- Lowest Price
- Highest Price
UNIM-RAZ-3899xThe Low Anthem
EyelandThe Low Anthem are not only musical artists, they live their lives as art. Creating constantly for themselves and
others in their home base, The Columbus Theater in Providence, Rhode Island. This new release is the realization
of a musical dream come to life in the form of songs and a soon to be developed play. Described as multidimensional,
future folk, this is Eyeland.1. In Eyeland
2. Her Little Cosmos
3. The Pepsi Moon
5. Waved the Neon Seaweed
6. Behind the Airport Mirror
7. In the Air Hockey Fire
9. Am I the Dream Or Am I the Dreamer
10. Dream Killer
11. The Circular Ruins in Euphio$19.99Vinyl LP - Sealed Buy Now
High Times For Low LivesFor their sophomore album, The Griswolds partnered with Grammy Award-winning producer Andrew Dawson (Kanye West, fun., Sleigh Bells). The album features a diverse range of inspirations, all anchored with the sunsoaked energy and anthems that fans have come to know and love. Their new lead single "Out of My Head" kicks off the album campaign on 8.12.16. The single already has many tastemaker stations ready to support out of the gate.
*Artwork is subject to change.1. Roll Models
2. Out of My Head
4. Birthday Comedown
5. You Don't Love Me (feat. Lizzo)
7. Feels So Right
8. James Joint
9. Hate That I Don't Hate You
10. Looking For Love$19.99Vinyl LP - Sealed Buy Now
ADAD-JOY-1881xThe Low Anthem
The Salt Doll Went to Measure the Depths of the Sea (Pre-Order)The Low Anthem would beckon you into the salty sea.
Formed in 2007 by best friends, Ben Knox Miller and Jeff Prystowsky, The Low
Anthem grew from DIY ethos in the late-aughts to semi-accidental success.
Having originally self-released What The Crow Brings and Oh My God, Charlie
Darwin (which sold a combined 100,000+ copies), the group signed with Nonesuch,
toured the world, and were reluctantly lumped in with the so-called folk
revival. However, night after night of performing their early material was not
ultimately where they wanted to land: "The moment was losing its mystery. We
were scared of becoming robots," said the band after six years of reflection.
So, in the winter of 2012, the group came back to their hometown of Providence, RI,
with an eye toward re-exploring their musical understanding from the ground up.
Largely abandoning the international folk movement they were a part of, the
group instead poured their energy into their local community by rehabbing a
vaudeville-era theater, and building their own recording studio.
It's in this newly restored vaudeville theater-studio that The Low Anthem found
new direction. The band began recording in increasingly experimental and
meticulous ways (using various non-instruments and painstakingly tracking
hundreds of hours of material). It was an exercise in complete musical deconstruction
- scrambling and reassembling their musical ideas - which eventually
resulted in the album Eyeland. A complexly experimental album, the release of
Eyeland was tragically cut short after four shows due to a crippling car accident,
leaving the band hospitalized and the tour cancelled.
It was through this whole journey that The Low Anthem were able to boil-down
their musical ideals and find their true voice. With their new album The Salt Doll
Went To Measure The Depth Of The Sea, The Low Anthem present 12 short songs
that are fragile, nuanced, and honest. In contrast to the existential freakout that is
Eyeland, or the folk-faithful incubator albums, The Salt Doll... feels delicately
purposeful. Acoustic arrangements are peppered with subtle and fragmented
electronic elements. Rhythms are physically composed on the center loops of
vinyl records. These elements weave songs that sound at once organic and
highly-conceptual.1. Bone of Sailor, Bone of Bird
2. River Brine
3. Give My Body Back
4. Drowsy Dowsing Dolls
5. The Krill Whistle Their Fight Song
6. Toowee Toowee
7. Coral Crescent
9. Cy Twombly By Campfire
11. To Get Over Only One Side
12. Final Transmission From The Diving Umbrella$22.99Vinyl LP - Sealed PRE-ORDER Buy Now
WARB-NON-8582xThe Low Anthem
Smart FleshIncludes CD
With its dreamy, rustic take on the idea of Americana, the Low Anthem's Smart Flesh builds on the promise of the group's universally praised 2008 Nonesuch Records debut, Oh My God, Charlie Darwin. As the Washington Post has put it, The Low Anthem isn't the first bunch of indie rockers to experiment with older string-band instruments and echoes of the songs of pre-1940 rural America. But no one has done it better than this Rhode Island trio... That's because very few bands have paid so much attention to detail, or to beauty.
To record Charlie Darwin, the three original band members-Jocie Adams, Ben Knox Miller, and Jeff Prystowskytook over a Block Island cabin in the dead of winter. To record Smart Flesh, the group now expanded to a quartet with the addition of drummer Mat Davidson-found a former pasta factory in Central Falls, Rhode Island, a cavernous loft space that became crucial to the shape of the album. Says vocalist Miller, We knew right away when we stepped into the factory that the space was really the main instrument for the whole record. The resonance was chilling. We were able to experiment with new recording techniques to capture the sound at different distances. Mics 100-200 feet away caught the sound barreling across the room. Additional tracks were recorded in a garage that had previously been home to a reptile breeder, another unconventional studio space that the quartet dubbed the gator pit.
The group self-produced Smart Flesh, bringing in Mike Mogis (Bright Eyes, Monsters of Folk, M. Ward) to mix the Pasta Sauce sessions and Jesse Lauter (Elvis Perkins, April Smith) to engineer. Instrumentation included jaw harp, musical saw, stylophone, oversized drum kits, and three antique pump organs that the band had found and restored. The exquisitely crafted, achingly spare arrangements at times recall the early recordings of Leonard Cohen, and Miller's voice, on a track like Burn, displays a similarly gruff yet plaintive timbre. The deeply melancholic mood the group favors, starting with a spellbindingly slow-motion rendering of George Carter's 1920's era Ghost Woman Blues, will appeal to fans of the backwoods musings of Bon Iver or the lovelorn southern balladry of the Avett Brothers, with whom The Low Anthem has toured.1. Ghost Woman Blues
2. Apothecary Love
3. Boeing 737
4. Love And Altar
5. Matter Of Time
8. Hey, All You Hippies!
9. I'll Take Out Your Ashes
10. Golden Cattle
11. Smart Flesh$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Between The Needles And NightfallBetween The Needles And Nightfall was conceived at Trout Recording in Brooklyn, NY where engineer Bryce Goggin (Pavement, Akron/Family) tracked Marco Benevento and his trio over three days. To achieve the colors he envisioned, Benevento recorded on a baby grand piano bolstered by guitar pick-ups, amplifiers and a myriad of pedals and circuit bend toys, while overdubbing Moog, Optigan, Mellotron and Farfisa. He then transferred the tracks to his home studio, taking the next two months to cut, loop and shape the pieces into full-fledged songs.
For the final mixes, Benevento handed off his work to three of his favorite engineers: Mell Dettmer (Sunn O))), Eyvind Kang, Jesse Lauter (Low Anthem, Elvis Perkins) and Vid Cousins (Amon Tobin, Kid Koala). The results range from the day-glo electro-rock of It Came From You to the simply-stated lullaby Illa Frost to the shimmering Arcade Fire-meets-Brad Mehldau anthem Two Of You.1. Greenpoint
2. Between The Needles
3. Two Of You
5. It Came From You
6. Ila Frost
8. You Know I'm No Good
9. Music Is Still Secret
10. Wolf Trap
11. Snow Lake$15.99Vinyl LP - Sealed Buy Now
LP Contains CD Of Full Album
Arc Iris is the orchestral pop project of Jocie Adams, a former core member of The Low Anthem.
The singer and multi-instrumentalist formed the collective to present her ambitious new songs.
The band includes a collective of 4 musicians plus Jocie with additional players frequently
joining to expand the sound further, to create their wild exploration of all kinds of musical styles
- jazz, prog rock, blues, country, folk, and classical styles.
Bob Boilen of NPR All Songs Considered calls the music "somewhat cabaret, somewhat orchestral folk, a bit of show tune and jazz band," while The Deli Magazine writes, "the five-piece
group had everything you could want in a live performance--intense energy, appreciation for
performing and incredible talent they are something akin to a soul/folk/jazz amalgamation."1. Money Gnomes
2. Lost on Me
3. Whiskey Man
4. Canadian Cowboy
5. Singing So Sweetly
7. Honor of the Rainbows I
8. Honor of the Rainbows II
9. Powder Train
10. Might I Deserve to Have a Dream
11. Swimming$21.99Vinyl LP + CD - Sealed Buy Now
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-EPI-1014xChristopher Paul Stelling
Labor Against Waste"What a real self contained, modern day troubadour looks and sounds like. A voice to be reckoned with in the years to come." - American Songwriter There is a fearless quality to the music of new ANTI- signing Christopher Paul Stelling. A voice that sounds both old and young, an effortless yet intricate finger-picking guitar style, and lyrics that are dramatic and intensely confessional. It's a sound that channels the restless spirit of a young man who left home to travel the country, writing haunting and impassioned songs formed by endless nights alone on stage with a guitar, playing to packed houses, other times to nearly empty rooms. Stelling estimates that he's played over four hundred shows in just the past three years. It places him within a longstanding tradition that serves to build both character and vision. Labor Against Waste features Stelling's astonishing guitar work, a melodic finger-picking style influenced in large part by blues legends such as Skip James and Mississippi John, masters like John Fahey, and banjo greats Dock Boggs and Roscoe Holcomb. On top of this soars Stelling's voice, a resonant baritone that calls to mind classic troubadours from Tim Hardin to Steve Earle. Accompanied by an ensemble of stomps, claps, french horn, flugelhorn, kettle drums, string quartet, and a chorus comprised of members from the Low Anthem, in whose studio Stelling recorded the album, Labor Against Waste is the opening statement in what should be a long and storied career.1.Warm Enemy
2. Revenge -
4. Castle -
6. Death Of Influence
7. Dear Beast
8. Hard Work
9. Burial Shroud
10. Too Far North$19.99Vinyl LP - Sealed Buy Now
VulturesGod Damn's debut album 'Vultures' presents a universe of sound, from the low-end melodic boom of sneering anthem 'Silver Spooned' through the sub-dark psychedelic breakdown of 'We Don't Like You' to the unexpected lo-fi strummed opening of the throbbing and utterly tumescent nine-minute sludge epic 'Skeletons'. As debuts go God Damn have nailed their colours to the flagpole and torched the fucker.1. Horseley Fields
2. When The Wind Blows
3. Silver Spooned
4. Maladie Melodie
6. By The Wayside
7. We Don't Like You
10. Deadpan Riot
12. The Cut
13. Sullen Fun$16.99Vinyl LP - Sealed Buy Now
Johnny99Although it went virtually unnoticed upon its initial release in 1983, this intriguing record momentarily put a halt to Johnny Cash's precipitous artistic decline and kept the promise of his resurgence alive. Recorded in Los Angeles with session men including Marty Stuart, Norton Buffalo, Jo-El Sonnier, and producer Brian Ahern, Johnny 99 focuses on the work of younger songwriters--Bruce Springsteen, Paul Kennerley, Guy Clark--and might be the lone oasis in an otherwise barren decade. The solemn opener, Springsteen's Highway Patrolman, sets the tone as Cash turns a very restrained reading into an emotional powerhouse, supported by Hoyt Axton's baritone growl. The Springsteen-penned title track becomes a honky-tonk anthem as Cash delivers the Boss's lyrics with acute understanding. The touching Civil War ballad God Bless Robert E. Lee, the tropical/topical Joshua Gone Barbados, and the attractive duet with June Carter on Kennerley's Brand New Dance help round out a rather diverse (for Cash) collection. Aside from the occasional guitar effect and unnecessary keyboard intrusion (it was 1983 after all), this set marks a high point of a low period.
--Marc Greilsamer1. Highway Patrolman
2. That's the Truth
3. God Bless Robert E. Lee
4. New Cut Road
5. Johnny 99
6. Ballad of the Ark
7. Joshua Gone Barbados
8. Girl from the Canyon
9. Brand New Dance (with June Carter Cash)
10. I'm Ragged But I'm Right$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
ADAD-SUI-7816xThese Arms Are Snakes
Tail Swallower And DovePink And White Vinyl With Pink Splatter
On Tail Swallower & Dove, These Arms Are Snakes move through
10-songs with the cracked grace of bolted lightning, rolling and
leveling, seeking a space to storm into. The band, comprised of Chris
Common (drums, percussion), Brian Cook (bass, guitar, keyboards),
Ryan Frederiksen (guitar, keyboards), Steve Snere (vocals, effects),
have brought their non-stop work ethic of touring and beyond-intense
performance to the studio with career defining result.
Not any one thing. TAAS play with their history, with their personalities
built deep into the music. You hear it in every innovation, behind each
note. A beautiful collision of what has always been with what is
completely unexpected. It's evident in the weight of the words,
structure of the songs, the linkage of current and construction:
concrete writing, coupled with a natural approach to recording, that
brought the band - helmed by Chris Common, to produce and engineer
- back into the semi-secret Red Room, in Seattle, Washington, to track
The result is more an album - a coherent whole - than a cycle of
individual songs. The music circles around, from beginning to end,
looping seamlessly and devouring any sense of arrested motion. The
first single, "Red Line Season," is all guitar-hook-squirm, leading to an
anthem of a chorus. "Seven Curtains" explodes into being after thirtyseconds
of gorgeous, low volume riffing. It's here that the band's
strength in the studio really shows. From the textural depth of the
keyboards and guitar tones, to the vocal delivery, the attention to
detail is incredible. Each sound sets up huge spatial relationships,
creating a dynamic tug-o-war, and building up a groove that continues
throughout - marked by impossibly nimble drumming - blowing up the
room with resonant vibration.1. Woolen Heirs
2. Prince Squid
3. Red Line Season
5. Ethric Double
6. Seven Curtains
7. Long And Lonely Step
8. Lead Beater
9. Cavity Carousel
10. Briggs$20.99Colored Vinyl LP - Sealed Buy Now
Killing MachineKilling Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States
Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks
Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity
Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.
Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.
Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.
To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."
This title is not eligible for discount.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. Killing Machine
8. Running Wild
9. Before the Dawn
10. Evil Fantasies$24.99Vinyl LP - Sealed Buy Now
Jack Johnson & Friends: Best Of The Kukua FestivalJust in time for Earth Day, Brushfire Records will release Jack Johnson and Friends: Best of Kokua Festival. The album features a 13-track compilation of live performances from Jack Johnson's benefit concerts for the Kokua Hawaii Foundation. Proceeds from Jack Johnson and Friends: Best of Kokua Festival will benefit the Kokua Hawaii Foundation.
Culled from six years of his eco-minded music festival, Jack Johnson and Friends: Best of Kokua Festival, highlights onstage collaborations with legendary musicians like Willie Nelson, Jackson Browne, Eddie Vedder, Ben Harper, Dave Mathews, Ziggy and Damian "Jr. Gong" Marley and more.
Johnson and his band team up with more than a dozen guest artists to perform both original works and spirited covers of classic songs. The album features several of Johnson's breezy folk-rock gems, including "Constellations" (with Eddie Vedder), "Mudfootball" (with Ozomatli & G. Love), "Breakdown" (with ukulele virtuoso Jake Shimabukuro), and "Better Together" (with Hawaiian singer Paula Fuga).
Elsewhere on Jack Johnson and Friends: Best of Kokua Festival, Johnson joins his guests for stripped-down renditions of their own songs: Taj Mahal offers his bluesy "Further On Down The Road," Jackson Browne revisits "Take It Easy" with the help of singer/guitarist John Cruz (who also shares his Hawaiian anthem "Island Style"), and the Marley brothers bring the reggae with Ziggy's "Cry, Cry, Cry" and Damian's dancehall banger "Welcome to Jamrock."
Rounding out the record are an eclectic collection of covers, including Bob Marley's "High Tide or Low Tide" (featuring Ben Harper), Bob Dylan's "I Shall Be Released" (featuring Eddie Vedder) and Jimmy Buffet's "A Pirate Looks at Forty" (featuring Dave Matthews and Tim Reynolds). Willie Nelson, meanwhile, delivers a Harper-assisted take on "Blue Eyes Crying in the Rain," the Fred Rose-penned classic he popularized.
Held on Earth Day weekend at Honolulu's Waikiki Shell since its inception in 2004, the Kokua Festival serves as both a community-centered celebration of music and environmental awareness and as the major fundraiser for the Kokua Hawaii Foundation (a nonprofit organization founded by Johnson and his wife Kim in 2003 to support environmental education in the schools and communities of Hawaii). Like the festival itself, Jack Johnson and Friends: Best of Kokua Festival spotlights artists who share the Kokua Hawaii Foundation's mission of protecting the planet and cultivating environmental consciousness.LP1
1. Better Together - Jack Johnson with Paula Fuga
2. Cry, Cry, Cry - Ziggy Marley with Jack Johnson & Paula Fuga
3. A Pirate Looks At Forty - Jack Johnson, Dave Matthews & Tim Reynolds
4. Mudfootball - Jack Johnson with Ozomatli & G. Love
5. Constellations - Jack Johnson with Eddie Vedder & Kawika Kahiapo
6. Take It Easy - Jackson Browne with Jack Johnson & John Cruz
7. Island Style - John Cruz with Jack Johnson & Jackson Browne
1. Breakdown - Jack Johnson with Jake Shimabukuro
2. Further On Down The Road - Taj Mahal with Jack Johnson
3. Welcome To Jamrock - Damian "Jr. Gong" Marley with Jack Johnson & Paula Fuga
4. High Tide or Low Tide - Ben Harper & Jack Johnson
5. Blue Eyes Crying In the Rain - Willie Nelson with Jack Johnson & Ben Harper
6. I Shall Be Released - Jack Johnson, Eddie Vedder, Zach Gill & Friends$34.99Vinyl LP - 2 LPs Sealed Buy Now
Shine On Rainy DayOut on Low Country Sounds/Elektra Records, Shine On Rainy Day was produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell, etc.) and recorded live over four days in Nashville.
Of the music and working with producer (and cousin) Dave Cobb, Brent comments, "It's not as good as it's going to get. But if it's the last thing that I ever do, if I died the day after it came out, then thank God I was able to record it because the songs and the production, it was everything I wanted to say. Finally."
Dave adds, "I wanted to work with Brent for very selfish reasons. When he lifts a pen and opens his mouth, it sounds like home. I did his record because he's part of the fabric of South Georgia and the soundtrack to my family. Pure rural country soul filled music."
Already receiving notice, Brent was recently featured on WXPN's World CafÉ (listen to the full session here), while Rolling Stone featured him as one of their "30 Must-See Acts" at CMA Fest 2016, asserting, "Live, he's every bit the charming raconteur, setting up catchy rural anthems that have the loose and earthy feel of a front porch sing-along."
Additionally, earlier this year, Brent was featured on Dave's widely praised Southern Family compilation-contributing the song "Down Home" and writing the standout "Sweet By & By," which was recorded by Miranda Lambert. Of "Down Home," Wide Open Country declares, " one of the most earnest and accurate retellings of everyday life in rural Georgia. The mixture of Cobb's charming southern drawl, brilliant storytelling and flawless production melds into a track that is impossible to resist."
Born in Ellaville, GA (population 1,609), Brent moved to Nashville in 2008 and has since found widespread success as a writer with songs recorded by Lambert ("Old Shit"), Kenny Chesney ("Don't It"), Luke Bryan ("Tailgate Blues"), David Nail ("Grandpa's Farm"), Kellie Pickler ("Rockaway") and Eli Young Band ("Go Outside and Dance") among others.1. Solving Problems
2. South Of Atlanta
3. The World
4. Diggin' Holes
5. Country Bound
6. Traveling Poor Boy
7. Shine On Rainy Day
8. Let The Rain Come Down
9. Down In The Gulley
10. Black Crow$17.99Vinyl LP + CD - Sealed Buy Now
I Might Be WrongI Might Be Wrong: Live Recordings is a 2001 live album. It consists of live performances of eight songs recorded on a tour of Europe and North America, including songs from their albums Kid A and Amnesiac.
National Anthem's fuzzed-out riff rages aggressively behind Thom Yorke's crazed, breath-scat vocal, giving the song a rollicking edge that was nowhere on Kid A. The same effect is heard on Idioteque, as Yorke, getting backup vocal help from the crowd, sings over an acoustic beat, removing the distant, electronic touch of the studio version. True Love Waits aptly ends the record with Yorke and a solo acoustic guitar, which finds just the right touch on a song that Radiohead have played with for years (long-term fans should note the first ever appearance on record of the track). In the end, Radiohead don't really stray too far from the original templates of these songs, they merely play up the highs and milk the lows, just like any good rock band should. -- Matthew Cooke1. The National Anthem (Live in France)
2. I Might Be Wrong (Live)
3. Morning Bell (Live In Oxford)
4. Like Spinning Plates (Live)
5. Idioteque (Live In Oxford)
6. Everything In Its Right Place (Live In France)
7. Dollars & Cents (Live)
8. True Love Waits (Live In Oslo)
10. A Wolf At the Door$22.99Vinyl LP - Sealed Buy Now
Taking One For The TeamTaking One for the Team, Simple Plan's fifth full-length and most ambitious album so far, offering hard-hitting punk-fueled tracks alongside songs that delve into everything from reggae to delicate acoustic balladry. Longtime fans can rest assured that Taking One for the Team is packed with plenty of quintessential Simple Plan tracks, including Boom, whose companion music video features cameos by members of All-Time Low, Pierce The Veil, PVRIS, MxPx, and many more Warped Tour all-stars. The album starts out full-throttle with the brutal guitar and furious drumming of Opinion Overload. It's a song about following your heart and dreams no matter what people say or think, explains Bouvier.
We're adults in our mid-thirties now, and we still have to deal with that. Sometimes you gotta remind yourself that it doesn't mean anything, that it's ok to stand up for yourself and be who you are and that's what's gonna set you apart. That same defiant spirit is present on I Refuse, where Simple Plan mine inspiration from punk/hardcore acts like Rise Against and Good Riddance, ultimately delivering the only punk anthem in recent memory to feature an elegant piano interlude. We grew up on that kind of music; it's in our DNA- we'll always need that energy and those super-fast, in-your-face songs that people love about this band, says bass player David Desrosiers of tracks like I Refuse or Nostalgic. I can already imagine us playing those songs live and seeing the crowd go crazy, singing along to every word.1. Opinion Overload
3. Kiss Me Like Nobody's Watching
4. Farewell (feat. Jordan Pundik)
5. Singing In The Rain (feat. R. City)
6. Everything Sucks
7. I Refuse
8. I Don't Wanna Go To Bed (feat. Nelly)
10. Perfectly Perfect
11. I Don't Wanna Be Sad
12. P.S. I Hate You
13. Problem Child
14. I Dream About You (feat. Juliet Simms)$20.99Vinyl LP - Sealed Buy Now
Icky BlossomsHailing from America's center, Omaha-based Icky Blossoms formed in the blizzard of 2011 through friendship, trials and a mutual desire to make art and new music. A brainchild born from the boredom of sitting still. Guitarist and vocalist Derek Pressnall met Icky Blossoms vocalist Sarah Bohling and lead guitarist Nik Fackler in the vibrant Omaha art scene and invited them to play in his band Flowers Forever. Enchanted by endless nights in clubs and inspired with a desire to program dance music with instantaneous grooves and depth, Pressnall, an acclaimed visual artist, and Fackler, a spirit award nominated filmmaker, combined with Bohling's mesmerizing voice and formed Icky Blossoms.
Icky Blossoms combine bass-heavy electronic grooves, pop structure, and a rock & roll swagger to pioneer a sound on the audio vanguard: music that is simultaneously avant garde, catchy and danceable. Their music spans from the anthemic to the introverted, chronicling the twists and turns of the human condition. Nodding to great sub-genres of the past, while creating songs firmly propelled into the future. Each band member arrives at the group from distinct musical backgrounds and collectively cite varied influences including contemporary pop, electronic, hip hop, experimental, no wave and world music. When Derek, Sarah, and Nik each input their particular inspirations they create a final product that is not only wholly unexpected, but greater than the sum of its parts.
Icky Blossoms' sound and explosive live shows caught the attention of Omaha's distinguished Saddle Creek, which has since signed the trio to release their debut LP. The self-titled album, produced by Dave Sitek from TV On The Radio, is slated for a July of 2012 release and features tracks that range from "Perfect Vision," an experiment based around trunk thumping low end and chainsaw guitars, to "Babes," which was lauded by Rolling Stone as a "girl-power dance anthem." Other standout tracks include "Heat Lightning," with its hypnotic arpeggiated synths, electro pulse and siren-esque vocals; the more raucous "Sex to the Devil," featuring futuristic synth lines and esoteric lyrics; or "Temporary Freakout," a classic pop song within an unconventional structure.
With a strong emphasis on DIY, the trio plans to integrate all their artistic abilities into the band, able then to better connect with those who choose to follow their creations or attend their live shows. Imbued with a celebratory atmosphere, their concerts have grown to be conduits for personal expression and individual creativity for everyone in the room. Loud, sweaty and out of control, the edge of their music and personalities combine with the hooks of their pop songs, creating a show which is one side dance party, one side mosh pit. By brazenly denying to be subservient to a single genre or medium, Icky Blossoms is set to garner the attention of a truly diverse audience and make a lasting impact on music to come. LP includes full album on CD.1. Heat Lightning
2. I am
3. Sex to the Devil
5. Deep in the Throes
7. Burn Rubber
8. Temporary Freakout
9. Stark Weather
10. Perfect Vision$17.99Vinyl LP - Sealed Buy Now
LP 2At a time when the music world is saturated with more bands than ever, Restorations are a refreshing change of pace: an act who undeniably embody the DIY spirit but also bring along a real breadth of musical knowledge and an unlikely set of influences that somehow manage to work perfectly together.
Formed out of the ashes of the long-running Philadelphia rock act Jena Berlin, Restorations sees the band-vocalist/guitarists Jon Loudon, Dave Klyman and Ben Pierce joining forces with drummer Carlin Brown and bassist Dan Zimmerman, crafting an album that transcends punk rock and picks up where they're extremely well-received self-titled LP left off.
LP2 is a unique blend of indie rock, punk rock and focused psychedelia that can only come from spending a decade honing their skills organically. After producing their music largely on their own the band linked up with close friend Jon Low (Local Natives, Twin Sister, Kurt Vile) at Philadelphia's Miner Street Studios to create an album that captures the unbridled energy, sonic grandeur, and sheer volume of the band's live performances.
From the driving, anthemic vibe of "The New Old" to the inventive indie rock of "The Plan," LP2 is a remarkably diverse album, which makes sense when you consider how varied the members' respective tastes are. "I think the influences for us are a little broader than a lot of bands because we don't have one central songwriter," Loudon explains, citing everyone from the classic punk acts, classic rock, metal, drone and noise. "Over the years we've become more comfortable with trying stranger things and odder combinations to see what works," he continues. "The general rule is, if everyone is into it then we just go for it. We really carried that spirit into these songs."
Lyrically, LP2 sees Loudon once again collecting his own vignettes and pairing them with the
group's music to create a narrative that isn't linear but is instead as vast as the instrumentation that supports it. "The theme of this band is boredom and repetition and focusing on little tiny moments and that type of thing, so this record is just a collection of those stories," he explains. Sharing these stories is what lies at the core of the band. Restorations aren't looking to be the biggest band, they just want to continue to create music, evolve, and bring their musical stories all over the world.
"I feel like if we tried to set a real goal with this band it would be kind of pointless because we've been doing it long enough where if you think you're getting to a certain level then you're just setting yourself up for disappointment," Klyman explains. "So it's better to just see what happens, which is how we've always approached this band." Whatever ends up happening, there's no question that with these songs as a vehicle, Restorations is headed somewhere uncharted and they invite you to come along for the ride.1. D
2. Let's Blow Up the Sun
3. Civil Inattention
4. Kind of Comfort
5. In Perpetuity Throughout the Universe
6. New Old
8. The Plan
9. Adventure Tortoise$17.99Vinyl LP - Sealed Buy Now
No Moon At AllWildcat! Wildcat!'s debut full-length, No Moon At All, ties the trio's indie-pop anthems into a cohesive widescreen vision. Packed with the Los Angeles-based band's uplifting musicality and angelic harmonies, the ten-track album, which features production from M83's Morgan Kibby, represents both a major artistic leap and the culmination of the group's rise since "Mr. Quiche" and their initial run of buzzy singles.
Featuring longtime friends Jesse Taylor (vocals, bass), Michael Wilson (vocals, keys) and Jesse Carmichael (vocals, drums), Wildcat! Wildcat! officially formed in 2012. Their early tracks, available as blog downloads and a single from the tastemaker label Neon Gold, led to the band's 2013 self-titled debut EP on Downtown Records, which received critical acclaim from NPR, Pitchfork, Time, Stereogum, Nylon, Paste, Huffington Post and more.
In early 2013, Wildcat! Wildcat! was the subject of the Sam Jones-directed documentary Hello Everywhere - a feature that depicted the band's journey from LA to SXSW for a massive concert with Passion Pit. The group has also toured with Alt-J, Portugal. The Man and MS MR.
On No Moon At All, Wildcat! Wildcat! achieves full headliner status. Its sweeping arc and range create an emotionally-rousing world for the band's infectious underdog anthems. "Tower" sets the tone with a dreamy build and explosive low-end, while lead single "Hero" mixes the group's innovative harmonies with dance production and an earworm chorus. "Holloway (Hey, Love)," with its skyrocketing emotions, is sure to play over many-a-movie's end credits, and "End Of The World Everyday" is a slinky, bold ballad.1. Tower // W.O.H.L.
2. Garden Grays
3. Up & Beyond
5. End of the World Everyday
6. Holloway (Hey, Love)
7. Circuit Breaker
8. Nothing Below
10. Marfa$24.99Vinyl LP - Sealed Buy Now
REDD-ART-0011xGord Downie, The Sadies, and The Conquering Sun
Gord Downie, The Sadies, And The Conquering SunGord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:
Hello there / Gentle Son / A crater / We're creating!
Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:
Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing
Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.
It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.
The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.
Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun
Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.
Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.
Drive it like we stole it / Through the snowflakes, into the cold of the sun
On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:
Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!
The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:
You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough
One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:
And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?
Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:
You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs
Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:
It is the work, day is your word, night is the glue.
by Jonathan Shedletzky1. Crater
2. The Conquering Sun
3. Los Angeles Times
4. One Good Fast Job
5. It Didn't Start To Break My Heart Until This Afternoon
6. Budget Shoes
7. Demand Destruction
8. Devil Enough
9. I'm Free, Disarray Me
10. Saved$22.99Vinyl LP - Sealed Buy Now
Some Great RewardThe peak of the band's industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band's ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore. People Are People appears here, but finds itself outclassed by some of Depeche Mode's undisputed classics, most especially the moody, beautiful Somebody, a Gore-sung piano ballad that mixes its wit and emotion skillfully; Master and Servant, an amped-up, slamming dance track that conflates sexual and economic politics to sharp effect; and the closing Blasphemous Rumors, a slow-building anthemic number supporting one of Gore's most cynical lyrics, addressing a suicidal teen who finds God only to die soon afterward. Even lesser-known tracks like the low-key pulse of Lie to Me and the weirdly dreamy It Doesn't Matter showcase an increasingly confident band. Alan Wilder's arrangements veer from the big to the stripped down, but always with just the right touch, such as the crowd samples bubbling beneath Somebody or the call/response a cappella start to Master and Servant. With Reward, David Gahan's singing style found the mÉtier it was going to stick with for the next ten years, and while it's never gone down well with some ears, it still has a compelling edge to it that suits the material well.
- Ned Raggett (All Music Guide)1. Something To Do
2. Lie To Me
3. People Are People
4. It Doesn't Matter
5. Stories Of Old
7. Master And Servant
8. If You Want
9. Blasphemous Rumours$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Black CelebrationWhether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode's fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads. The slow, sneaky build of the opening title track, with a strange distorted vocal sample providing a curious opening hook, sets the tone as David Gahan sings of making it through another black day while powerful drums and echoing metallic pings carry the song. Black Celebration is actually heavier on the ballads throughout, many sung by Martin Gore -- the most per album he has yet taken lead on -- with notable dramatic beauties including Sometimes, with its surprise gospel choir start and rough piano sonics, and the hyper-nihilistic World Full of Nothing. The various singles from the album remain definite highlights, such as A Question of Time, a brawling, aggressive number with a solid Gahan vocal, and the romantic/physical politics of Stripped, featuring particularly sharp arrangements from Alan Wilder. However, with such comparatively lesser-known but equally impressive numbers as the quietly intense romance of Here Is the House to boast, Black Celebration is solid through and through.
- Ned Raggett (All Music Guide)1. Black Celebration
2. Fly On The Windscreen - Final
3. A Question Of Lust
5. It Doesn't Matter Two
6. A Question Of Time
8. Here Is The House
9. World Full Of Nothing
10. Dressed In Black
11. New Dress$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-AST-9614xDots Will Echo
Drunk Is The New Sober/Stupid Is The New DumbDrunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"
"I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.
Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.
"A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"
In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.
The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.
Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."
At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.
Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.
Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."1. Untitled
2. I Like It
3. Untitled II
4. I'm a Monkey
6. Be a Friend
7. Whatcha Tryin to Do
8. Rocket Girls
10. Run Away Anna
11. History's Grave
12. Sweet Sweet Sanity
14. Who Left You Here
15. The Future
16. Untitled III
17. Peace in Your Life
18. Our Little Part of the World
19. Untitled IV
20. Gates of Eden
21. Visions of Light
22. Seven Deadly Sins
23. So Deep the Night$24.99Vinyl LP - 2 LPs Sealed Buy Now
Cosmic ThingFollow Your Bliss: 1989 Favorite Contains Radio Anthems Roam and Love Shack
Party-Starting Band Steps Up the Kitsch, Hooks, and Fun on Dance-Friendly Multi-Platinum Set
Addictive Rhythms, Deep Grooves, Quirky Vibes: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Mention the phrase Love Shack and anyone youre talking to will immediately know to what youre referencing. Few songs stick in the brain with such lasting power, fond memories, and sing-a-long potential as the B-52s blissful 1989 smash, one of the many moments that make the bands Cosmic Thing such a timeless affair. The groups melodies were never sharper, its vibes never as carefree, and attitude as joyous as on this multi-platinum affair that stayed on the charts for more than a year.
Mastered on Mobile Fidelitys world-renowned mastering system at pressed at RTI, this Sliver Label LP dazzles with glorious textures, deeper low-end frequencies, more pronounced midrange information, and enhanced vocal dynamics absent from prior editions. Especially noticeable is the additional color and sense of rhythmic involvement in the already-persuasive pop-rock tunes, guaranteed to lighten any mood and ignite any celebration.
Urging listeners to roam around the world on one of the two Top 5 singles here, the B-52s follow their own instructions, constructing lively fare assembled from quirky riffs, bizarre albeit smooth harmonies, strident lead vocals, jagged tempos, and infectious choruses. At heart, Cosmic Thing is a dance-your-ass-off soiree. Leader Fred Schneider delights in kitsch, his deliveries combining goofy pronouncements and half-rapped words that speak the co-ed ensembles long tradition of originality, flair, campiness, and irreverence.
Better still is the bands embrace of a shinier, funkier sound established by producers Don Was and Nile Rodgers. The production, exponentially improved on this reissue, complements the upbeat energy, well-crafted songwriting, and emotional exuberance demonstrated on everything ranging from the kick-starting Bushfire to rambunctious Junebug to wild, weird, and wonderful Love Shack. Just try not to smile after spinning this LP. Its impossible.
This title is not eligible for discount.1. Cosmic Thing
2. Dry Country
3. Deadbeat Club
4. Love Shack
8. Channel Z
10. Follow Your Bliss$24.99Vinyl LP - Sealed Buy Now