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Love Never Dies'
LifeBy late 1968, the third album by Sly & the Family Stone absolutely blew the roof off the building. Life sounded so tangibly real it almost seemed like it was cut live. The title track, along with Love City, Plastic Jim, Into My Own Thing and especially Dynamite! signaled a perfect alliance between Sly's multi-influence, far-reaching musical vision and the burgeoning hippie ballroom community, already spreading like lawn daisies throughout the land. Never before had juicily syncopated beats dovetailed so perfectly with distortion-laced rock guitar. You don't have to die before you live, sings Sly on Life and he's not kidding! The lyrical content of Sly's music becomes even more graphic with detailed workouts like Jane Is A Groupee, a riveting description of this fascinating rock 'n' roll sub-culture. Then, on the other hand, you have the full-bore party numbers like M'Lady and Fun, songs fully capable of launching anybody's weekend with reckless abandon!1. Dynamite!
3. Plastic Jim
5. Into My Own Thing
8. Love City
9. I'm An Animal
11. Jane Is A Groupee$28.99Vinyl LP - Sealed Buy Now
Never Die YoungFor the First Time Ever on Audiophile Vinyl
Mastered from the Original Columbia Records Tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and Manufactured at RTI
When James Taylor releases an album, it is always a much welcomed event to his millions of fans around the globe.
This superstar singer/songwriter/guitarist is undoubtedly one of America's most important contributors ever to popular
After a major run of hit recordings with Apple and Warner Bros. Records throughout most of the 70's, James Taylor
signed with Columbia Records and began even more decades of gold and platinum successes which have forever stood
the test of time. His 1988 platinum achievement Never Die Young continued his winning streak.
Filled with a number of hit singles and definitive album tracks, this masterwork LP kicks off with the smash title track
Never Die Young. After the first few seconds of his signature guitar riffs and original lyric and vocal delivery, you know you
are in for an unmistakable James Taylor musical journey.
More hit sounds abound as his soulful voice and stunning guitar belt out memorable Taylor favorites like Baby Boom
Baby, the country rock feel of Runaway Boy, as well as the uplifting funk of Sweet Potato Pie.
The album continues its brilliance with one of his most interesting and clever compositions yet with his love ballad
More introspective James Taylor is found on favorites Home by Another Way and Letter in the Mail, which echo the
brilliance of how James Taylor just reaches millions with his stellar voice and music.
As a fine closer to this LP, the rhythm and emotion of First of May truly captivate the fans into yearning more and
more listens of this powerful album.
For the first time ever on audiophile vinyl, Friday Music is very honored to continue The James Taylor 180 Gram Audiophile Vinyl Series with its second installment, the 1988 masterpiece Never Die Young. Mastered impeccably from the
original Columbia Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at RTI, this
album is a much welcomed release for all the followers of this musical genius.
In addition to the great music within, this limited edition high grade vinyl release also comes in a super rare first time
gatefold cover, which also includes all the lyrics and additional photos from the original album not seen since its original
To enhance your listening pleasure, we are also packaging the album in a poly lined protective sleeve and a poly bag for the album cover too.
Look for more James Taylor 180 Gram Audiophile masterpieces soon from your friends at Friday Music Hold Them
Up Hold Them Up!Side One
1. Never Die Young
3. Baby Boom Baby
4. Runaway Boy
5. Valentine's Day
1. Sun on the Moon
2. Sweet Potato Pie
3. Home by Another Way
4. Letter in the Mail
5. First of May$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
REDI-SUN-5817xThe Pleasure Seekers
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Stand For Something Or Die For Nothing (Pre-Order)Release Date: June 22, 2018*
Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.
"Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."
Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.
"The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."
If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.
"On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."
Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.
"Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."
While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."
*Please note that release dates are subject to change.1. Stand For Something Or Die For Nothing
2. Other Ones
3. The Comeback Zone
4. Angels Calling (feat. Slaine)
5. These Ain't The Old Days
6. Working Class Heroes
7. Lest We Forget
8. The Round Up
9. Mary On Believer Street
10. Never Above You, Never Below You
11. Torn And Frayed$20.99Vinyl LP - Sealed PRE-ORDER Buy Now
Mourning In The MorningFor Mourning In The Morning, his 1969 album debut on Atlantic Records, southpaw blues guitar legend Otis Rush journeyed from his Chicago home to Fame Recording Studios in Muscle Shoals, Alabamaa burg best known for seminal soul platters. Backed by a horn-powered band that included a young Duane Allman on rhythm guitar, Otis slashing axe and anguished vocals glowed on the tortured Youre Killing My Love, remakes of his Cobra Records classics My Love Will Never Die and It Takes Time, and a stunning revival of B.B. Kings Gamblers Blues. Half the set consisted of new compositions from producers Mike Bloomfield and Nick Gravenites, and Rushs mile-wide string bending on a shimmering instrumental version of Aretha Franklins Baby I Love You is utterly breathtaking.1. Me
2. Working Man
3. You're Killing My Love
4. Feel So Bad
5. Gambler's Blues
6. Baby, I Love You
7. My Old Lady
8. My Love Will Never Die
9. Reap What You Sow
10. It Takes Time
11. Can't Wait No Longer$24.99Vinyl LP - Sealed Buy Now
Fresh Blood For Tired VampyresEternal life can seem like an eternity. Ask any vampire. The continuous march of sun ups, sun downs, transformations of form, seductions, cape fittings & exsanguinations. Eventually it all just becomes an endless, tired routine. It all seems so exciting & so sexy to those of us who operate knowing we have limited time. But ask any vampire about the downside of eternal life, & you won't be surprised to hear tales of binge eating garlic bread just to feel the hurt, or of the occasional dangling of a wooden stake just over the center of the rib cage.
Electric Six knows all about eternal life. Electric Six has been around forever & it can never die. That's lovely, but it's also very tiring. Fresh Blood For Tired Vampyres is the new release by Electric Six on Metropolis Records. One listen & you will immediately understand that the sexiest vampires are urban vampires. Where E6 has dabbled in dance, hip-hop & R&B in the past, Fresh Blood is the whole enchilada. It's thirteen songs designed to make the listener interested in smooth & nasty fuckin', the way they do it in the city. From the Grandmaster Flash-inspired Number Of The Beast to the super smooth tour of the NYC outer boroughs Mood Is Improving, the listener finds himself immediately deposited into an urban drop zone with hustlas & dickblockas coming from behind every corner.
The radio-ready pop hits I'll Be In Touch & Dance With Dark Forces are the tracks that get the listener off the street & into the club. & it would not be an Electric Six album without an epic closer, that being the beautiful & haunting Spacewalkin', the ballad that assures the listener that the vampire has now fed & will live a thousand more years, albeit in outer space. Electric Six changes more frequently than change itself, but ultimately this just means they're never gonna put out the same album twice. Fresh Blood for Tired Vampires is poppy & smooth, nasty & raw...& oh so life affirming, especially if you are undead.1. Acid Reducer
2. The Number of The...
3. Mood Is Improving
4. I'll Be In Touch
5. Lottery Reptiles
6. Dance With Dark...
7. (Be My) Skin Caboose
8. My Dreams
9. I Got The Box
10. Lee Did This To Me
11. Greener Pastures
12. The Lover's Pie
13. Space Walkin'$23.99Vinyl LP - Sealed Buy Now
American Hustle SoundtrackLike Goodfellas and Boogie Nights before it, American Hustle's music celebrates the epic feel of '70s pop, rock, and disco and uses it to give its story extra heft. David O. Russell's tale of con men, Feds, and the mob has a lighter touch than either of those two movies, however, and this is reflected in the soundtrack's song choices. More than a few of these tracks are by Electric Light Orchestra as well as Jeff Lynne on his own, and the whimsical yet driving sound of 10538 Orchestra, Long Black Road, and Stream of Stars lends a tongue-in-cheek tone supported by Tom Jones' Delilah and Chris Stills' Live to Live. The album touches on some of the decade's definitive songs (Elton John's Goodbye Yellow Brick Road, Wings' Live and Let Die, Donna Summer's I Feel Love) but never sounds like a prepackaged hits-of-the-'70s collection, due in large part to unique choices like Harold Melvin & the Blue Notes' gritty version of Don't Leave Me This Way and Mayssa Karaa's otherworldly Arabic interpretation of Jefferson Airplane's White Rabbit, which is so striking that it's one of the finest songs on an album packed with big names. A nuanced and playful soundtrack, American Hustle works well as a companion piece to the movie that spawned it and on its own.
- Heather Phares (All Music Guide)LP1
1. Jeep's Blues - Duke Ellington
2. Goodbye Yellow Brick Road (Album Version) - Elton John
3. White Rabbit (Arabic Version) - Mayssa Karaa
4. 10538 Overture - Jeff Lynne
5. Live and Let Die - Wings
6. How Can You Mend a Broken Heart - Bee Gees
7. I Feel Love - Donna Summer
8. Don't Leave Me This Way - Harold Melvin & The Blue Notes
9. Delilah - Tom Jones
1. I've Got Your Number - Jack Jones
2. Long Black Road - Jeff Lynne
3. A Horse with No Name (Album Version) - America
4. Stream of Stars - Jeff Lynne
5. Live to Live - Chris Stills
6. Irving Montage - Danny Elfman$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Adore LifeIt's about change and the power to change. It's about
metamorphosis and evolution. It's about sticking to
your guns and toughing it out. It's about now, not
tomorrow. It's about recognizing your potential. It's
about self-doubt and inaction. It's about you. It's
about me. It's about you and me and the others.
It's about the choices we make. It's about finding
the poetry and avoiding the clichÉ. It's about being
the solution, not the problem. It's about showing
weakness to be strong. It's about digging through
your dirt to look for diamonds. It's about claiming
your right to think unacceptable thoughts. It's about
boredom and the things we do to drive it away. It's
about being on your own so you can be with people.
It's about knowing what it means to be human and
what it might mean one day. It's about the parts and
the sum of the parts. It's about the music and the
message: together, one and the same. It's about bass,
guitars, drums and vocals. It's about opening-out and
never, ever dying. But most of all it's about love, every
kind of love. Love is the answer.
Savages' second album, Adore Life, was recorded at
RAK Studios, London in April 2015. Johnny Hostile
was the producer and Richard Woodcraft the
engineer. Anders Trentmøller took care of the mixing
in Copenhagen.1. The Answer
3. Sad Person
5. Slowing Down The World
6. I Need Something New
7. When In Love
10. Mechanics$22.99Vinyl LP - Sealed Buy Now
Forever Changes (45 RPM) (Awaiting Repress)Ranked 40/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Mastered from the Original Master Tapes for Unsurpassed Analog Sound: Mobile Fidelity's 180g 45RPM 2LP Set Opens Up Scale of Lush Orchestral Architecture and Elegant Baroque Textures
Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.
Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set affords the masterpiece the white-gloves treatment and golden-hued analog sonics it has always deserved. Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. The music appears to float on clouds, with the woody tones emanated by the acoustic guitars and brassy signatures of horns emerging with lifelike detail. Turn it up as loud as you want; the sole limitation will be your system's potential.
Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.
The seemingly opposing combination - ominous, dark reflections situated amidst lush, light melodic beds - affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.
Alternatively sad and beautiful, the album-opening and flamenco-inspired Alone Again Or establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.
No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.
This title is not eligible for discount.1. Alone Again Or
2. A House Is Not A Motel
4. The Daily Planet
5. Old Man
6. The Red Telephone
7. Maybe The People Would Be The Times Or Between Clark And Hilldale
8. Live And Let Live
9. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
ADAD-TEN-3934xWillis Earl Beal
NoctunesWillis Earl Beal was born on the South Side of Chicago. He would never consider it home. An odd kid, he spent a lot of his youth talking with his grandmother, who would entertain his endless questions about the universe and encourage his love of drawing. He developed an obsession with Batman that would last well into his teenage years, when he enlisted in the U.S. Army as a form of vigilante training. Willis Earl Beal died on an army base in Fort Leonard Wood, Missouri. While in boot camp he was plagued with physical and mental abuse, health complications (which would later require surgery and the removal of large portions of his intestine) forced his discharge. He moved back home. "When that all broke down," Beal says. "I lost a piece of myself." Willis Earl Beal was born in Albuquerque, New Mexico. After a stint of homelessness there, he worked odd jobs and rented a studio apartment. Though he'd never learned to play any instruments, he began to record raw, lo-fi albums with hand-drawn covers that he'd leave at coffee shops around town alongside flyers seeking a girlfriend with his phone number written on them. Those artifacts would eventually find their way to the cover of Found magazine, then to Jamie-James Medina at XL Recordings. Beal signed with XL's Hot Charity imprint in 2012. Willis Earl Beal died in New York City. Despite the release of two critically well-received albums on XL-Acousmatic Sorcery, a collection of his early home recordings, and a fully orchestrated studio album he recorded in Amsterdam called Nobody Knows-he was a mess. "I'd drink myself into stupors," he says. "I'd walk around in the daytime, crying, then I'd go downtown. The police would bring me home in the morning." Willis Earl Beal was born on a lake twenty miles outside Olympia, Washington. After ending his contract with XL, Beal went to live in the woods, and began an artistic transformation entirely of his own design, from rough-edged outsider-art provocateur to the kind of mysterious crooner one might expect to haunt the outskirts of Twin Peaks. "People had all these ideas about what I was supposed to be," he says. "I had only ever wanted to make lullabies." Beal's development played out over two self-released EPs and a full-length album, and then Beal built the patient, ambient-leaning Noctunes. The album's twelve songs are moving and meditative, thoroughly soaked with mournful synth strings and simple lyricism that Beal says is intentionally minimalistic. "I wanted to create this persona that could say everything perfectly with very little," Beal says. "The record, to me, is a perfect record. I listen to that thing a lot, and it helps me." Willis Earl Beal has yet to be born. Critics and publicists defined him before he'd had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn't feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. "I know it sounds falsely altruistic," he says. "But I think a simple voice like mine can serve as an example of some kind of freedom."1. Under You
2. Flying So Low
3. Like a Box
5. No Solution
7. Say the Words
8. Love Is All Around
9. Able to Wait
11. Start Over
12. 12 Midnight$24.99Vinyl LP - 2 LPs Sealed Buy Now
The StrangerRanked 67/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Joels Breakthrough Record Loaded With Smash Hits: Movin Out (Anthonys Song), Just the Way You Are, Only the Good Die Young, Shes Always a Woman
Getting It Right: Mobile Fidelitys Half-Speed Mastered Version Brings Phil Ramones Celebrated Production into Full-Color Detail
1977 Set a Grammy Winner for Record of the Year and Song of the Year
Billy Joel entered 1977 with a great track record but in need of breakthrough. Pairing with producer Phil Ramone (Carly Simon, Simon & Garfunkel), who developed the requisite ingredients missing from Joels formula, the singer-songwriter became a household name and chart-topping success courtesy of The Stranger. Certified ten-times platinum, Joels artistic and commercial smash remains a pop-rock benchmark. Better still, it now sounds astonishing.
An integral part of Mobile Fidelitys Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 180g LP at RTI. Far superior to the previous Sony and Simply Vinyl analog reissues, this edition emphasizes the crucial touches and insightful techniques Ramone brought to a batch of material that ranks among Joels most clever, catchy, and sagacious.
Whereas a handful of Joels preceding efforts feature a near-flawless mix of melodic arrangements and poignant lyrics, the aspects he sought in order to graduate into a more serious artist arrive here via Ramones more muscular, fleshed-out, and rock-enabling production. The streamlined approach slightly strips back the sweeping developments heard on Piano Man and Turnstiles, and on this edition, lays bare the core of the material, allowing the vocalists bittersweet yearning, rollicking 88 notes, and working-class conviction to emanate with full-bodied detail, vivid color, and grand-scale dynamics.
A Grammy winner for both Record and Song of the Year, Just the Way You Are epitomizes Joels balladic reach, his ability to transfer wistful sentiments and lovelorn emotions. He also flashes a mean streak. The animated Only the Good Die Young bounces and hops to an updated classic-R&B rhythm and, underneath its beauty, Shes Always A Woman hints at trouble underfoot. And then theres the New York-centric, character-rich poetry of the vignettes.
Akin to many of his influences, Joel nails the grit, personality, specificity, descriptiveness, and behavior of protagonists that populate Movin Out (Anthonys Song) and Scenes From an Italian Diner, each equally at home on The Stranger as well as on a Broadway play or on a golden-era Hollywood film soundtrack. No wonder that, just months after its original release, Joel was no longer a stranger to any of the music-loving public. He would never look back.
Don't pass up this seminal pop-rock work in the best fidelity its ever enjoyed.
This title is not eligible for discount.1. Movin Out (Anthonys Song)
2. The Stranger
3. Just the Way You Are
4. Scenes From an Italian Restaurant
6. Only the Good Die Young
7. Shes Always a Woman
8. Get It Right the First Time
9. Everybody Has a Dream/The Stranger (Reprise)$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Angus SoundtrackClear Vinyl
To celebrate the 20th anniversary of the Angus Soundtrack, SRCvinyl is bringing it to vinyl for the first time ever! The album has been mastered for vinyl by Kevin Gray at Coherent Studios and is pressed on limited edition 180 gram vinyl.
The film's soundtrack accurately reflects the melodic ideas prevalent in the alternative rock scene at the time. Most of the bands perform songs that closely resonate with the themes of the film while keeping a fast yet upbeat tone, a sharp departure from the age of grunge, which had just reached its twilight. (It should be noted that Angus' penchant for flannel and denim, as well as his defeatist persona, are concepts more closely associated with grunge.) However, several key songs are absent in the CD that was released, most notably ''Fade into You'' by Mazzy Star, the song that was played as Angus and Melissa danced, and ''Rubella'' by the Smoking Popes.
Weezer's initial offering, a song entitled ''Wanda (You're My Only Love)'' (or sometimes just ''Wanda''), was written specifically for the movie but rejected for being ''too much of a strict interpretation of the movie'' and for not sounding enough like what was expected of Weezer at the time. The previously written, more uptempo ''You Gave Your Love to Me Softly'' was used instead, and the rejection of the former song was known to have hurt Weezer's singer and songwriter Rivers Cuomo at the time. Though Weezer never properly recorded ''Wanda'', Cuomo released his 1994 demo of the song (along with the story of the song's submission and rejection) in 2007 on the albumAlone: The Home Recordings of Rivers Cuomo.
The unique version of ''Am I Wrong'' by Love Spit Love, mixing marching band horns into the original version of the song which interplay well with Richard Butler's raw vocals.
Green Day contributed ''J.A.R. (Jason Andrew Relva)'', a song written by bassist Mike Dirnt about his friend who died in a car accident when he was 19. This song peaked at number one on the Modern Rock Billboard charts of 1995. This song was later released on their 2001 greatest hits album, International Superhits. Meanwhile, Green Day singer Billie Joe Armstrong co-produced ''Back to You'' by the Riverdales with producer Mass Giorgini, which was featured during the dance sequence at the high prom in the film.
The music supervisors for Angus were Elliot Cahn and Jeff Saltzman, who, at the time, also managed two of the soundtrack's artists: Green Day and The Muffs.
1. Green Day - J.A.R.
2. Ash - Jack Names The Planets
3. Dance Hall Crashers - Enough
4. Ash - Kung Fu
5. Riverdales, The - Back To You
6. Smoking Popes - Mrs. You And Me
7. Weezer - You Gave Your Love To Me Softly
8. Goo Goo Dolls - Ain't That Unusual
9. Muffs, The - Funny Face
10. Tilt - White Homes
11. Pansy Division - Deep Water
12. Love Spit Love - Am I Wrong$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pete Townshend's Classic QuadropheniaAs a leading icon of the British music revolution of the 1960s, Pete Townshend made his name by creating the power chord, smashing guitars onstage, and penning anthems of teenage rebellion like My Generation.
Now, at almost 70 years old and half a century after he penned the archetypal rock lyric Hope I die before I get old , Townshend has created a classical version of one of The Who s landmark albums Quadrophenia for a symphony orchestra, opera singer and choir.
The new symphonised version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller, a professional composer, orchestrator and singer-songwriter in her own right and also the partner of Pete Townshend.
It will be released by the Deutsche Grammophon label, internationally renowned for its repertoire of classical and opera music, and launched next summer with a world premiere concert at the Royal Albert Hall, performed by the Royal Philharmonic Orchestra and London Oriana Choir.
The project is the latest chapter in Townshend s lifelong mission to break the three-minute mould of the traditional pop song and take rock music to a higher artistic level. In the 1960s he defined the concept of the rock opera with Tommy, taking it a stage further with Quadrophenia.
Conceived and written by Townshend in 1973, Quadrophenia went on to become a feature film and a theatre production, and was performed in its entirety on The Who s most recent live tour. For the last three years Townshend has worked closely with Rachel Fuller on brand-new arrangements for orchestra, soloists and choir.
Recorded with the Royal Philharmonic Orchestra in October 2014 at London s legendary Air Studios, the new incarnation of this classic rock opera is conducted by Robert Ziegler and features popular British tenor Alfie Boe on vocals, with Townshend himself on electric guitar and performing cameo vocal roles. Townshend will reprise his roles at the live world premiere at the Royal Albert Hall in London on 5 July 2015, alongside the RPO, Ziegler, Boe and other star guests.
The rock superstar began work on the project as part of his plan to leave a legacy of all his work arranged for orchestra as sheet music, for future generations to enjoy. Townshend hopes the new work will go on to become a regular part of the orchestral repertoire and boost attendance at classical concerts.
A lot of major symphony orchestras are in trouble because their audience is getting old and the younger audiences prefer softer stuff, such as film soundtrack music, he explains. I think that Quadrophenia would reinvigorate their audiences and bring in people who might not otherwise go to see a symphony orchestra perform without lights and fireworks and a movie screen.
Rachel Fuller, who was born in the year Quadrophenia was first released, admits she had never heard The Who s album until several years after she first met Townshend in a London recording studio, while he was rehearsing for The Who s 1996 tour of that album and she was working with Ute Lemper.
I loved it as soon as I heard it about ten years ago, she says. For me it's been an act of love to orchestrate it for Pete. It's also been a joy to work on because it is very orchestral by nature, even as a rock album, so it was very easy to arrange for an orchestra. And I've remained really faithful to the original tracks because he's the composer and I want to honour his work.1. I Am The Sea
2. The Real Me
4. Cut My Hair
5. The Punk And The Godfather
6. I'm One
7. The Dirty Jobs
8. Helpless Dancer
9. Is It In My Head?
10. I've Had Enough
12. Sea And Sand
14. Bell Boy
15. Doctor Jimmy
16. The Rock
17. Love Reign O'er Me$25.99Vinyl LP - 2 LPs Sealed Buy Now
Luciferian TowersPressed On 180-Gram Vinyl
Housed In A Gatefold Jacket With Printed Inner Sleeve
Includes 24 x 24 Poster
this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.
1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!
2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!
3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.
4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.
finally and in conclusion;
the "luciferian towers" L.P. was informed by the following grand demands:
+ an end to foreign invasions
+ an end to borders
+ the total dismantling of the prison-industrial complex
+ healthcare, housing, food and water acknowledged as an inalienable human right
+ the expert fuckers who broke this world never get to speak again
much love to all the other lost and wondering ones,
xoxoxox god's pee / montrÉal / 20171. Undoing A Luciferian Towers
2. Bosses Hang
4. Anthem For No State$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Nat King Cole StoryAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52
The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle
...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010
One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.
His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.
A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.
Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.
Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.
This title is not eligible for discount.1. Straighten Up And Fly Right
2. Sweet Lorraine
3. It's Only A Paper Moon
4. (Get Your Kicks On) Route 66
5. (I Love You) For Sentimental Reasons
6. The Christmas Song (Merry Christmas To You)
7. Nature Boy
8. Lush Life
9. Calypso Blues
10. Mona Lisa
11. Orange Colored Sky
12. Too Young
14. Somewhere Along The Way
15. Walkin' My Baby Back Home
17. Blue Gardenia
18. I Am In Love
19. Answer Me, My Love
21. Darling, Je Vous Aime Beaucoup
22. The Sand And The Sea
23. If I May
24. A Blossom Fell
25. To The Ends Of The Earth
26. Night Lights
29. Send For Me
30. St. Louis Blues
31. Looking Back
32. Non Dimenticar (Don't Forget)
34. Oh, Mary, Don't You Weep
35. Ay, Cosita Linda
36. Wild Is Love (spoken intro and song)
37. Ramblin' Rose
38. Those Lazy-Hazy-Crazy Days Of Summer$149.99200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
Elvis Is Back!The ultra-hyped, hugely celebrated return of the King most certainly did not disappoint. During his military service, Elvis fans waited anxiously for new material. Record label executives worried about whether he'd still be able to crank out the hits. Radio stations were dying for something new for their most requested playlist. It all combined to mount tremendous pressure on Elvis and all involved to deliver something that lived up to expectations. As it turned out, it was worthy of a giant yellow exclamation point on the front cover! Almost immediately after his service time had ended, Elvis entered the studio in March 1960 to record a batch of songs that would go on to become monumental worldwide hits. The singles Are You Lonesome Tonight and It's Now Or Never created a tidal wave of excitement. And the LP tracks like Fever, The Thrill Of Your Love, Dirty, Dirty Feeling and Like A Baby confirmed that the King was still able to deliver a whole program worth of incomparable material. Listen to Fever at 45 RPM if you want to show someone what this hobby of yours is all about. Just vocals, bass and finger-snapping, it sounds so dark and haunting. It's worth the price of admission for just this one track alone.
Mastered By George Marino at Sterling Sound.
This title is not eligible for discount.1. Make Me Know
3. The Girl of My Best Friend
4. I Will Be Home Again
5. Dirty, Dirty Feeling
6. The Thrill of Your Love
7. Soldier Boy
8. Such a Night
9. It Feels So Right
10. The Girl Next Door
11. Like a Baby
12. Reconsider Baby$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Kiss: MTV UnpluggedCelebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl
starting in 2014. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
been faithfully reproduced for the KISS Army.
On April 10, KISS will be inducted into the Rock and Roll Hall of Fame - which will be broadcast in May -
and then will kick off a summer co-headlining tour with Def Leppard starting in June.
After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. Coming Home delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on Plaster Caster, and the beautiful acoustic medley Goin' Blind. The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune Do You Love Me. Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune Domino. The crowd is really fired up now, next experiencing the charming and soulful power rock ballad Sure Know Something. A World Without Heroes is very subdued and reflective. Rock Bottom is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. Now it gets rough, expresses Stanley, grooving in a racy blues statement. See You Tonight is a romantic and pretty ballad delivered with sweetness, and the group sings, I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside. Then on comes the darker resonance of the band with I Still Love You, expressing grave longing after a grueling breakup. I got to make you see, is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you. The solo during the bridge is reminiscent of the chord structure of the Guess Who's Undun. After this painful, depressing song, new breath is found with Every Time I Look at You, a song of forgiveness, delivered with sincerity and the feeling of hope: Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me. The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. Beth is the most heartwarming song of Kiss' power ballads: Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night. Finally, a Kiss show wouldn't be complete without the ultimate party song, Rock and Roll All Night, a tune still electric without electric guitars.
- Shawn M. Haney (All Music Guide)LP 1
1. Comin' Home
2. Plaster Caster
3. Goin' Blind
4. Do You Love Me
6. Sure Know Something
7. A World Without Heroes
8. Rock Bottom
1. See You Tonight
2. I Still Love You
3. Every Time I Look At You
4. 2,000 Man
6. Nothin' To Lose
7. Rock 'N' Roll All Nite
8. Got To Choose$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-SAD-6016xThe Rural Alberta Advantage
The WildLate in 2016, the trio of Nils Edenloff, Paul Banwatt, and Robin Hatch hit the road for a unique set of shows in some of their favorite venues across North America and Europe. They had been hard at work writing their next album and wanted to work out the new material the way they love best: by bringing it to their fans in person. As Nils put it, "I've never been good about focusing on a theme or having a specific plan at the outset of a new record. For me, writing music tends to be more of a constantly evolving process, like following one strange trail after another until a song has come to its general conclusion. This time around, we're following that natural writing process more and inviting the fans to come along those trails with us." Over the ensuing months, they took the lessons of the road into the studio, laying ten new tracks to tape. Earlier this year, fans had their first chance to hear the results with the release of singles "White Lights" and "Beacon Hill." Now, the full fruit of their efforts can be found on The Wild, which will be released via Saddle Creek and Paper Bag. The Rural Alberta Advantage's percussive folk songs about hometowns and heartbreak, and relentless tradition of touring have taken the trio from humble recognition amongst indie rock die-hards as Canada's best unsigned band to sold-out tours and devoted fans around the world with featured coverage from Spin Magazine, Pitchfork, The New York Times and Rolling Stone all taking note. The band has been nominated for two 2012 Juno Awards (Best New Group and Video of the Year for their song "Stamp"), long listed for the 2011 Polaris Award, and awarded the CBC Music Prize for Best Independent Artist in 2014.1. Beacon Hill
2. Bad Luck Again
3. Dead / Alive
5. Toughen Up
6. White Lights
8. Selfish Dreams
9. Wild Grin
10. Letting Go$19.99Vinyl LP - Sealed Buy Now
Adrian Younge Presents: The Delfonics: InstrumentalsLinear Labs Now Brings You Adrian Younge Presents: The Delfonics In A Never Before Issued Instrumental Edition
The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.
Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.
Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.
Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
push this forward.
Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.
This title is not eligible for discount.1. Stop And Look (And You Have Found Love) [Instrumental]
2. Lost Without You (Instrumental)
3. True Love (Instrumental)
4. Silently (Instrumental)
5. Enemies (Instrumental)
6. To Be Your One (Instrumental)
7. Stand Up (Instrumental)
8. Just Love (Instrumental)
9. So In Love With You (Instrumental)
10. I Can't Cry No More (Instrumental)
11. Lover's Melody (Instrumental)
12. Party's Over (Instrumental)
13. Life Never Ends (Instrumental)$19.99Vinyl LP - Sealed Buy Now
LoyaltyThe record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
"a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
discerns in "I Mined," "through which the whole world bends.")
"Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively-what
Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life's Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height$21.99Vinyl LP - Sealed Buy Now
Santa Rosa FangsSanta Rosa Fangs is a stirring, stunning, and cinematic look and listen into the sometimes autobiographical, sometimes fictional journey of the venerable California musician Matt Costa through the tangled groves and grapevines of his home state.
Throughout the album's twelve songs, Costa illuminates what he has learned and how he has grown in the past 15 years of his career. His music has taken him around the world, allowing him to work with diverse, respected artists and to connect with people everywhere-from his albums released on Brushfire Records to recording with Belle and Sebastian in Glasgow, to penning film scores and releasing a variety of genre-bending EP's, and to finally coming home to Los Angeles's Dangerbird Records for his first new proper full-length release in nearly five years. A rebirth in a sense, through his keen pop sensibility, studious songwriting, technical mastery, and a modern-meets-vintage sound bursting with bite, Costa has recorded the album of his career, one sure to reach new shores and sailors alike.
"In the past 15 years of my career, I feel I've continually been breaking through, speaking out, and reaching different people," Costa says. "If one of my songs connects now to someone who didn't connect before, then we have a dialogue together. That's the point of music, to have that dialogue and tell a story, and to entertain with a sound that has depth."
He began the recording of Santa Rosa Fangs over a year and a half ago, though some songs here predate that mark. Over the past few years, Costa had challenged himself to explore new terrain, from the acoustic-fingerpicking/lo-fi garage/experimental sounds of 2015's EP's to the acid-washed and reverb-laden soundtrack to the film Orange Sunshine to another complete album that never saw the light of day. Realizing he sought a collection of dyed-in-the-wool songs rather than sonic experiments, in July of 2017 he and producers Peter Matthew Bauer (The Walkmen) and Nick Stumpf (French Kicks) entered a studio to begin work.
"There's a difference when I sit down to write sonic textures and when I sit with a guitar or piano and write a song," he says. "These new songs went back to a traditional sense, and when stripped back to their purest form, they still work. They tell a story, the melodies aren't leaning on anything, and they make instrumentation around them come to life in a new way, but their core is strong. My goal for the EP's was to develop conceptual ideas, making each one in a short period and with their own concepts; Orange Sunshine was a bigger exercise in that. Now, this record is all of those things I was exercising come into their own. It's more of a visualized record that takes you into the world of the Santa Rosa fangs."
The tale of Santa Rosa Fangs centers around a young woman named Sharon, her two brothers Ritchie and Tony, and their story of love, loss, and coming of age in a timeless yet contemporary California. It is replete with long distance love affairs and nostalgic romances woven through the loom of tragedy and time. Interestingly, rather than setting out to create a specific narrative, Costa began noticing a theme in the new songs as he wrote them: an unconscious embodiment of the surroundings in which he himself had grown up. According to Costa, the titular teeth refer to that inescapable feeling of a romantic, tragic, and eternal bite that certain places and events will always hold on us.
"I've interwoven my own stories into a fictional idea of what 'Santa Rosa Fangs' is, from my own time spent living in Northern and Southern California and years driving up and down the coast, seeing the landscape and where life can pull you within one state," Costa says. "It is all these things-the 'bite that is eternal, the smile in the neon'-and it has fangs. They stick with you: the romantic, the tragic, all that. It's the characters' story and my story, too, contemporary but still tortured by the past. It's a window into a time period but spoken as if it's the present. The beauty of love and loss doesn't have a date on it; it's timeless."
The album follows the siblings as they search for love and meaning in their lives, which are ultimately cut short by the passing of both brothers in unrelated accidents. Sharon, left battling with her own mortality and forced to see through a shattered lens, becomes the story's grieving, guarded hero and, as Costa says, is "a little bit me, and a little bit everyone." Similarly, the origin of the characters has one foot in reality and one in the ether. The song "Ritchie" is based on a true family saga, as two of Costa's cousins were twin brothers who died within a year of each other in motorcycle and car accidents in the early 1980s. Likewise, "Phosphorescent Letter" is the story of a local friend's daughter who endured a long-distance, online relationship with a boyfriend in Australia; in that dramatic situation Costa saw a through-line for Sharon's tale. "Because she is so tortured by loss she's afraid of love, so she sets herself up for a distant relationship, illuminated on her phone," he says. "It's a real-love thing that happens frequently these days."
Other concrete inspirations found their way into Santa Rosa Fangs as well. Costa imagined his creations in a setting similar to that of a Jim Jarmusch film, with dramatic events unfolding around them as they attempt to go about their daily lives as earnestly as possible. He also cites Bruce Springsteen's Nebraska as an influence for its songs and characters as well as its moments of sparseness. Like that iconic record, the cover of Santa Rosa Fangs is a stark black-and-white photograph tinged with deep red text, featuring three youths running along a freeway overpass. It's not clear whether the trio-Costa's real-life Orange County neighbors-are sprinting for joy or to escape some unknown entity; Costa hints that to him they are running away from the grabbing hands of time. "The song 'Time Tricks' is about that, too: it's inevitable and coming for you."
Costa also found inspiration in working with Bauer and Stumpf, whom he had previously admired from a distance and whose music resumes he respects greatly. "I really connected with Pete and Nick and took their lead on several ideas," he says. "That's why you partner with someone-you want their input. I shaped things a little differently by listening through their ears than I would have otherwise." Costa cites "Real Love," an upbeat, heavy tune written in 5/4 time, as such a moment of collaboration. Originally intended as an acoustic song, he was encouraged by his producers to approach it from a fresh direction. "I had done that sort of thing before, a Nick Drake, fingerpicking type thing," he says. "Pete and Nick inspired me to take it to a new place. To write a driving rock song in 5/4 is a real challenge, but I had the basis in my pattern and we all drove it home with a really strong beat. On my own I might have stuck with a simpler take, but it felt good to tackle some new ground."
In another circumstance, Costa again came up with two variations of the same song, but rather than being forced to choose between the two, he simply used both. As a result, "I Remember It Well" bookends the album, first as a rollicking, piano-driven number that sets the record's tone and pace, and second as a sparser, quiet version to end it. The latter was the initial version and was also the first song written for the album some four years ago. "That song is both the entrance and exit to this world, and also shows the process of how you can take a song, do it two ways, and both can be impactful and give you different feelings."
No matter how his process or approach may change-in the present moment or in any era of coming-of-age throughout his decade-and-a-half-long career-Costa recognizes that one unique thing in his work will always stay the same: his perspective. "Essentially, what it comes down to is this: I sit down with a guitar, and these are songs," he says. "I've worked hard to understand how to produce them in certain ways. You can try to dress up a song and put a different sound to it, but if the song isn't that kind of song then it's not going to work. I've had to exercise both of those qualities equally-to know how to develop these sounds sonically, and then when I know sonically where I want it to go, I have to write to that. I guess that knowledge comes with 15 years of songwriting experience. I couldn't have made this record any other time than now."
For Matt Costa, the world of Santa Rosa Fangs is the past, present, and future of his life all rolled up into one long stretch of sunlit California coastline.1. I Remember It Well
4. Pacific Grove
5. Santa Rosa Fangs
6. Time Tricks
7. Coming Around
9. Phosphorescent Letter
10. Windy Smile
11. Real Love
12. I Remember It Well #2$20.99Vinyl LP - Sealed Buy Now
Weirdo Shrine (Awaiting Repress)For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music's ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland's guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves. When it came time to record Weirdo Shrine, their second album-due out August 7th-the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland's newly fuzzed-up guitar solos-which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country-were juxtaposed against the group's most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on "You Disappear" and "Oranges," and sought inspiration from Charles Burns' Seattle-set graphic novel Black Hole. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows." In describing Weirdo Shrine, Segall remarked that it gave him a vision of a "world burning with colors [he'd] never seen, like mauve that is living." In "Oranges," the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal "orange wind / that glows from your footsteps." These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.1. Sleep Till They Die
2. You Disappear
3. With Davey
4. Don't Wanna Be Anywhere
5. I Can't Speak
6. Hey Papi
7. I Wanna Be Alone (With You)
8. I'll Be True
9. Black Hole, Weirdo Shrine
11. True Love Knows$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Psychic Temple IIIt may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.
Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.
"I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.
"It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."
Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."
Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.
Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.
Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."
Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.
Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."
Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.1. Seventh House
2. The Starry King Hears Laughter
3. Solo In Place
4. Bird In The Garden
5. 'Til I Die
6. She Is The Golden World
7. Steppin' Out
8. All I Want Is Time
9. Sofa No. 2
10. NO TSURAI
11. Hyacinth Thrash Quarter$19.99Vinyl LP - Sealed Buy Now
I'm Not The DevilCody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."
Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."
His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"
Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."
"All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."
"No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."
With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."
It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."
Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."
It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."1. The Same
2. I'm Not the Devil
3. No Guarantees
4. No Words
5. Give All You Can
6. She's All Mine
7. The Way I Am
8. Chase That Song
9. Heavy Load
11. Church at Gaylor Creek
13. Hand Me Down$24.99Vinyl LP - Sealed Buy Now