Brotherly Love

    The Audioengine 2+ is about one-third the size of our flagship Audioengine 5+ powered speakers and an ideal size for your desktop or smaller room. We used the same custom tweeters as in the Audioengine 5+, matched them with compact Kevlar woofers, then added high-performance amplifiers with high-quality connectors. All this great engineering is wrapped in wood cabinets with a hand-polished finish to create a premium quality desktop multimedia speaker system that puts all those sad plastic computer speakers to shame!


    Smaller Speakers, Still Big Bass

    To say that the bass on the Audioengine 2+ is substantial for their size may be an understatement, but you should be the judge. The bass was teased from the A2+ with some clever acoustic and electrical design without using any digital signal processing or fake bass boost circuits. Wood remains a preferred speaker enclosure material for its stiffness at higher volume levels and the cabinet focuses just the right amount of low end from the tuned front port slots.


    Versatile and Efficient

    The A2+ was designed for your desktop but their superb soundstage and imaging also makes them the perfect choice for across the room. Well-suited for all your music, movies and games, the A2+ sounds great with or without a subwoofer. Using a similar analog design as the Audioengine 5+, the A2+ power amplifiers are built inside the left speaker providing a very efficient system. An auto-standby idle mode is also included to conserve power when you're not playing music.


    Easy Connections

    The A2+ features analog amplifiers that are built into the left speaker, while the right speaker is passive so setup is simple. Just plug the left speaker into AC power and connect the included speaker wire from left to right. We've included minijack, RCA, and USB inputs for easy connection to your computer or iDevice and other cables you may need are included. There is no software or plug-ins to install and A2+ works with any computer or music player. The A2+ also has a variable RCA output for connecting a subwoofer, upgraded connectors, improved accessory cables, and a redesigned power supply.


    Minding the Gap

    The Audioengine 2+ sets a new level of audio and aesthetic quality for Powered Multimedia Speakers and further closes the gap between computer speakers and home audio. Even if you're not an audio enthusiast, we guarantee you will still hear a difference!


    Audioengine Speakers
    $249.00
    Audioengine A2+ Powered Speakers (Satin Black) Buy Now
  • Audioengine A2+ Speakers (Hi-Gloss White) Audioengine A2+ Speakers (Hi-Gloss White) Quick View

    $249.00
    Buy Now
    x

    Audioengine A2+ Speakers (Hi-Gloss White)


    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.


    A2+ is the gateway drug for computer audio.

    - Steve Guttenberg, CNET


    Premium Powered Desktop Speaker System


    The award-winning Audioengine 2 powered desktop speakers just got better. With a built-in digital-to-analog converter (DAC), the Audioengine 2+ allows you to send high-quality digital audio direct from your computer's USB port.


    - Excellent sound with elegant simplicity and a new standard for computer audio

    - Versatile connections, including USB digital audio and subwoofer output

    - Designed for your desktop but also sounds great across the room


    Upgrade your Audio

    The Audioengine 2+ is the new standard for computer audio and these small, but high-performance speakers are the perfect upgrade for your computer. Everyone knows the difference between custom-built, small batch products and the disappointment of mass-produced and over-marketed products. The A2+ was designed and hand-built with the goal of exceeding expectations of both value and performance.


    Brotherly Love

    The Audioengine 2+ is about one-third the size of our flagship Audioengine 5+ powered speakers and an ideal size for your desktop or smaller room. We used the same custom tweeters as in the Audioengine 5+, matched them with compact Kevlar woofers, then added high-performance amplifiers with high-quality connectors. All this great engineering is wrapped in wood cabinets with a hand-polished finish to create a premium quality desktop multimedia speaker system that puts all those sad plastic computer speakers to shame!


    Smaller Speakers, Still Big Bass

    To say that the bass on the Audioengine 2+ is substantial for their size may be an understatement, but you should be the judge. The bass was teased from the A2+ with some clever acoustic and electrical design without using any digital signal processing or fake bass boost circuits. Wood remains a preferred speaker enclosure material for its stiffness at higher volume levels and the cabinet focuses just the right amount of low end from the tuned front port slots.


    Versatile and Efficient

    The A2+ was designed for your desktop but their superb soundstage and imaging also makes them the perfect choice for across the room. Well-suited for all your music, movies and games, the A2+ sounds great with or without a subwoofer. Using a similar analog design as the Audioengine 5+, the A2+ power amplifiers are built inside the left speaker providing a very efficient system. An auto-standby idle mode is also included to conserve power when you're not playing music.


    Easy Connections

    The A2+ features analog amplifiers that are built into the left speaker, while the right speaker is passive so setup is simple. Just plug the left speaker into AC power and connect the included speaker wire from left to right. We've included minijack, RCA, and USB inputs for easy connection to your computer or iDevice and other cables you may need are included. There is no software or plug-ins to install and A2+ works with any computer or music player. The A2+ also has a variable RCA output for connecting a subwoofer, upgraded connectors, improved accessory cables, and a redesigned power supply.


    Minding the Gap

    The Audioengine 2+ sets a new level of audio and aesthetic quality for Powered Multimedia Speakers and further closes the gap between computer speakers and home audio. Even if you're not an audio enthusiast, we guarantee you will still hear a difference!


    Audioengine Speakers
    $249.00
    Audioengine A2+ Powered Speakers (Hi-Gloss White) Buy Now
  • It's Not The Eat, It's The Humidity It's Not The Eat, It's The Humidity Quick View

    $17.99
    Buy Now
    x

    It's Not The Eat, It's The Humidity

    The Alternative Tentacles Reissues of Necessity is back! We've hooked another live one from the swirling depths of the most obscure, desirable, and just plain deranged.
    Like many early punk pioneers The Eat operated in a near-total vacuum, in that infamous cesspool of clueless retirees and moronic sun worshippers known as South Florida. Forming in 1978 and playing their first show in July of 1979, it took another year before they were able to record. Their classic 7s were rare and sought after from the moment they came out, distribution was nil, most were given away at shows and crushed on the spot, some even wound up lining a parrot cage. The result is that their 7-inches Communist Radio and God Punishes the Eat are some of the most sought after and obscenely expensive Killed By Death items ever!


    Sure the limited/mangled pressings helped, but the band's twisted angle on the world has a lot to do with the value placed on their early vinyl. Specifically: political concerns like Communist Radio, Nut Cops, Kneecappin' and Nixon's Binoculars. Environmental awareness like Manatee Smacker, M-80 Ant Death, and Living Like a Pig, as well as numerous celebrations of that seedy Florida lifestyle like Catholic Love, Silly Drug Songs, Money for the Police and Psychotic McHale's Navy.


    The Eat reappeared sporadically clear through the mid-'90s, yet still seem unaware how wide their cult and notoriety has spread, especially among people who've never actually heard them. There's a lot of information packed into this package to help those latter folks out, in full color!


    Both early 7s are here, the audio dropouts in the five God Punishes songs fixed up at last, followed by the entire Scattered Wahoo Action cassette album and all the unreleased songs from their aborted Hialeah album that was chopped down to their third and final seven inch. Sound is top-floor melodic punk 'n' roll - sort of a sped-up Real Kids with rock-bottom Angry Samoans-style lyrics. Disc One's a whopping 30+ studio tracks, many never before released.

    LP1
    1. Communist Radio
    2. Catholic Love
    3. Jimmie B. Goode
    4. Dr. Tv
    5. Silly Drug Songs
    6. Nut Cop
    7. Kneecappin'
    8. Party Line
    9. Living Like A Pig
    10. Mary Mary
    11. Hey Jackass
    12. Sub-human
    13. Nixon's Binoculars
    14. I Led Two Lives
    15. Ballbusters On Parade
    16. Open Man
    17. She's Pissed Off
    18. Get Me High
    19. Young Guy
    20. One Call To Cuba
    21. Shoes Shoes Shoes
    22. Mr. Brown
    23. Manatee Smacker
    24. Dream Of Yogi
    25. Money For The Police
    26. Octopus
    27. Psychotic Mchale's Navy
    28. Search My Car
    29. M80 Ant Death
    30. Hialeah


    LP2
    1. We're An American Band (finders Lounge 10/9/82)
    2. Open Man (finders Lounge 10/9/82)
    3. Sub-human (finders Lounge 10/9/82)
    4. Hey Jackass (finders Lounge 10/9/82)
    5. She's Pissed Off (finders Lounge 10/9/82)
    6. Communist Radio (finders Lounge 10/9/82)
    7. Nixon's Binoculars (finders Lounge 10/9/82)
    8. Catholic Love (premier Club 4/12/80)
    9. Nut Cop (premier Club 4/12/80)
    10. Get Me High (churchill's Pub 9/21/96)
    11. M80 Ant Death (churchill's Pub 9/21/96)
    12. Mary Mary (churchill's Pub 9/21/96)
    13. I Led Two Lives (churchill's Pub 9/21/96)
    14. Flower Punk (polish American Club 9/26/81)
    15. La Woman (polish American Club 9/26/81)
    16. Jimmie B. Goode (polish American Club 9/26/81)
    17. Sub-human (polish American Club 9/26/81)
    18. The Car (polish American Club 9/26/81)
    19. Wooly Bully (polish American Club 9/26/81)
    20. Communist Radio (polish American Club 9/26/81)
    21. Open Man (polish American Club 9/26/81)
    22. Nut Cop (polish American Club 9/26/81)
    23. Kneecappin' (polish American Club 9/26/81)
    24. I Led Two Lives (polish American Club 9/26/81)
    25. Get Me High (polish American Club 9/26/81)
    26. Question Of Temperature (polish American Club 9/26/81)
    27. Party Line (polish American Club 9/26/81)
    28. Silly Drug Songs (polish American Club 9/26/81)
    29. Young Guy (polish American Club 9/26/81)

    The Eat
    $17.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Workingman's Dead (Awaiting Repress) Workingman's Dead (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Workingman's Dead (Awaiting Repress)

    Sublime, Stripped-Down 1970 Americana Classic Steeped in Country, Blues, and Folk


    You've Never Heard This Roots-Based Marvel Sound Better: Mastered from the Original Master Tapes and Given Extra-Wide Grooves on 45RPM LP


    Ranked #264 on Rolling Stone's List of the 500 Greatest Albums of All Time: Airy Harmonies, Simple Structures, Concise Arrangements, and Burnished Tones Anchor Songs


    Workingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this first-ever 45RPM version. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures that furnish the songs a transcendence associated with timeless American music. Colorful, relatable characters seemingly torn from working-class histories and old-time fables inhabit the narratives.


    Mastered from the original master tapes and pressed on 180g LPs at RTI, Mobile Fidelity's numbered limited edition of this period-defining recording renders the stripped-down fare with immense detail, rich airiness, and reach-out-and-touch-it realism. Longtime Deadheads and newcomers alike will hear significantly more information, experience wider and deeper soundstages, and become swept away by incredible tonal and vocal balances-traits made possible by the format's wider grooves. Instrumental melds and refined accents, such as guest David Nelson's nimble fills on "Cumberland Blues," are part of a larger whole that gives the impression you are witness to the world's coziest campfire session. Frontier tales and refined performances further this feeling.


    The first Grateful Dead album to eschew cosmic jams and complex signatures, Workingman's Dead stakes its existence to great songs, homespun warmth, and bare essentials. Its wistful, relaxed state-immediately apparent via the innocent album-opening invitation "Will you come with me?" on "Uncle John's Band"-owes to the circumstances and conditions surrounding its creation. At the time, the Dead owed a considerable financial debt to Warner Bros. and were hobbled by a recent drug bust and financial scandal. Most significantly, the band was recovering from-and reacting to-the tragic events of the Altamont Music Festival and symbolic end of the peace and love era.


    As such, Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning "Cumberland Blues," pastoral ballad "Dire Wolf," and bluesy "Easy Wind" hit the mark. Leader Jerry Garcia's occasional pedal-steel underpinnings arrive as a bonus.


    Of course, aside from the economical concision and thematic consistency, the genius of Workingman's Dead resides in the group's expressive harmonies. Taught by Crosby, Stills and Nash, the Dead produce live "air blends" of multi-part vocal harmonies that provide the foundations of nearly every track. "Uncle John's Band," "High Time," "New Speedway Boogie" (with the iconic refrain "One way or another/This darkness has got to give" referencing the ill wind that greeted the new decade), and the radio favorite "Casey Jones" practically float on the ensemble's communal vocal beds.


    Mobile Fidelity's 45RPM edition renders these invigorating, refreshing, and engaging characteristics in three-dimensional sound that transports you to the event. Recordings don't get more lifelike. Workingman's Dead-an iconic, ageless record that drew countless listeners to the band's unique style because of its accessibility and charm-deserves nothing less. Neither do you.


    This title is not eligible for discount.

    1. Uncle John's Band
    2. High Time
    3. Dire Wolf
    4. New Speedway
    5. Cumberland Blues
    6. Black Peter
    7. Easy Wind
    8. Casey Jones
    Grateful Dead
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Death Trippin' At Sunrise: Rarities, B-Sides & Flexi-Discs 1986-1990 (Pre-Order) Death Trippin' At Sunrise: Rarities, B-Sides & Flexi-Discs 1986-1990 (Pre-Order) Quick View

    $31.99
    Buy Now
    x

    Death Trippin' At Sunrise: Rarities, B-Sides & Flexi-Discs 1986-1990 (Pre-Order)

    The rarities collection Death Trippin' At Sunrise: Rarities, B-Sides & Flexi-discs is packed with music originally released on singles, flexis, and various compilations, and includes their Sub Pop single "Drug Machine In Heaven" b/w "Strychnine/Peace, Love And Understanding" and a cover of "After The Gold Rush" from a 1989 Neil Young tribute album. A number of tracks on the rarities compilation are making their first appearance on vinyl.
    LP 1
    1. Death Valley '69 (Remastered)
    2. Thank You (Remastered)
    3. Can't Stop The Spring
    4. After The Gold Rush (Remastered)
    5. Death Trippin' At Sunrise (Remastered)
    6. Summertime Blues (Remastered)
    7. Fryin' Up (Remastered)
    8. Hell's Angel's Cracker Factory (Edit)
    9. Drug Machine In Heaven (Sub-Pop 7 Version) [Remastered]
    10. Strychnine / Peace, Love And Understanding (Remastered)
    11. Lucifer Rising (Remastered)


    LP 2
    1. Ma, I Didn't Notice (Remastered)
    2. Let Me Be It (Remastered)
    3. She's Gone Mad Again (Remastered)
    5. Golden Hearse (Remastered)
    6. Stand In Line (Remastered)
    7. I Want To Kill My Brother; The Cymbal Head (Remastered)
    8. Five Stop Mother Superior Rain (Alternate Version) [Remastered]

    The Flaming Lips
    $31.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Manley Neo-Classic SE / PP 300B Amplifier Manley Neo-Classic SE / PP 300B Amplifier Quick View

    $9,700.00
    Buy Now
    x

    Manley Neo-Classic SE / PP 300B Amplifier

    Enjoy


    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.


    Handcrafted in the USA


    The wonderfully simple 300B directly heated triode is virtually Lee De Forest's very first evolutionary 3-element piece, comprising only filament, input grid and anode output. Brought to reliable perfection by Western Electric USA and later by Standard Telephones UK as the 4300B, the 300B was very much intended and widely used for telephony amplification. But audio enthusiasts of older times knew a good thing when they saw (heard!) it and the great love affair between the 300B and music began... and dwindled many years later as the American Western Electric 300B was taken out of production in the late 1980's making the genuine ones extremely valuable and, accordingly, very highly prized as collectors' pieces. With the Asian-driven passion and resultant revival of SINGLE ENDED topology the call for the 300B to be put back into production was too overwhelming for the Chinese factories to resist. The Russian and the re-start of USA manufacture of the genuine Western Electric original have further expanded the selection. Basic thermionic simplicity... directly-heated triodes... it is a drug for some, a religion for others...


    With its decidedly (and studiedly) 'retro' physical proportions- very deep front-to-back dimensions with a narrow side-to-side width, this layout closely follows concepts of a bygone era, where the well-conceived intention was to keep the power supply as far as possible from the hum and noise susceptible octal input tubes. The output tubes themselves require careful distancing from the mains transformer and, of course, require pure DC on their filaments. Again, reverence to past times begs the use of vacuum tube rectification with its very gentle voltage rise-time. But to bring the performance up to modern demands, we use two rectifiers to enable the use of very substantial filter / reservoir capacitors... over 1300 microfarads in the B+ rail- much improved from the 4 or 8 microfarads utilized in the 1930's.


    When several other manufacturers started selling single-ended amps with 5 to 9 watts of power, we understood subjectively and objectively the good part of the story: the superb mid range, the delicate detail, the inherent simplicity. The bad news was that there were almost no speakers efficient enough to help form a dynamically viable system. The worst news was that either these single-ended amps cost more than the condo and or they had specs that could only be read as a joke. As the triode fans increased, more efficient speakers became available and several fanatics began to dismiss push-pull as a bad thing to be avoided at all costs. We objected to such blanket generalities and stressed that the push-pull done right with truly phase-balanced transformers, quality parts throughout and well designed circuitry has proven to be a superb technique. We also enjoy single-ended topology but only when it is done right, mostly because we expect flat frequency response and low distortion out of an amplifier. We knew that we could achieve this in a properly conceived single-ended design. We chose to rise to the challenge of designing special circuitry that could be switched on the fly From 12 watts in parallel SINGLE-ENDED to 25 watts in PUSH-PULL which, we believe is unique in the industry.


    The Output transformer (hand-wound in our own factory) is of complex design employing inordinately high primary inductance to compensate for the mandatory magnetic gap required for the uni-direction current and voltage flow of the single-ended output stage. Another factor in the single ended triode saga (currently enjoying a wide spread popularity) is demand for little (or sometimes zero) negative feedback. We at Manley Labs believe in the judicious or sensible amount of feedback to refine and maximize performance. Our Neo-Classic SE/PP300B gives you the choice in precision switched 1 dB steps to go from ZERO dB's to 10 dB's of negative feedback. Even with zero negative feedback, this amp is cleaner and flatter than any single-ended amp we know of.


    One interesting aspect of negative feedback is it gives a higher damping factor. Conventional wisdom would have us think that the higher the damping factor, the better. Our experience is that the optimum damping factor is not infinity and that it depends on the speaker, the room. and the taste of the listener. In other words, the optimum is variability, and this we provide. This amp satisfies us as long time amplifier builders, amazes the critics in several well known magazines and is bound to satisfy you with the ability to fit into your system and your expectations. BUT REMEMBER PLEASE the overall facts of power ratings versus loudspeaker sensitivity and room size when electing to venture into lower power amplifiers (less than 50 watts) and especially when contemplating single-ended topology.


    Manley Labs
    $9,700.00
    Manley Neo-Classic SE/PP 300B Amplifier Buy Now
  • AAARTH (Pre-Order) AAARTH (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    AAARTH (Pre-Order)

    AAARTH makes a statement unlike its predecessors. Drawing inspiration from a worldwide climate of political and social uncertainty the band transplanted themselves in Utah's vivid natural landscape immersed in a collage of colors and light, the ever fluid and expansive Southwestern sky mirroring our rapidly-changing world. The deep burnt-orange rocks and canyons became touchstones as the band formed the sonic landscapes of AAARTH. From soaring choruses to percussive pulsating guitars, The Joy Formidable paint an 11 song musical tapestry deftly balancing a sound as grounded as their ancient surroundings and as elusive and mind-bending as a gloaming desert sky.


    AAARTH first came to life on the road penning lyrics and recording selected parts in hotel rooms around the world. They self-produced and mixed most of the album in their mobile recording studio. This critically adored trio is comprised of Ritzy Bryan (lead vocals, guitars), Rhydian Dafydd (bass, backing vocals) and Matt Thomas (drums, percussion). Formed in North Wales 10 years ago, each album they've released has been a joyful adventure and reflection of their fearless creative discovery and self evolution. The Joy Formidable has always refused to be fenced in or fit in. That restless and boundless artistic journey continues on their fourth album, an arresting and unapologetic tour de force that finds a band at its apex with no sign of getting comfortable.


    Certainly, the road to AAARTH hasn't always been easy. Staying together as a band for 10 years requires immense tenacity and passion, both of which The Joy Formidable have never lost. That same tenacity echoes in their new unrelenting affecting musical treatise. The songs, melodies, and arrangements on AAARTH soar seamlessly from the personal to the epic sometimes in loneliness, vulnerability, disillusionment, joy,and redemption, but all the while refusing to deny the persistence of our own and other's imperfectly beautiful humanity. Fernando Chamerelli's evocative album art frames this vibrant, diverse, and playful melodic and lyrical collage.


    While the sounds build the mood at the heart of this album are haunting songs that don't let go, "Cicada (Land On Your Back)" draws on the shamanistic influence of Utah, infusing the melody with a lingering psychedelic impression. "We wanted some kind of rebirth, the way you do in a tribal drug ceremony," Rhydian says. "We wanted to lose ourselves and start again." These themes of feeling lost and letting go only to reconnect with yourself thread through the songs. In "All and All" these themes are echoed, as the guitars hypnotically build into a crashing tide of reckless abandon, hope, yearning, and desperation.


    There's one little part of me

    that doesn't want to let go

    It's easier to be the old me

    I'm tired of staring down the price of bravery

    All in all there's something missing

    All in all there's something you can do

    I won't play it down or pretend I haven't found

    Because all in all there's something in you


    The album is book-ended by two songs that calls for a world less divided, offering a dual desire that we take on the challenge to find love and forgiveness across entrenched divisions, while reminding us that healing journey cannot happen unless we also allow forgiveness and love for ourselves. "Y Bluen Eira," written in Welsh, invokes a white feather, a symbol of weakness in British history, and a snowflake. "It's very easy to write off a whole group of people just by labeling them," Ritzy notes. "That leads to a lack of communication and isolation. If we can be curious and courageous, then maybe we will find conversation across the spectrums that divide us and maybe even find new patterns to heal our world and ourselves".


    From the contagiously sweeping sonic feast of "You Can't Give Me" to the careening and addictive "All and All", (possibly one of the more wrenching and beautiful rock ballads since the Yeah Yeah Yeahs "Maps" shattered male dominated rock radio over a decade ago), their new record grasps its listener tight and refuses to let go. NME has written that, 'The Joy Formidable has always sounded so much bigger than the stages they inhabit'. With the release of AAARTH later this year, we are poised for the moment where the size of this band's stages, may just yet, catch up with their sound. For a band who never coveted nor chased mainstream success a much wider audience awaits and, as always for this Welsh trio, it arrives on their timeline and will be met on their own terms.

    1. Y Bluen Eira
    2. The Wrong Side
    3. Go Loving
    4. Cicada (Land On Your Back)
    5. All In All
    6. What For
    7. The Better Me
    8. Absence
    9. Dance Of The Lotus
    10. You Can't Give Me
    11. Caught On A Breeze
    The Joy Formidable
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • 4 Trk Mind (Discontinued) 4 Trk Mind (Discontinued) Quick View

    $16.99
    Buy Now
    x

    4 Trk Mind (Discontinued)

    In this man are the traces of becoming. the display of veins strung into a multi-colored silhouette of a man born out of the electric dawn of the late seventies. Birthed from a songwriter father who struggled to unveil to his son the distortion world of drugs, song, and love, he discovered early that we are all in exile from one another. The boy grew up fascinated with the world of horror films, new wave pop, rap music, and graffiti. His spray paint fingers grazed dusty record sleeves, transformed a cheep home stereo into a mixer, and connected a young man with the current that changed his head. After years of journeying through sweat drenched undergrounds, and strobe light shadows, a man emerged. One who finds consolation in the fractal universe, one who has discovered love in a Technicolor death valley, and one who realized that those of the Diaspora of love can find community through song, he radiates wax for us. A man who is wired to the electric field of his past where he has loves and lost, and discovered the intervals of an off beat, kinetic world, he offers his songs as flesh, this music is an artifact of a man who shares his quantum of experience, who wants you to plug into his design, bridge the gap of our individual exiles, and discover the art of becoming electric through analog tape hiss.
    1. It's Me
    2. The Man
    3. You and I
    4. Klepto
    5. Love, Luv, Love
    6. Younger Days
    7. Crazy in the Head
    8. Knight Rider
    9. If You Know LIke I Know
    10. 4ever (Friend Zone Prt. 1)
    11. Momma Song
    12. When Nothings Left ft. Blu
    13. 2039
    14. Who Are You?
    15. I Like You As You Are
    16. Wanna Be
    Exile
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Among The Ghosts (Pre-Order) Among The Ghosts (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    Among The Ghosts (Pre-Order)

    Lucero's ninth studio album, Among the Ghosts, is their first for noted Nashville indie label Thirty Tigers. It was recorded and co-produced with Grammy-winning engineer/producer and Memphis native Matt Ross-Spang (Jason Isbell, Margo Price, Drive by Truckers) at the historic Sam Phillips Recording Service, the studio built by the legendary producer after outgrowing his Memphis Recording Service/Sun Studio.


    Recorded primarily live as a five-piece, Among the Ghosts eschews the Stax-inspired horns and Jerry Lee Lewis-style boogie piano featured on some of the band's past recordings for a streamlined rock & roll sound that pays homage to their seminal influences as it seeks to push that legacy into the future. For a band who carried the torch of the alt-country movement back in the 90's and helped pave the way for what is now called Americana, Lucero have re-discovered what inspired them in the first place. The sound is more their own and at the same time not exactly like anything they've done before. This is a band settling into their craft. The 10-song disc's title is both a tribute to the spirits which roam the streets of their fabled city, as well as the hard road the determinedly independent band set out on 20 years ago. The band played around 200 shows per year for many of those 20 years.


    With a nod to his younger brother Jeff Nichols, an acclaimed filmmaker whose movies include Loving, Mud, Take Shelter, Midnight Special, and Shotgun Stories; Nichols has written songs that are cinematic short stories, steeped in Southern gothic lore. There are nods to regional authors like Flannery O'Connor and Faulkner, as well as newer writers like Larry Brown (Big Bad Love, Fay), Ron Rash (The Cove, The World Made Straight), and William Gay (The Long Home).


    As the first album he's written since his marriage and the birth of his now two-year-old daughter Izzy, Nichols approached the task as a narrator rather than in first person. It's a dark palette that includes tales of a haunting ("Among the Ghosts"), a drowning ("Bottom of the Sea), a reckoning with the devil ("Everything has Changed"), a divorce ("Always Been You"), and a shoot out ("Cover Me"). And that's just Side A. Side B is a letter from a battlefield ("To My Dearest Wife"), a crime ("Long Way Back Home"), a straight-out rocker ("For the Lonely Ones") and even a spooky spoken-word cameo from actor Michael Shannon, who has appeared in every one of Nichols' brother's films. The song's title "Back to the Night" references a line from Nick Tosches' Jerry Lee Lewis biography, Hellfire. In addition, there's a song Nichols wrote for his brother's movie Loving, which appeared in the film and on the soundtrack, re- recorded for Among the Ghosts with the whole band.


    "You could also say there's a rescue, a getaway, a survival story and a middle finger to Satan himself," laughs Nichols. "It's all in your perspective."


    Several songs juxtapose going off to battle with a rock & roll band's endless touring, shifting time periods like the spirits which haunt the album, the happiness of domestic bliss undercut with fears of loss and the specter of mortality. Among the Ghosts simultaneously reprises the past and looks to the future, while being firmly anchored in the present.


    Musically, the band highlights range from co-founding member Brian Venable's Dire Straits-meets-War on Drugs guitar pyrotechnics in "Bottom of the Sea" and "Cover Me" to the Springsteen vibe of "For the Lonely Ones," Rick Steff's skeletal piano lines on "Always Been You," John C's bass lines in "Everything Has Changed" and "Long Way Back Home," and drummer Roy Berry's dynamic shifts from the powerful and brutal title track "Among the Ghosts" to the marching drive of "To My Dearest Wife" and the subtlety of "Loving." Throughout, Nichols' bourbon-soaked growl has become even more distinctive and commanding.


    Among the Ghosts offers a timeless perspective on Lucero's distinctive sound. The lyrics could've been written 200 years ago or yesterday. Representing a new South compared to the one that's been mythologized, Lucero have formulated their own ideas and culture which, in some cases, contradicts what came before them (no Confederate flags), but also updates and reconsiders those traditions in a new light.


    "I think we've tried to remake this place that we love and cherish in our own fashion. We are very proud of where we are from and we've spent the last 20 years trying to bring a bit of our version of home to the rest of the world It may have taken 20 years, but everything has fallen in place right where it needs to be," acknowledges Nichols. "There were some dark days in those middle years, but we've learned how to do this and survive. We still write heartbreak songs, but now, with a family at home, it's a whole new kind of heartbreak."


    Among the Ghosts lays out that new territory with alacrity, as Lucero shines their Morning Star, burning just as brightly, if not more so, 20 years later. As one of the album's song titles so aptly puts it, "Everything Has Changed," but one thing hasn't Lucero's music remains more vital than ever.

    1. Among the Ghosts
    2. Bottom of the Sea
    3. Everything Has Changed
    4. Always Been You
    5. Cover Me
    6. To My Dearest Wife
    7. Long Way Back Home
    8. Loving
    9. Back to the Night
    10. For the Lonely Ones
    Lucero
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    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, JosÉ 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, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
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