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  • Welcome Back To Milk Welcome Back To Milk Quick View

    $20.99
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    Welcome Back To Milk

    It's time for a revolution. Beth Jeans Houghton is dead. Du Blonde is born.
    Welcome Back To Milk is the Newcastle-born singer-songwriter's second
    album, but her debut as Du Blonde, and it's a complete reinvention: new name,
    new look, new band, new attitude - and attitude is a key word.


    Du Blonde is not a persona or a character, it's Beth Jeans Houghton ripping
    it up and starting again. Gone is the baroque chamber pop of 2012's Yours
    Truly, Cellophane Nose. Gone is the band she recorded that album with,
    The Hooves Of Destiny. In place of all that are heavy riffs, loud drums, vocal
    aggression and the sound of somebody finding their voice, whether screaming
    the chorus of Chips To Go, singing soul-bearing ballad Four In The Morning
    or cooing through wistful torch song After The Show.


    Aside from a track made with Youth, Welcome Back To Milk is produced by
    Jim Sclavunos, who knows plenty about capturing dark sounds as a member
    of Nick Cave's Bad Seeds. An unmistakable presence on the album is that of
    Future Islands frontman Samuel T Herring, whose soaring vocals appear on
    Mind Is On My Mind.


    Where Yours Truly, Cellophane Nose threw everything at a song, Du Blonde
    strips everything down to the bare essentials. Black Flag, which opens the
    album, is bass, guitar, drums and a dose of rage. "I got really into hard rock
    and American hardcore while I was living in LA after we finished touring," she
    says. "I couldn't work out why I was having such trouble expressing myself with
    the music I was writing, but after a while I realised the instrumentation didn't
    lend itself to the anger I was feeling. I needed to release all of this pent up
    aggression and I was trying to do it over layers of vocal harmonies and nicely
    played instruments. It was never going to work."


    "I was hiding behind my guitar for so long, it was easy to feel safe there. I
    wanted to put myself in a position I wasn't comfortable with in order to grow
    as a performer. I want no choice but to look people dead in the eyes and give
    them all I have."

    1. Black Flag
    2. Chips to Go
    3. Raw Honey
    4. After the Show
    5. If You're Legal
    6. Hunter
    7. Hard to Please
    8. What Is It Like
    9. Mr. Hyde
    10. Four in the Morning
    11. Mind is on My Mind
    12. Isn't It Wild?
    Du Blonde
    $20.99
    Vinyl LP - Sealed Buy Now
  • Hive Mind Hive Mind Quick View

    $23.99
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    Hive Mind

    If youve heard Daniel Martin-McCormicks name recently, it would have been either in association with his disco / punk / echo band Mi Ami, or as Sex Worker on the Not Not Fun label, or as Ital on NNFs sister label 100% Silk. Raised in Washington, DC, Martin-McCormick has a history in the citys hardcore scenehe was in Dischord Records band Black Eyes in the early 2000sbut was also making dance-inspired tracks during the same period, coming from a very different angle than the average guy with a copy of Logic Pro and a working knowledge of dance musics history.


    Martin-McCormicks music is a stranger thing. Hive Mind, his debut full-length under the Ital moniker, uses houses easygoing 4/4 structure as a kind of camouflage for more out-there sonic explorations, subverting expectations, seeking the links between dubs space- and sound-bending, industrials unsettling sonics and the effects and black holes of minimal at its weirdest. The album has a sculptured feel: sounds twist in space while melodies pitch-shift in an unsettling way, voices fade in and out, nothing is ever allowed to settle comfortably, everything vibrates.


    Opener Doesnt Matter (If You Love Him) sounds a bit like Tackhead if they had made house music, using a flickering and confidently repeated phrase over a lumbering drum and bass line, introducing swirling and bombing synths into the mix once the secret comes out. The strange marriage of treated voices and swelling, pitch-bent chords and effects on Floridian Void draws the listener into its strange atmosphere; its an ambient house track of sorts, but the ambience here is a swirling, confusing, watery vortex rather than fuzzy, new age pap. Privacy Settings builds creepy wolf howls over a slow bass line and cold, far-away drums, estranged from their usual disco setting, while Israel picks things up again, with weird, pitch-shifting bells over dubby toms and cold chords. Final Wave restores the album to something resembling normality, with a disco-like swing that recalls Moodymanns beat-down productions slid through brutal dub-like effects that bring out a shade of strangeness in an otherwise happy groove.

    1. Doesn't Matter (If You Love Him)
    2. Floridian Void
    3. Privacy Settings
    4. Israel
    5. First Wave
    Ital
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Familiar Touch Familiar Touch Quick View

    $19.99
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    Familiar Touch

    It's been almost three years since DIANA released their critically-acclaimed LP, Perpetual Surrender. Now, the wait for new material has come to an end with the upcoming release of their second album Familiar Touch. The band have also shared the album's opening track, 'Confession' - a sharply focused example of their statement of intent, and which follows on from the previously shared 'Slipping Away'.


    Having initially conceived Perpetual Surrender as a one-off recording project, Kieran Adams (drums, drum machines, synths), Carmen Elle (guitars, vocals) and Destroyer touring band member Joseph Shabason (synths, samplers, saxophone) regrouped after a period of time that Elle describes as "learning how to be a band." Bigger, fuller and far more open and expansive, Familiar Touch takes all of Perpetual Surrender's gorgeous qualities and pushes the songs to the forefront, upping DIANA's game tremendously.


    'Miharu' is the perfect example of this: recalling the best mid-80's alt-pop, it mixes the lush soul signature of Flyte Time Productions (Jimmy Jam & Terry Lewis) while delivering a massive pop chorus that liquefies into their modern production nous. "I really love the silky rub between Carmen's demure approach and Gary's [Beals, additional vocals] vibrant punctuations," Adams explains, his description also perfectly encapsulating 'Moment of Silence' - another sophisticated pop track with what Adams describes as having "a very smooth top layer" and synths that give the impression of "stretching time - being stretched thin in those moments." 'Confession' also builds upon those Jam & Lewis rhythms, with Adams describing it as sounding like the pair "if they worked with Annie Lennox."


    Where Perpetual Surrender was the unexpected success of a group of friends experimenting with different sounds, Familiar Touch is the sound of them taking those experiences and maximising themselves as a proper band. "There was a much different studio flow - we started working on things close to a year before we recorded them," says Adams. "Last time, we were obscuring what it was that we were doing - with washed out or distorted vocals, for example. With this album - particularly with the vocals - we conceptualised everything a lot more in advance and really committed to certain sounds and feelings. We tried to fight the instinct of trying to distort it."


    One thing that's clear this time around is how much more confidence DIANA have in themselves as musicians. The trio decamped to Adams' then-apartment, where the pressures of a second album and the time constraints of a regular studio were relieved. Renting their own gear, they made makeshift vocal booths of out of clothes cupboards and Star Wars sleeping bags (or "weird, fucked up musty vocal caves" as Shabason describes them). Upon listening to the record, it's hard to believe Familiar Touch was made in such a compact environment. With its emboldened production, it sits pleasingly alongside their personal influences and seminal recordings such as Prefab Sprout's Steve McQueen or Yellow Magic Orchestra's Naughty Boys.


    Mixed by Chris Coady (TV on the Radio, Beach House, Grizzly Bear) and mastered by Heba Kadry, Familiar Touch is also lent a skilled hand by Thom Gill (guitars, keys, piano), Bram Gielen (bass), Vince Spilchuk (trumpet), and vocalists Robin Dann, Alanna Stuart of Bonjay and aforementioned Gary Beals - runner-up on the first season of Canadian Idol. By having the space and time to work with their new ideas on their own terms, this time around, DIANA have crafted an album that sounds unabashedly vibrant and distinctly 2016.

    1. Confession
    2. What You Get
    3. Slipping Away
    4. Moment of Silence
    5. The Coward
    6. Miharu
    7. Cry
    8. Helpless
    9. These Words
    10. Take it Over
    Diana
    $19.99
    Vinyl LP - Sealed Buy Now
  • Birds Birds Quick View

    $19.99
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    Birds

    Seth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.

    Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.

    Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.

    The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.

    Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.

    The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.

    Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.

    Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.

    For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.

    I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.

    1. Sunshine
    2. Water On Fire
    3. Birds
    4. Just Because I Can
    5. People Like Us
    6. Like I Do
    7. For What It's Worth
    8. Too Much Water
    9. Justice For All
    10. Hasn't Hit Me Yet
    11. I'm Still Looking
    Seth Glier
    $19.99
    Vinyl LP - Sealed Buy Now
  • Runners In The Nerved World Runners In The Nerved World Quick View

    $19.99
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    Runners In The Nerved World


    Produced by Phil Ek (Built to Spill, Band of Horses, Shins)


    LP Contains CD Of Full Album


    Growing up is weird. Very few of us ever end up doing that thing for a living that we imagined we might when we
    were kids. Even fewer end up doing the same thing for the rest of our lives that we were doing as teenagers, even if
    that thing happens to be making music with our friends. In the case of The Sidekicks, a teenage affinity for playing
    propulsive punk rock somehow, against all odds, managed to turn into a full-time life pursuit. After nearly a decade
    of making noisy rock music, releasing albums on tiny local labels, and incubating in the Cleveland scene, The Sidekicks
    are ready to meet the waiting world with their Epitaph debut Runners in the Nerved World.


    For the recording of Runners in the Nerved World the band- Steve Ciolek (Vocals & Guitar), Matt Climer (Drums),
    and Ryan Starinsky (Bass)-decamped to Seattle to work with famed indie-rock producer Phil Ek, a pairing that
    proved to be something of a dream come true for Ciolek. The results, on tracks like "The Kid Who Broke His Wrist"
    and "Deer," bring to mind the kind of jangly pop euphoria of early Band of Horses or old Built to Spill records, while
    "Everything in Twos" is the kind of pop punk jam seemingly tailor made for singing along in a car at peak volume.

    1. Hell Is Warm
    2. Everything In Twos
    3. Jesus Christ Supermalls
    4. The Kid Who Broke His Wrist
    5. Pet
    6. Blissfield, Mi
    7. Deer
    8. Summer Brings You Closer To Satan
    9. Century Schoolbook Grown-ups
    10. Satellite Words And Me
    11. Spinning Seat
    12. All Things Run
    The Sidekicks
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Under The Bushes Under The Stars Under The Bushes Under The Stars Quick View

    $29.99
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    Under The Bushes Under The Stars

    Under The Bushes Under The Stars is made up of unforgettable riffs, infectious vocal melodies, and little else - hinting at stadium-sized ambitions while keeping the songs themselves human-sized. By remaining tethered to the lo-fi aesthetic but thinking big, Under The Bushes, Under The Stars is propelled by a sense of tension that the band hasn't really explored
    since.

    -Stereogum


    In November 1995 Guided By Voices handed in their darkest and most obscure record to date. The 60-odd songs the band had recorded in 24-track studios had all been scrapped. Chief Robert Pollard was adamant about releasing a home-taped album "as is, no compromises, man,"; citing his dissatisfaction with the hi-fi material.


    Then Bob changed his mind and went into another 24-track studio and banged out the majority of the songs on Under The Bushes Under The Stars in two days. The results are Guided By Voices' clearest and most ecstatic album to date. A fabulous introductory record for new fans confused by the amount of Guided By Voices catalog in the racks, Under The Bushes also contains new songs to trigger synapses in their devoted core audience.

    1. Man Called Aerodynamics
    2. Rhine Jive Click
    3. Cut-Out Witch
    4. Burning Flag Birthday Suit
    5. The Official Ironmen Rally Song
    6. To Remake The Young Flyer
    7. No Sky
    8. Bright Paper Werewolves
    9. Lord Of Overstock
    10. Your Name Is Wild
    11. Ghosts Of A Different Dream
    12. Acorns & Orioles
    13. Look At Them
    14. The Perfect Life
    15. Underwater Explosions
    16. Atom Eyes
    17. Don't Stop Now
    18. Office Of Hearts
    19. Big Boring Wedding
    20. It's Like Soul Man
    21. Drag Days
    22. Sheetkickers
    23. Redmen And Their Wives
    24. Take To The Sky
    Guided By Voices
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lesser Unknown Lesser Unknown Quick View

    $14.99
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    Lesser Unknown

    Baltimore and Wham City resident Adventure's 2008 self-titled debut was an energetic journey through the outer expanses of an SID chip, an experience that took listeners whizzing over pixelated mountains and explored the darker corners of the most modernized urban setting.


    This limited tonal range and lack of human vocals (save for a few dialogue samples from Bladerunner) may have made the music of Adventure seem a bit cold or impersonal, but on his newest release, Lesser Known, Benny Boeldt has brightened up his sound, adding soaring synth blasts and maximalist flourishes a la M83.


    The airy snare and pulsing bass that open the album act as fanfare, like Boeldt welcoming the listener into the spacious new environment of Lesser Known. His aesthetic remains grounded in the 1980s, but the songs sound more like retro-futuristic radio hits than the arcade conjuring modulations of his first release. On tracks like Fool's Paradise and Smoke and Mirrors, Boeldt splits the difference between New Order and Nu Shooz, creating a sound that could please even the most cynical bedroom moper while gratifying any party-goer who's simply looking to dance.


    Those fearing a record of wistful '80s pop facsimiles will be pleased to hear tunes like Relax the Mind and Lights Out connecting the dots that link Giorgio Moroder and his modern hit-making scion Dr. Luke. Dance beats permeate the bulk of Lesser Known, but the two closing songs introduce pensive atmospheres, perhaps laying the framework for Boeldt's future musical ventures.

    1. Open Door
    2. Feels Like Heaven
    3. Smoke And Mirrors
    4. Fool's Paradise
    5. Rio
    6. Lights Out
    7. Relax The Mind
    8. Another World
    9. Electric Eel
    10. Meadows
    Adventure
    $14.99
    Vinyl LP - Sealed Buy Now
  • Out Of The Black Out Of The Black Quick View

    $24.99
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    Out Of The Black

    The raucous, schizophrenic sound of Out Of The Black - much like previous Boys Noize records - has as much to do more with Ridha's attention span as his choice in gear. "I get bored really easily with sounds," he explains, "The exciting part for me is trying to come up with new sounds, putting new sounds in a new dress. I'm sound obsessed. I buy a lot of machines and synths, and I'm always looking for a way to destroy sounds in an unconventional way. I'm always drawn to music and productions that sound entirely different or really naïve or sometimes just stupid. I don´t like it when it sounds too clean and generic, there needs to be some sort of soul. I guess that explains a lot about my sound which I think I instinctually capture. But I do try to keep in mind what I loved about dance music when I started doing this and how it made me feel. Those thoughts were also very much on my mind when I was making this record."


    The new album nicely bridges the gap between his previous two efforts; providing the requisite in-your-face electro bang of classic Boys Noize on tracks like "What You Want", "Rocky 2" and "XTC", or more melodic songs like "Ich R U" and "Reality". At a time when mainstream electronic music-particularly the pervasive cultures of EDM and dubstep-have moved dance music out of the clubs and into the stadiums, Ridha is quick to acknowledge the old school house and acid records that shaped him as a DJ; the very same records that continue to bubble up as an influence on Out of the Black.


    "I never compromise when it comes to creative or musical things," says Ridha. "I only do what I think is cool and what I like. It's not about what the market wants or what people expect. Maintaining artistic freedom has always been the most important thing to me - for my own music or for anyone on my label." As for the title of his new record, Ridha explains that this music isn't coming from out of the blue. In fact, it's the opposite. "I tend to make and produce music only at night," he says. "I also generally only perform at night, so this is music that's coming totally out of the black. Also, they say the color black can absorb all other colors, which is a cool way to think about making music. You absorb every other kind of music-every possible sound-and what comes out of you is something new, something out of the black."

    1. What You Want
    2. XTC
    3. Missile
    4. ICH R U
    5. Rocky 2
    6. Ich Jack
    7. Circus Full Of Clowns (feat. Gizzle)
    8. Touch It
    9. Conchord (feat. Siriusmo)
    10. Reality
    11. Merlin
    12. Got It (feat. Snoop Dogg)
    13. Stop
    14. Yellow (feat. Siriusmo)
    Boys Noize
    $24.99
    Vinyl LP + CD - 3 LPs Sealed Buy Now
  • Brothers and Sisters of the Eternal Son Brothers and Sisters of the Eternal Son Quick View

    $16.99
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    Brothers and Sisters of the Eternal Son

    Damien is out of his goddamn mind.


    This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
    this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
    rural psyche. Well, folks,I'm sorry, but it's not.


    Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
    wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
    own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
    religion is a character in his religion.


    Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
    Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
    conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
    not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
    sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.


    Consider this:What if the only way to understand a religion is to create your own?


    Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
    this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
    give you a second.


    Do you understand the music any better?


    You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
    That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
    ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
    that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
    winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
    Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
    Gawd something to do.


    Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
    space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
    Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.


    Jesus is out of his goddamn mind and I want to live in Damien's America.


    Sign me up.


    --- Father John Misty; 09-20-2013

    1. Magic Number
    2. Silver Timothy
    3. Return To Maraqopa
    4. Metallic Cloud
    5. Jericho Road
    6. Silver Donna
    7. Silver Malcolm
    8. Silver Katherine
    9. Silver Joy
    10. Suns In Our Mind
    Damien Jurado
    $16.99
    Vinyl LP - Sealed Buy Now
  • Controversy Controversy Quick View

    $24.99
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    Controversy

    Prince's Smash 1981 LP Back on Vinyl for First Time in Ages: Provacateur Turns More Sultry and Political, Increases Synthesizers and Sonic Range


    Mastered from the Original Tapes: Lacquers Cut by Bernie Grundman at Bernie Grundman Mastering


    Pressed at RTI and Features Complete Reproduction of Original Packaging: Comes With Collectable Poster


    Continuing on with the pioneering directions he began pursuing on Dirty Mind, Prince again comes up roses on 1981's Controversy, an enterprising record on which he turns more political and furher assimilates keyboards and synthesizers into arrangements. Dirty Mind is also home to the piano ballad and chart smash Do Me, Baby, a sensitive song that's considered by many as his finest vocal effort. Given that we're talking Prince, that's saying something.


    As had already become customary, Prince again handles all production, arrangements and composition duties, using Controversy, Annie Christian, and the unsparingly direct Ronnie, Talk to Russia as potent sociopolitical statements during an era which responsibility had lapsed and conservatism set in. Willing to stir it up, Prince injects contagious grooves, melodies, and refrains into arrangements that mix new wave, rock, funk, and pop, all serving to heighten the immediacy of the lyrics. And he knows how to have fun. Saucy, stylized, and sexy, Jack U Off and Let's Work are tailor-made for getting the opposite sex between the sheets.


    After more than two decades of being out of print, Controversy is finally back on vinyl--and how. Mastered from the original tapes, with lacquers cut by Chris Bellman at Bernie Grundman Mastering, and pressed at RTI on 180g vinyl, this is the very best version you'll ever hope to hear. No longer will you have to settle for the slightly compressed original or nearly unlistenable CD versions. Rhino's analog reissue also boasts replicate original packaging and comes with the poster that accompanied the first-generation pressings.


    Let's go crazy!


    1. Controversy

    2. Sexuality
    3. Do Me, Baby
    4. Private Joy
    5. Ronnie, Talk To Russia
    6. Let's Work
    7. Annie Christian
    8. Jack U Off

    Prince
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Operation: Doomsday (Silver Age Set) Operation: Doomsday (Silver Age Set) Quick View

    $21.99
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    Operation: Doomsday (Silver Age Set)

    This special edition 2xLP package comes housed in an all new exclusive jacket featuring DOOM's
    infamous metal mask icon embossed out of a metallic silver foil.


    Underneath his mysterious metal mask, MF Doom hides the cachet underground legends are made of. After KMD's 1994 sophomore album Bl_ck B_st_rds was turfed by Elektra in 1994 and Subroc (one half of the sibling rhyme duo) passed away, surviving KMD member Zev Love X mutated into the MC Avenger known as MF Doom. The Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol' Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, Rhymes Like Dimes, Doom weaves some pointed lyrics through his abstract wordplay, spitting 'only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.' Doomsday features female vocalist Pebbles the Invisible accompanying the masked rhyme avenger on his journey to denounce wack MCs, while on ? he trades hot verses with former Columbia artist Kurious Jorge. Doom's avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on Tick, Tick... where he and guest MC MF Grimm's flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, many of which include snippets of dialogue from Marvel's Dr. Doom series, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today's bland commercial Rap universe, Operation Doomsday's left-of-center beats and rhymes are the perfect remedy.


    This title is not eligible for discount.

    1. The Time We Faced Doom (Skit)
    2. Doomsday
    3. Rhymes Like Dimes
    4. The Finest
    5. Back In The Days (Skit)
    6. Go With The Flow
    7. Tick, Tick
    8. Red And Gold
    9. The Hands Of Doom (Skit)
    10. Who You Think I Am?
    11. Doom, Are You Awake? (Skit)
    12. Hey!
    13. Operation: Greenbacks
    14. The M.I.C.
    15. The Mystery Of Doom (Skit)
    16. Dead Bent
    17. Gas Drawls
    18. ?
    19. Hero vs. Villain (Epilogue)
    MF Doom
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tell Me I Belong Tell Me I Belong Quick View

    $18.99
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    Tell Me I Belong

    Jim-E Stack has come a long way. Born and raised in San Francisco, the now
    Brooklyn-based artist born James Harmon Stack cut his musical teeth as a jazz
    drummer, but it wasn't until he entered the world of solo production at the age of 16
    that he found the freedom necessary to write and record how he wanted. After seeing a set from Fade to Mind boss Kingdom in 2009, freeform DJ sets and hybridized
    club music planted the seeds of inspiration in the burgeoning producer. He made
    his first splash with a bass-loaded remix of Nuguzunguzu's "Mirage", and went on
    to release the bright and drum-focused Come Between EP, garnering acclaim from
    international DJs and tastemakers alike.


    Following time spent in New Orleans, James moved to New York in summer of 2012,
    and started the slow process of sketching, refining, and developing the diverse tracks
    that would make up his captivating Tell Me I Belong LP. The album was equally
    fleshed out by looking forwards and backwards, which gives it the kind of purpose
    and cohesiveness many debut outings lack. In every corner of Tell Me I Belong, you
    can hear an artist who reveres classic jazz musicians like John Coltrane and McCoy
    Tyner, experimental pioneers like Steve Reich, and Detroit techno greats Omar-S
    and Robert Hood, but contemporary boundary pushers Arca, Oneohtrix Point Never,
    and Actress are no less inspiring for Stack. "More so than anything, it's really on
    some personal shit," he says of the themes woven into his debut LP. "The time period
    between leaving San Francisco and moving to New York was a tough time for me,
    and the music is kind of a reflection of that, the feeling like you don't belong." The
    music may speak about a kind of alienation, but it also abundantly offers the chance
    of collective experiences in the form of hard-hitting, club-specific dancefloor jams.
    That fearless juxtaposition is the lifeforce of Tell Me I Belong.

    1. Somewheres
    2. Run
    3. Below
    4. Reassuring
    5. Everything To Say
    6. Is It Me
    7. Out Of Mind
    8. Ease Up
    9. Without
    10. Wake
    Jim-E Stack
    $18.99
    Vinyl LP - Sealed Buy Now
  • Highway 61 Revisited (Awaiting Repress) Highway 61 Revisited (Awaiting Repress) Quick View

    $49.99
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    Highway 61 Revisited (Awaiting Repress)

    Highway 61 Revisited on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Dylan's First Entirely Rock-Backed Album Marks Sea Change in Sound and Potential of Popular Music


    Ranked #4 on Rolling Stone's 500 Greatest Albums of All Time List


    Album-Opening Like a Rolling Stone Challenging, Bold, Revolutionary-And Arguably the Best Rock Song Ever Recorded


    Widescreen Sonics: Brilliant Collision of Evocative Poetry, Swirling Roots-Based Soul, and Hard-Driving Blues Sounds Incredible on MoFi 45RPM Pressing


    1965 Set Also Includes Ballad of a Thin Man, Desolation Row, and Just Like Tom Thumb's Blues


    Its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind nearly five decades after its release.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality sound-so much so that the record's famous first lightning-strike note is now indeed the "snare shot that sound[s] like somebody'd kicked open the door to your mind," as once described by Bruce Springsteen.


    Teeming with organic energy, palpable voltage, and countless textures, the LP faithfully recreates the dimensions, vibes, and events associated with the six days Dylan and Co. spent at Columbia's Studio A. Everything from the soundstages to dynamics, instrumental separation to balances, resonates with enormous might and insightful perspective. Wider grooves mean more information reaches your ears.


    Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle.


    Outside of "Like a Rolling Stone"-the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol-every tune was captured shortly after Dylan's contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan's sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as "Ballad of a Thin Man," "Queen Jane Approximately," "Tombstone Blues," and the stupefying "Desolation Row."


    At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons-and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses-are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper's Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity.


    This title is not eligible for discount.

    1. Like a Rolling Stone
    2. Tombstone Blues
    3. It Takes a Lot to Laugh, It Takes a Train to Cry
    4. From a Buick 6
    5. Ballad of a Thin Man
    6. Queen Jane Approximately
    7. Highway 61 Revisited
    8. Just Like Tom Thumb's Blues
    9. Desolation Row
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Science & Magic: A Soundtrack to the Universe Science & Magic: A Soundtrack to the Universe Quick View

    $22.99
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    Science & Magic: A Soundtrack to the Universe

    Lil Bub has had her paws in the music world for quite some time now. She's tight with Steve Albini, produced a single for Kelley Deal, worked closely with David Yow, collaborated with Andrew W.K., spearheaded 50 Bands and a Cat (she's the cat), been held by Jonathan Richman, has a song written for her by Kimya Dawson, was rapped about by Aesop Rock, enjoyed Thanksgiving dinner with Murder by Death, appeared in The Foo Fighters' HBO Documentary, Sonic Highways, was the July, 2014 cover story for SPIN Magazine, and famously appears on Run the Jewels' highly anticipated Meow the Jewels record made up entirely of cat sounds.


    And now she's finally ready to blow minds with the very first full length concept album written by a magical space cat, and it's darn good. This is music made by a magical space cat. The songs on this album are the soundtrack to BUB's universal adventure, and a soundtrack to the universe itself. You'll feel transported by the music's stimulating spirit, and taken to places beyond your imagination's limits, all the while experiencing the sonic aura of BUB's loving and compassionate presence.

    1. Hello Earth
    2. New Gravity
    3. Assimilation
    4. A Friend
    5. GOOD JOB
    6. Another Voyage
    7. Science and Magic
    8. Space Sister
    9. Earth Sister
    10. Rebirth
    Lil Bub
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Time Is Right The Time Is Right Quick View

    $49.99
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    The Time Is Right

    A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker. All About Jazz


    This title is not eligible for discount.

    1. The Nearness Of You
    2. Mack the Knife
    3. Lou's Blues
    4. Be My Love
    5. Tangerine
    6. Crosstown Shuffle
    7. Idaho
    Lou Donaldson
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Khun Narin's Electric Phin Band Khun Narin's Electric Phin Band Quick View

    $18.99
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    Khun Narin's Electric Phin Band

    It all started over a year ago with the caption "MINDBLOWING PSYCHEDELIA FROM THAILAND"-the Youtube video that accompanied this headline on the Dangerous Minds Blog was exactly that. Here was a group of Thai
    musicians being filmed parading through a remote village hundreds of miles
    away from Bangkok playing some of the heaviest Psych known to mankind out
    of a crazy homemade soundsystem. Who were these men and how on earth was
    this not some unearthed archived footage from the '60s or '70s?! The Youtube
    clip quickly made its rounds amongst music enthusiasts leaving many in the
    Western hemisphere to question who this group of contemporary Thai villagers
    (loosely named Khun Narin's Electric Phin Band) was.


    Six months after that first encounter with Khun Narin's Electric Phin Band, a
    Los Angeles music producer named Josh Marcy used Facebook and some unlikely interpreters at his local Thai restaurant to get in contact with the band and
    inquire whether they'd be interested in having him travel to their town to record
    their music for a global audience. At first the band was naturally suspicious, but
    through subsequent interactions the group's leader and namesake Khun Narin
    (also known simply as "Rin") warmed to the idea of having Marcy come visit.
    And so began the journey of uncovering who these mysterious men from an
    obscure blog post actually were.


    Khun Narin's Electric Phin Band's membership is always in rotation and spans
    several generations, from high school kids to men well into their 60s. A standard
    engagement has the band setting up at the hosting household during the morning rituals, playing several low-key sets from the comfort of plastic lawn chairs
    occasionally working in a cover version of a foreign classic (The Cranberries
    'Zombie' is a recent favorite) while the beer and whiskey flow freely. After a
    mid-day banquet, they start up the generator and lead a parade through the community to the local temple, picking up more and more partiers along the way

    1. Lam Phu Thai #1

    2. Lam Phu Thai #2

    3. Lai Sing

    4. Sut Sanaen #2

    5. Show Wong Khun Narin #1

    6. Show Wong Khun Narin #2

    7. Show Wong Khun Narin #3
    Khun Narin
    $18.99
    Vinyl LP - Sealed Buy Now
  • Patches (Pure Pleasure) Patches (Pure Pleasure) Quick View

    $34.99
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    Patches (Pure Pleasure)

    Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though It's All in Your Mind was also a hit later in the year, and I Can't Leave Your Love Alone and Your Love Lifted Me could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song Let It Be, taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on Till I Can't Take It Anymore, on which Carter starts to sound a bit like Elvis Presley, while on It's All in Your Mind he seems to invoke the ghost of Sam Cooke. On his own C.C. Blues, Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring Getting the Bills (But No Merchandise).



    Musicians:



    • Clarence Carter (vocals, guitar)

    • Ronnie Eades (bassoon)

    • Aaron Varnell, Harvey Thompson (tenor saxophone)

    • Jack Peck (trumpet)

    • Albert Lowe Jr. (guitar)
    • Clayton Ivey (keyboard)

    • Bob Wray (bass)

    • Cornell McFadden (drums)

    • Charles Chalmers, Donna Rhodes (vocal)



    Recording: Sonny Limbo & Rick Hall

    Production: Rick Hall



    About Pure Pleasure



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



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



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



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



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



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

    1. Willie And Laura Mae Jones
    2. Say Man
    3. I'm Just A Prisoner (Of Your Good Lovin')
    4. Let It Be
    5. I Can't Leave You Love Alone
    6. Your Love Lifted Me
    7. Till I Can't Take Anymore
    8. Patches
    9. It's All In Your Mind
    10. Changes
    11. C. C. Blues
    12. Getting The Bills (But No Merchandise)
    Clarence Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Like A Rose Like A Rose Quick View

    $15.99
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    Like A Rose

    Ashley Monroe, a member of the critically acclaimed trio Pistol Annies, presents her first Warner Nashville solo album, Like A Rose. Most folks, as soon as they hear Ashley Monroe, instantly recognize one thing: she's the real deal. Her songs resonate so profoundly because they reflect the experiences of an artist who, although she is just 26, has already seen both the best and worst that life has to offer.


    Like a Rose has been a long time coming. Monroe has been creating music for more than half of her life-attracting along the way kudos from such music world giants as Dolly Parton, Guy Clark, Vince Gill and Jack White. Her new, full-length album release serves both to fill in the back-story and impart to us who she is today. At times her songs are dead serious, at others utterly hilarious, but always Monroe is an original with a compelling story to share.


    Monroe spent her childhood in Knoxville, Tennessee, where she immersed herself in all varieties of music ranging from country-she's not-too-distantly related to members of the legendary Carter Family-to rock, pop, rap and even opera. When she was 11, Monroe won a talent contest singing "I Want To Be a Cowboy's Sweetheart" and two years later her father gave Ashley her first guitar. She developed a passion for writing songs, discovering that she could easily communicate her thoughts and sentiments through a six-string and her dynamic, exceptional voice.


    One of the most rewarding artistic adventures for Ashley to date has been the Pistol Annies, a trio she co-formed in 2011 with her friend Miranda Lambert, whose chart-topping hit "Heart Like Mine" Ashley co-penned, and newcomer Angaleena Presley. Pistol Annies have provided Monroe with yet another outlet for her music. Their album, Hell on Heels, garnered rave reviews. The All Music Guide called the trio "a remarkably democratic supergroup" while veteran music critic Robert Christgau gave the album an A grade, citing its "expertly executed tunes."


    Despite her list of previous accomplishments, everything she's done so far feels like it's been pointing the way toward Like a Rose. With songs that run the gamut from feel-good to controversial to contemplative, the album, produced by country music titan Vince Gill, offers the full range of Ashley Monroe's songwriting and performing skills. To maintain the honesty of Ashley's songs, Gill and the singer chose to record the album the way most of the greatest albums ever were made: sans gimmickry. "We just got the band in a circle and started playing the songs," Ashley says, "and once we felt like we had a feel for it, I'd do my vocal live-I never went back in to do a second vocal. Everyone put everything we had into the songs. There was a buzz in the room. We all had fun-it felt like a big old family, the way records used to be made."


    Some of the songs were newly written for the album; others date back several years and felt right to revisit. The semi-autobiographical title track, one of the uncontestable highlights of the set, was co-written about six years ago with another totem of the American song-crafting community, Texan legend Guy Clark.


    One song that is bound to raise some eyebrows refers to the same favored flower of the title tune, but in a much different sense: "Weed Instead of Roses" tells of a woman's desire to get a gift she actually desires from her beau, not just something that smells good.


    "You Got Me" was co-written by Monroe and Karen Fairchild. Says Ashley, "It's about an addiction to something-one thing or another, whether you're stuck in a bad relationship or alcohol or whatever it is-and you try to hide it and fight it but you're kind of saying, 'Alright, you got me.'


    On a more light-hearted note is "Monroe Suede," based on "a slick character that tries to get away all the time." Another is the self-explanatory "You Ain't Dolly (And You Ain't Porter)," a duet featuring Lambert's husband, CMA Entertainer of the Year Blake Shelton. "Morning After" confronts that uneasy feeling that often follows a too-good time and "She's Driving Me Out Of Your Mind," written with Jon Randall Stewart, comes straight from one of Ashley's many journals. "Two Weeks Late" was suggested by singer-songwriter Shane McAnally, who co-wrote it with Monroe. "He came in and said, 'I heard this phrase at the ATM: I'm a dollar short and two weeks late.' That was another one that just fell out. I grabbed the guitar and we started writing it up.


    "Used," another standout, is an update of a song that appeared on Monroe's Satisfied album. "It came to me when I was about 17 and my manager at the time had just bought me this old 1950s Gibson guitar," she says. It came into my mind that things are worth more used, and I thought about my mom, who had lost my dad when she was 38. I was thinking, she had two kids, she's been through a lot, and, bless her heart, it's all gonna be worth it. Vince and I worked up this new version, which made it fresh for me."


    And fresh it all is. Like a Rose avoids the trappings of too much contemporary music by sticking to the basics: memorable songs, incredible musicians, a superb voice, all of it captured honestly and without frills. As the saying goes, sometimes we need to stop and smell the roses. Take a whiff of Like a Rose and you'll find it smells pretty darn sweet.

    1. Like A Rose
    2. Two Weeks Late
    3. Used
    4. Weed Instead of Roses
    5. You Got Me
    6. The Morning After
    7. Monroe Suede
    8. She's Driving Me Out Of Your Mind
    9. You Ain't Dolly (And You Ain't Porter) ft. Blake Shelton
    Ashley Monroe
    $15.99
    Vinyl LP - Sealed Buy Now
  • Eight Miles High / Why (Mono) Eight Miles High / Why (Mono) Quick View

    $9.99
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    Eight Miles High / Why (Mono)

    "Eight Miles High" b/w "Why" - The Rare RCA Studios Versions Original Mono Masters!!!


    During an action-packed Byrds tour of the UK in August 1965, ideas began to form in Gene Clark's mind for a new song. After germinating for several weeks, he began to put his thoughts on paper during the band's U.S. tour in November 1965.


    Traveling from gig to gig, David Crosby's cassettes of Ravi Shankar and John Coltrane provided the tour bus soundtrack. As Clark continued writing the song that would become ''Eight Miles High,'' this exotic music, especially Coltrane's recordings, found their way into the composition. Juxtaposed against lyrical snapshots of London, like ''rain grey town, known for its sound,'' the modal melody created a striking contrast and summoned a surreal, flight-like feeling.


    Despite Clark's increasing isolation from the group, it was obvious that ''Eight Miles High'' was a work of major importance and the group promptly made plans to record it. The band entered RCA Studios in Los Angeles on December 22, 1965, to track ''Eight Miles High,'' along with a new Roger McGuinn- David Crosby song ''Why.'' They had worked up an explosive arrangement for the Clark song, adding elements culled from their recent highway listening sessions. The Coltrane influence is especially evident in McGuinn's electric twelve-string solo, inspired by Coltrane's free-form sax lines on ''India.'' Shankar's sitar work is reflected in Chris Hillman's driving bass part, a hypnotic drone against which McGuinn's guitar lines shine in high relief. This Eastern influence also emerges on the high energy ''Why'' with McGuinn creating a sitar-like solo on his guitar while employing non-Western scales. Though not a conscious attempt, these songs were later cited as pioneering examples of raga rock, one of several innovative sub-genres, along with folk rock and country rock that the band explored in their career.


    Despite the unqualified artistic success of the RCA sessions, Columbia refused to release the tracks because they had not been recorded in a Columbia-owned studio. The band dutifully re-recorded the two songs at Columbia Studios in Hollywood and these recordings were released as a single and later included in the Fifth Dimension album. However, the band was not fully satisfied with this second attempt, believing that the RCA recordings were better.


    This special Sundazed release marks the first use of the recently located original mono mixdown masters. McGuinn has always felt that the first recordings of these songs were more spontaneous. And when asked about the RCA version of ''Eight Miles High'' Crosby declared, ''It was a stunner, it was better, it was stronger. It was the way we wanted it to be.''

    1. Eight Miles High
    2. Why
    The Byrds
    $9.99
    7 Vinyl Single Mono - Sealed Buy Now
  • ...Ya Know? (Awaiting Repress) ...Ya Know? (Awaiting Repress) Quick View

    $20.99
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    ...Ya Know? (Awaiting Repress)

    BMG Rights Management presents Joey Ramone's second solo album, "...Ya Know?", eleven years after his life was cruelly cut short by lymphoma. The tracks were drawn from a cache of demos and unreleased recordings that Joey had cut at various times during the last decade and a half of his life.


    His brother, musician Mickey Leigh, executive produced the project. It was of the utmost importance to me that these remaining songs of Joey's be finished properly, and made available for the world to hear, Leigh says of "...Ya Know?", which is comprised primarily of never-before-heard songs written and sung by his brother.


    But this is no half-baked grab-bag of odds and ends. Rather, it's a riveting collection of first-rate songs that embody Joey's trademark intensity and wit, and that can stand proudly alongside his most beloved Ramones compositions. It's also a fitting, if belated, follow-up to Joey's first solo album Don't Worry About Me, which was recorded just prior to his death and released the following year.


    "...Ya Know?", whose title refers to the phrase that was a ubiquitous staple of Joey's conversation, adds a significant new chapter to the seminal punk icon's hugely influential body of work. Among the many talented people Mickey Leigh and Joey's manager Dave Frey reached out to in bringing "...Ya Know?" to fruition was veteran producer Ed Stasium, who was behind the board for many of the Ramones' greatest albums, including their early classics Leave Home, Rocket to Russia and Road to Ruin.


    In addition to producing ten of the album's fifteen tracks, Stasium also contributed instrumentation and vocals to each. The swaggering album-opener Rock 'n' Roll Is the Answer (co-written with Plasmatics guitarist Richie Stotts) will be released as a limited-edition 7" single for Record Store Day on April 21, 2012.


    That song and the hometown shout-out New York City demonstrate Joey's knack for channeling his personal passions into bracing anthems. The playfully breezy Make Me Tremble (which Joey wrote and recorded with Dictators founder Andy Shernoff) and the bittersweet acoustic ballad Waiting for That Railroad find him exploring some of the more introspective territory that he'd been unable to visit within the format of his former band.


    Elsewhere on "...Ya Know?", I Couldn't Sleep is a collaboration between brothers Joey and Mickey, who also teamed up to record a romantic alternate version of the Ramones' holiday classic Merry Christmas (I Don't Want to Fight Tonight) in Joey's apartment. Meanwhile, a previously unreleased reprise of Joey's late-period Ramones tune Life's A Gas ends the album on an appropriately uplifting note.


    Also contributing to "...Ya Know?" is an assortment of musicians and producers whose prior relationships with Joey help to give the album an organic vibe that enhances its power and character. The cast of players includes Joan Jett, and Little Steven Van Zandt, who plays guitar on Party Line and wrote the album's poignant liner notes, along with such notables as former Ramones drummer Richie Ramone, Bun E. Carlos of Cheap Trick, Dennis Diken of the Smithereens, Richie Stotts, Patti Smith Group guitarist Lenny Kaye, punk survivor Holly Beth Vincent, members of the Ramones' punk-era contemporaries The Dictators, and producers Jean Beauvoir and Joe Blaney.


    The resulting album is a brilliant encapsulation of the qualities that made Joey Ramone one of rock's most unlikely, yet most beloved, heroes. Leigh reflects "Over the past eight years I've been getting barrages of emails and Facebook messages from Joey's fans, wanting to know when this album would be coming out. So having it finally become a reality gives me a feeling of triumph, not for me, but for my brother, and for his fans. And there's not the slightest doubt in my mind that people are gonna be blown away by it.

    1. Rock 'n' Roll Is The Answer
    2. Going Nowhere Fast
    3. New York City
    4. Waiting For That Railroad
    5. I Couldn't Sleep
    6. What Did I Do To Deserve You?
    7. Seven Days of Gloom
    8. Eyes of Green
    9. Party Line
    10. Merry Christmas (I Don't Want To Fight Tonight)
    11. 21st Century Girl
    12. There's Got To Be More To Life
    13. Make Me Tremble
    14. Cabin Fever
    15. Life's A Gas
    Joey Ramone
    $20.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Poets Were My Heroes Poets Were My Heroes Quick View

    $19.99
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    Poets Were My Heroes

    Morning Glory is made up of the stuff that the gritty, punk-crust motherland of New York's infamous Lower East Side has been known to spawn. This group of punkers and squatters had very humble beginnings indeed. Already in various other New York punk bands, Morning Glory first became the spark of an idea when Ezra Kire (Leftöver Crack, Choking Victim, INDK) took time off from touring and started to write some tunes in his NYC apartment.



    In 2001, with nothing but a drum machine and an 8-track reel-to-reel, Ezra wrote and recorded the songs that would become Morning Glory's first LP, This Is No Time ta Sleep. Though it was self-recorded, home-released and had no touring support, it still managed to create a small but ubiquitous underground buzz. With a virtuosic range of musical elements such as ska, punk, metal, and even some rhyming, its catchy, anthemic sing-alongs showcased Ezra's flourishing writing talents. And while his lyrics stayed true to the caustic political edge of his other bands, the overall message remained more optimistic and leaned towards the humanistic, personal side of life.



    In 2002, Ezra finally assembled a live band, handpicking musicians from the local NYC punk scene, including members of Nausea, World/Inferno Friendship Society and Stockyard Stoics. This lineup recorded the EP, The Whole World is Watching, released on Blacknoise Records in 2003. While the years that followed were spent recording and touring with Leftöver Crack, Morning Glory took a back seat.



    But after these long years of touring, Ezra finally decided to give Morning Glory the attention it deserved in 2010 and began writing songs for what was to become the epic new album, Poets Were My Heroes. In the summer of 2011, Ezra and the band (with longtime members Early Gates, "Metal" Chris and Lucky Strano alongside new guitarist Adam Schrager) hit the studio with a barrage of new material. Picture the sonic kaleidoscope of punk noise meeting strings, horns, choirs, pianos and organs over a web of distorted guitars and marching, single kick pedal drums.



    These are the sounds that make up Poets Were My Heroes, Morning Glory's Fat Wreck Chords debut and first full-length album recorded with a live band. Re-enlisting producer Jesse Cannon (The Menzingers, Saves the Day), a wealth of material was recorded, with only the very strongest songs being chosen to make up the album. It is both grand and elaborate, with each song evoking a different mood and style, challenging the musicianship of even the most dexterous players, while still maintaining its punk-inspired simplicity.



    While the band itself has described themselves as "somewhere between Oasis and The Clash," they continue to break rules and write music that is true only to themselves, adhering to no genres, creeds or political factions. The sing-along choruses give the band a broader appeal than the standard politi-kill punk acts, but the key message is more subversive: "Think for yourself, decide for yourself, make up your own mind and love your friends. Only you know what is right for you. Together we are what we can't be alone." It's this unity in diversity that makes the band special and not just another punk outfit. Double vinyl includes digital download of full album.

    1. Everything's A Song (To Me)

    2. Shelter From The Spoon

    3. Poets Were My Heroes

    4. March Of The Asylum

    5. Quemar Las Fronteras

    6. Divide By

    7. Orphan's Holiday

    8. Touch

    9. Patiently

    10. Life's A Long Revenge

    11. Another Way (Outside The Walls Of Eden)

    12. Born To December
    Morning Glory
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Metals Metals Quick View

    $24.99
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    Metals

    On her new 12-song collection, Metals, Canadian singer/songwriter Feist is joined by her longtime collaborators Chilly Gonzales and Mocky. The trio spent a frigid month Trying to sound like we had played together as long as we'd collectively known each other, around 50 years, then decamped for California's rugged Big Sur coastline to record them. Feist co-produced the album with her aforementioned collaborators and Valgeir Sigurosson (Bjork, Bonnie 'Prince' Billy.)


    Recording can be a weightless free float from your day-life, and I like to pick places with certain fertile qualities that can give me a visual hook that I'm there to do something other than what I would otherwise do. And that clean line between land and see, the graphic edge of the continent pointing out toward the east, meaning not the Atlantic next stop Europe feeling, but next stop somewhere you've never been, Feist says. Plus, you are somewhere that looks completely unfound and yet it's been so perfectly recorded literarily. Steinbeck made 1000 albums there! Henry Miller and Anais Nin probably considered that line between land and sea, too. And on top of it, we truly found the perfect room to build a studio in, perched on the cliffs. A giant empty space.


    Metals' songs range from low rumbling and moody ambiences to brutal and intense, as if it sonically maps the fog rolling in and the resulting cracking of thunder. There's a lot more chaos and movement and noise than I've had before, Feist says. I allowed for mistakes more than I ever have, which end up not being mistakes when you open things up and make room for them. It was about un-simplifying things and leaning on these masterful minds I have so much respect for. We were sort of testing the air, like a sea captain licks his finger to see which way the wind is coming from. It was less Brill Building and more naturalistic.

    1. The Bad In Each Other
    2. Graveyard
    3. Caught A Long Wind
    4. How Come You Never Go There
    5. A Commotion
    6. The Circle Married the Line
    7. Bittersweet Melodies
    8. Anti Pioneer
    9. Undiscovered First
    10. Cicades and Gulls
    11. Comfort Me
    12. Get It Wrong, Get It Right
    Feist
    $24.99
    Vinyl LP - Sealed Buy Now
  • Be More Kind (Pre-Order) Be More Kind (Pre-Order) Quick View

    $25.99
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    Be More Kind (Pre-Order)

    Release Date: May 4, 2018*

    Frank Turner has announced his seventh studio album, Be More Kind, which is set for release via Interscope Records. Months after the release of Songbook, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. The new album combines raw political and personal universal anthems with the intricate folk and punk roar trademarks of Turner's sound imbued with new, bold experimental shades.


    Be More Kind was produced by Charlie Hugall (Florence And The Machine, Halsey) and White Denim's Austin Jenkins and Joshua Block. "I wanted to try and get out of my comfort zone and do something different," says Turner. Originally, he contacted Jenkins and Block at their Niles City Sound studio in Fort Worth, Texas with the idea of recording a soul album in the vein of Dexys Midnight Runners. He found they were equally enthusiastic when he changed his mind and decided he wanted to record a more rock-led album with tints of electronic pop. "I have an obscure corner of my music taste where I'm into glitch electronic music and Warp Records," says Turner. "It's not an electronic record but I got into arpeggiator synths." While 2015's Positive Songs for Negative People was cut in nine intense days, Be More Kind was made over a period of seven months giving Turner the opportunity to turn songs on their head, try different versions, and shake up the dynamics within his band.


    Turner was halfway through writing a very different sort of album, a concept record about women from history who had been ignored, when he was reading a collection of Clive James's poetry and one particular line compelled him to re-think his direction. The line, from a poem called Leçons Des TÉnèbres, reads: "I should have been more kind. It is my fate / To find this out, but find it out too late." "It devastated me the first time I read it," Turner says. "A lot of older, wiser people tend to say things like that, that the things that come out in the wash at the end of a human life are the way you treated the people around you. In the modern world, that's a lesson that all of us, myself included, could do to learn."


    Turner and his band, The Sleeping Souls, were touring America in 2016 "when the world decided to go collectively nuts" and the songs that make up Be More Kind started to come together. "Somewhere in the record, there's a convergence of the ideas of personal and political, which is a central theme of the album," Turner says. One of the other driving themes of the album is empathy, even for your enemy. "You should at least be able to inhabit the mental universe of the people you disagree with. If you can't do that, then how do you communicate with people other than through force of arms, which is something we all agree is a bad idea."


    The first track to be released from Be More Kind is "1933", a clattering, state-of-the-nation anthem. Furious and direct, it's inspired by articles Turner saw that suggested the alt-right was punk rock. "That filled me with a mixture of incredulity and anger," says Turner. "The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry." The other theme in the track is summed up by the line, "If I was one of the greatest generation / I'd be pissed / I'd be screaming at my grandkids / that we already did this." "These ideas are surfacing again that collectively as a species we've already shot down," says Turner.

    *Please note that release dates are subject to change.

    1. Don't Worry
    2. 1933
    3. Little Changes
    4. Be More Kind
    5. Make America Great Again
    6. Going Nowhere
    7. Brave Face
    8. There She Is
    9. 21st Century Survival Blues
    10. Blackout
    11. Common Ground
    12. The Lifeboat
    13. Get It Right
    Frank Turner
    $25.99
    Vinyl LP -Sealed PRE-ORDER Buy Now
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