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Make Them Suffer'
Worlds ApartThe new album from Make Them Suffer.1. The First Movement
3. Grinding Teeth
4. Vortex (Interdimensional Spiral Hindering Inexplicable Euphoria)
7. Power Overwhelming
8. Midnight Run
9. Dead Plains
10. Save Yourself$18.99Colored Vinyl LP - Sealed Buy Now
Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress)BOX SET INCLUDES:
12 Full-Length Studio Albums with New Artwork in a 12-CD Foldout Case!
CD 1: Eaten Back to Life (1990)
CD 2: Butchered At Birth (1991)
CD 3: Tomb of the Mutilated (1992)
CD 4: The Bleeding (1994)
CD 5: Vile (1996)
CD 6: Gallery of Suicide (1998)
CD 7: Bloodthirst (1999)
CD 8: Gore Obsessed (2002)
CD 9: The Wretched Spawn (2004)
CD 10: Kill (2006)
CD 11: Evisceration Plague (2009)
CD 12: Torture (2012)
12 x 12 Artist Prints of all 13 Original Cannibal Corpse Album Covers
Eaten Back to Life
Butchered At Birth
Tomb of the Mutilated
Gallery of Suicide
The Wretched Spawn
Torturing and Eviscerating Live
2013 CANNIBAL CORPSE Calendar
Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012
1. A Skull Full of Maggots
3. I Cum Blood
4. Staring Through the Eyes of the Dead
5. Devoured by Vermin
6. I Will Kill You
7. Pounded into Dust
8. Pit of Zombies
9. The Wretched Spawn
10. Make Them Suffer
11. Evisceration Plague
12. Scourge of Iron12 Full-Length Studio Albums
CD 1: Eaten Back to Life (1990)
CD 2: Butchered At Birth (1991)
CD 3: Tomb of the Mutilated (1992)
CD 4: The Bleeding (1994)
CD 5: Vile (1996)
CD 6: Gallery of Suicide (1998)
CD 7: Bloodthirst (1999)
CD 8: Gore Obsessed (2002)
CD 9: The Wretched Spawn (2004)
CD 10: Kill (2006)
CD 11: Evisceration Plague (2009)
CD 12: Torture (2012)
Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012
1. A Skull Full of Maggots
3. I Cum Blood
4. Staring Through the Eyes of the Dead
5. Devoured by Vermin
6. I Will Kill You
7. Pounded into Dust
8. Pit of Zombies
9. The Wretched Spawn
10. Make Them Suffer
11. Evisceration Plague
12. Scourge of Iron$129.99Vinyl LP Picture Disc + 12 CDs - Sealed AWAITING REPRESS Buy Now
Kill (Picture Disc) (Awaiting Repress)
25th Anniversary Limited Pressing
Original Uncensored Art On A Vibrant Picture Disc
Simply titled but meticulously assembled, Kill was recorded with producer Erik Rutan (Hate Eternal/ex-Morbid Angel) at Mana Studios in St. Petersburg, Florida. The tenth record of their storied career, each track basks in its own claustrophobic abrasiveness and maniacal subject matter. From the onset of the fiery The Time To Kill Is Now, guitarists Barrett and Pat O'Brien, vocalist George Corpsegrinder Fisher, bassist Alex Webster and drummer Paul Mazurkiewicz pummel with a renewed sense of urgency. Fast, furious and scrupulously timed, the tune is a palpable reminder that Cannibal remains a force to be reckoned. Make Them Suffer sears with an old school Possessed vibe (a band to whom Cannibal has paid homage to on several occasions), while Necrosadistic Warning, replete with a barrage of blistering solo work by O'Brien whose guitar deftness is often underestimated, comes riddled with visions of zombies sexually gratifying themselves with the body parts of! the beings they've slain. Other tracks like the telling Five Nails Through The Neck, Death Walking Terror, Brain Removal Device and instrumental closer Infinite Misery see the five-piece at their most cogent, both lyrically and musically.
Older, wiser, and as malevolent as ever before, the time to Kill is now!1. The Time to Kill Is Now
2. Make Them Suffer
3. Murder Worship
4. Necrosadistic Warning
5. Five Nails Through the Neck
6. Purification by Fire
7. Death Walking Terror
8. Barbaric Bludgeonings
9. The Discipline of Revenge
10. Brain Removal Device
12. Submerged in Boiling Flesh
13. Infinite Misery$20.99Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
PestePeste was recorded in Italy (where Hierophant is headquartered) at MV Multimedia Studio. This 10-song album is the follow-up to 2013's acclaimed Great Mother : Holy Monster, which was called ...a searing brand of no-holds-barred dark hardcore that's characterized by bleak, unrelenting guitars and harsh, incomprehensible vocals by Big Cheese Magazine.
It was hard to fathom Hierophant harnessing the potential to create a record heavier and more malicious than Great Mother : Holy Monster, an already pummeling whiplash of American D-beat-inflected metallic hardcore. Lo and behold: Peste manages just that as a superior, succinctly crushing assault, its tendencies largely erring on the side of European death metal. Hierophant spell out the desolation and desperation leveled by a war amid the id, ego and super-ego, all torturous, violent imagery and morbid, damning assertions that make it a pleasantly grim nightmare to suffer through.1. Inganno
10. Inferno$19.99Vinyl LP - Sealed Buy Now
Pyramid Of The SunRecorded throughout 2009 and 2010, Pyramid of the Sun is the most dynamic, melodic and tuneful Maserati album of the bands decade-long career. Retaining the trademark driving momentum that makes the bands live shows so euphoric, Pyramid explores the lighter and darker sides of their sound, anchored by more melodic and varied song structures and exhilarating production.
Mixed with Justin Van Der Volgen (!!!, Out Hud, TBD) and Temporary Residence founder Jeremy deVine (Sonna), Pyramid Of The Sun includes two collaborations with friend and tourmate Steve Moore (Zombi) in the form of the Cluster-meets-Jan Hammer scorcher Theyll No More Suffer From Thirst and the synth-heavy dance epic Oaxaca. Closing the album is the bittersweet Bye MFriend, Goodbye, a motorik summer punk jam that splits the difference between Wipers and Neu!; it also carries the bittersweet distinction of being one of the bands finest songs, and the final track written which was recorded with their legendary drummer Jerry Fuchs, who tragically passed away during the making of this album.1. Who Can Find the Beast?
2. Pyramid of the Sun
3. We Got the System To Fight the System
4. Theyll No More Suffer From Thirst
6. Theyll No More Suffer From Hunger
8. Bye MFriend, Goodbye$19.99Vinyl LP - Sealed Buy Now
iFi Audio Ear Buddy
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Do your headphones suffer from hiss and pops or an irritating loud blast?
You need Ear Buddy®- the hiss busting sidekick and model companion from iFi.
- In-flight systems
- A/V systems
- High-end audio systems
How to use: Ear Buddy® fits between your Smartphone/Digital Audio Player and your headphones. Just plug in and play.
The Ear Buddy® gets rid of annoying hisses and buzzes and allows you to turn up your digital volume to a higher level to improve resolution and quality without making you deaf!
With your Smartphone or DAP, normally you probably listen to music with the digital volume control set at 60%. This means you have lost 2Bits of resolution. Basically, it's like watching HD TV with some of the pixels from the screen missing. It's okay - but you are not getting what you paid for.
You can turn it up to full volume but your ears (or the people around you) would not thank you for it. Adding the Ear Buddy® 'attenuates' or adjusts the volume and safely allows you to crank up the digital volume on your smartphone or DAP without painful consequences! This equals more music information being conveyed and gives you back those 2Bits and the full High Res music experience!
Hiss is very annoying when listening with headphones. This is caused by the mismatch between too much power from the smartphone/DAP when used with headphones which are high sensitivity.
The solution by IFI is to 'attenuate' or adjust the signal that cuts out the hiss and puts the enjoyment back into listening.$20.00Headphone Accessory Buy Now
- In-flight systems
Teacher Don't Teach Me NonsenseTeacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.
Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.
Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.1. Teacher Don't Teach Me Nonsense
2. Look and Laugh
3. Just Like That$19.99Vinyl LP - Sealed Buy Now
Come My FanaticsImport
What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.
We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).
Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!
The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.
The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.
- NausikaDalazBlindaz (The Metal Archives)1. Return Trip
2. Wizard in Black
4. Ivixor B / Phase Inducer
5. Son of Nothing
6. Solarian 13
7. Demon Lung
10. Return to the Son of Nothingness$37.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-TBD-0119xThe Henry Clay People
Twenty-Five For The Rest Of Our LivesLos Angeles quartet The Henry Clay People are thrilled to announce the release of their new album Twenty-Five for the Rest of Our Lives. Set for release on TBD Records, the album is a thrilling and sweaty thirty minutes of teenage restlessness, quarter-life malaise, and adult resignation. Twenty-Five for the Rest of Our Lives sees not only the return of the band's original line up, but songwriters and brothers Joey and Andy Siara rediscovering and redefining their punky roots, allowing them to craft their most urgent, bratty, and melancholic record to date.
"We wanted to finally make the record that our sixteen year old selves would have been excited about," says Joey. "Unfortunately the only way to do so was to live for the last 13 years and get some adult suffering under our belt. Now we can direct our misguided teenage angst at our failed 20's."
With songs such as the rambunctious The Backseat Of A Cab, the 90's guitar slack of Hide, the skater brat inspired The Fakers and the punk revival of EveryBandWeEverLoved, Twenty-Five for the Rest of Our Lives is a record dealing with compromised dreams and empty bank accounts, for and by the high school Descendents devotee turned college Malkmus-minion. LP includes full album on CD and poster.
"The Henry Clay People specialize in raggedy power chords, barreling piano, and desperately boyish vocals, what Tom Petty and the Heartbreakers would sound like if they'd taken temp work and listened obsessively to Crazy Horse." - SPIN
"Remarkable set of classic-sounding indie-rock with clear echoes of Pavement, the Hold Steady, the Replacements and early Built to Spill, but they find their own voice with detailed songs that split the difference between sardonic and heartfelt when describing the music scene, living in debt and working part-time, transforming everyday subject matter into raging, celebratory anthems for slacker rock 'n' rollers and other folks just trying to make ends meet." - KEXPIntro- Bob's Memoirs
25 for the Rest of Our Lives
Backseat of a Cab
Those Who Know Better
Keep Our Weekends Free
Friends Are Forgiving
Anymore/Any Less$19.99Vinyl LP + CD - Sealed Buy Now
The Holy Ground (Pure Pleasure)
Irish singer Mary Black is well known for deftly combining her Celtic roots with contemporary folk. On this release, she offers another strong set of songs, as she interprets songs from American folk favorite John Gorka (Treasure Island) and connects with Anglo-folk tradition on the lovely One Way Donkey Ride (written by Sandy Denny of Fairport Convention fame). The acoustic instrumentation feature a rich blend of guitars, fiddles, saxophones, and accordions that add a timeless feel to most of her songs. The highlight of the album is Loving Time, an emotional story of star-crossed lovers told with a bittersweet aching that few artists could deliver so poignantly. While a few songs towards the end of the album suffer from middle-of-the-road, adult easy listening arrangements, Mary Black's voice remains an incredibly expressive instrument that makes this another solid effort.
- Mary Black (vocal)
- Dave Early (drums, conga, percussion)
- Garvan Gallagher (bass)
- Frank (vocals, violin, whistle)
- Declan Sinnott (guitar, mandolin)
- Pat Crowley (keyboards, accordian)
- Carl Geraghty (tenor saxophone, soprano saxophone)
- Mel Mercier (percussion)
- Mairead Ni Mhaonaigh (additional vocals)
Production: Declan Sinnott
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. Summer Sent You
2. Flesh and Blood
3. The Loving Time
4. Golden Thread
5. The Holy Ground (Trad)
6. Treasure Island
7. The Holy Ground
8. One Way Donkey Ride
10. Lay Down Your Burden
11. Paper Friends
12. Poison Words$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Crooked TeethPapa Roach has never taken the easy way out and they aren't going to start now. Over the past two decades the group have established themselves as true trendsetters in heavy music: They've been nominated for two Grammys, toured the globe with everyone from Eminem to Marilyn Manson and crafted the nÜ metal anthem "Last Resort," which is still in heavy rotation on rock radio seventeen years after its release. However, the group's tenth full-length Crooked Teeth sees the band returning to their humble-and hungry-roots. The album was recorded in a cramped West Hollywood studio with up-and-coming producers Nicholas "RAS" Furlong and Colin Brittain, who grew up listening to Papa Roach and inspired them to revisit some of the traits that personally endeared the band to them, most notably frontman Jacoby Shaddix's remarkable rapping technique.
"We've always kind of considered ourselves to be the bastard cousins of everything we've every been involved with so we wanted to be true to that and switch things up this time around," Shaddix says. "The first time we met up with RAS and Colin, they said that [2000's] Infest was on constant rotation when they were growing up and they wanted to bring back some of that fire." The connection between the artists and producers was immediate and the first song Papa Roach-which also features guitarist Jerry Horton, bassist Tobin Esperance, and drummer Tony Palermo-came up with for Crooked Teeth was "My Medication," an instantly catchy banger that sees Shaddix spitting verses in between massive choruses and ambient accents. "I really felt like we had a personal connection and the music was just there waiting to be written and once we nailed that song things really clicked and we knew exactly what we had to do" Furlong explains. "We really followed our instincts and tried something unproven with this record and because of that we ended up with a bold, courageous and more adventurous version of Papa Roach." It was in this studio that "old school" Papa Roach ways, morphed to create this "new school" Papa Roach sound.
From the instantly infectious nature of the title track to the atmospheric sheen of the ballad "Periscope" (which features Skylar Grey) and the hip-hop rock mashup "Sunrise Trailer Park" (which features an impassioned verse from Machine Gun Kelly). Crooked Teeth displays the various sides of Papa Roach and illustrates why they've managed to remain relevant while musical trends ebb and flow. "We didn't go into this album with the intention of trying to write radio singles," Horton explains. "The collection of songs was really about bookending everything that we've done prior to this album and reintroducing Papa Roach to people who didn't realize the depth that we have," says Palermo. "The whole idea was to take the classic elements of Papa Roach that everyone loved and revamp them into a modern version of the sound through the creative process," adds Furlong. "We just wanted to flip everything on its head and see what would happen and it turned out more amazing than any of us could have expected."
"The people who have wanted to hear me rap for years are gonna love some of the viscousness on this record," Shaddix explains adding that while he had his own initial reservations about some of the album's more unorthodox moments - such as the 808 bass drop into a metal breakdown on the album title track, "Crooked Teeth" - ultimately those adventurous decisions are what make the album such a refreshing change of pace in a rock climate that's grown increasingly sterile. "I'd like to personally thank all of the guys in the band for making this happen because all it takes is one person to give you a shot and this was definitely mine," Furlong adds. "I want to be one of the best producers in modern day music so I wanted to work as hard for these guys as they would for themselves because as a producer it was my job to push them to get the kind of quality work everyone has been expecting."
Just as Papa Roach felt like they still had something to prove with this record, so did the production team who attempted to bring in elements of music from different genres and parts of the world while still staying true to Papa Roach's sound. "One of the big elements in my production is finding those pockets of rhythm that people associate more with rap or reggae," Furlong explains, a fact that came in especially handy when Shaddix was fine-tuning his freestyle skills. "I know rap rhythms because I grew up listening to hip-hop, so I was able to make sure that the delivery was on point and the beat was in the pocket so it didn't suffer from a lot of the stylistic pitfalls that can happen when you merge rock and rap."
Crooked Teeth also sees Shaddix pulling no punches lyrically, as evidenced on intensely personal tracks like "Born For Greatness," produced by Jason Evigan (Jason Derulo, Demi Lovato, Kehlani, Madonna), which sees Shaddix getting sentimental about his three children, or "American Dream" where the lifelong pacifist begs the listener to ask, "have you ever thought war was a sickness?" "My father is a Vietnam veteran and a lot of those soldiers came back to a country where people weren't accepting them back into society or aware of the effects that war has on your psyche," Shaddix says of the song." "Post-traumatic stress disorder and the disintegration of the American family are things I've dealt with personally and I knew other people could relate to. I think that's what makes this record bold. Nothing was off limits when it came to what was on my mind."
Never one to shy away from difficult topics, Papa Roach dug deep with Crooked Teeth and refused to censor themselves when it came to their opinion of the current political landscape and organized religion. For example, on "None Of The Above," every ounce of musical intensity on the album is mirrored by Shaddix's words whether he's screaming, singing or rhyming. "It took me a long time, but eventually I realized that in life we're all human and we all make mistakes whether you're the president or the preacher, you know?" Shaddix explains when asked about the latter song. "It's an example of how I can get lost in a storyline and explore so many different issues in one track and that's what I love about this record. Just the spark of an idea would instantly ignite and the next thing we knew we had another song that we all loved."
In many ways making Crooked Teeth reminded Shaddix of the band's early days, well before they sold millions of albums and became a household name. "When we were in the rehearsal space I wasn't thinking about who I needed to impress, I was thinking about how much I love making music with the guys in this band," Shaddix admits. "It feels honest and it feels pure," adds Esperance. Fittingly, throughout the process, Shaddix gained inspiration from bands like Led Zeppelin and Faith No More, acts who constantly redefined themselves and were never content to rest on the merits of a hit single." This band encompasses some of my greatest victories, but it's also brought out some of my darkest character flaws," Shaddix summarizes, "so I have kind of a love-hate relationship with this music, but I can't stop because I've got too much of my life invested in it at this point. We are a purpose-driven band and I've got a responsibility to myself and our fans to continue to create."1. Break The Fall
2. Crooked Teeth
3. My Medication
4. Born For Greatness
5. American Dreams
8. Sunrise Trailer Park
10. None Of The Above$19.99Vinyl LP - Sealed Buy Now
KIN (Awaiting Repress)1st full length release from the Atlanta-based sisters.
We have a very colorful family history," explains lead singer/guitarist Rebecca, 23, who also plays mandolin and violin. "There were a lot of creative, hot-headed, and intelligent branches that went against the grain in our family tree. Our paternal grandfather suffered from schizophrenia, while our great,
great, great, great grandfather, Larkin Poe, was a Civil War wagon driver turned historian and a distant cousin to Edgar Allen Poe. Growing up with their
crazy stories definitely shaded our perception of normal. As artists, I think some of those innate eccentricities, passed down from generation to
generation, have been even further exaggerated in us!" Megan, 25, who contributes lapsteel and dobro to the line-up, chimes in, "As sisters, we just
wanted to pick a band name that had familial significance, so we decided to tip a nod to our ancestors and take on the name Larkin Poe."
The Atlanta-based sisters celebrate that unique genealogy and their own eccentricities with their debut full-length album, Kin, on RH Music, produced by
Chris Seefried (Fitz and the Tantrums, Lana Del Rey) in Los Angeles and Damien Lewis (Rihanna, Rita Ora) in Atlanta.
After years of being fiercely independent (i.e., they self-released five EPs and toured for three years without label support), they decided to sign with RH
Music. We signed with RH Music because they believe in our authenticity. They understand that we make music for no other reason than our need to
make music and want to support that need, explains Megan. They see our passion! Others are clearly taking note of this passion as well, including Elvis
Costello and Kristian Bush (of Sugarland). Both legends have taken the sisters out on the road to serve both as opening bands and backing bands; with
Elvis Costello calling them gifted instrumentalists, while Bush praises the poetry they make with their strings, words, and voices.
With years of domestic and international touring under their belts, and a large and loyal fan base already in place, the sisters want their fans to know that
Kin is truly their coming of age project. This is by far the most genuine piece of work we've ever released as a band, says Rebecca. It's our story,
written in our way, played and sung by us. We call it roots-rock'n'soul. It's our whole heart and soul mashed up into a musical form.1. Jailbreak
3. Stubborn Love
5. Crown Of Fire
7. High Horse
8. Sugar High
10. Banks Of Allatoona
11. We Intertwine
12. Overachiever$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
EXPO-RIS-153xAge Of Taurus
Desperate Souls of Tortured TimesWelcome to the Taurean Empire; a decaying land where disease, war and corruption is rife. A wretched place of man and beast, where deception, fear and despair fills every dank alleyway and the stench of suffering drifts across endless, sun-scorched plains. As way of ensuring safe passage through this hellish hour, let us introduce your guides for the journey; four road-hardened mortals, brought together by luck, power and coincidence. Ladies and Gentlemen, take up arms and go safely as Age of Taurus show you a world inhabited by the Desperate Souls of Tortured Times....UK based Age of Taurus make no frills Doom-laden heavy metal, with an emphasis on HEAVY. Produced by Jaime Gomez Arellano (Angel Witch, Hexvessel, Ghost), 'Desperate Souls of Tortured Times' is a 42 minute collection of material written during their transition over the past three years. It's an unashamedly heavy voyage down a road less travelled, where each of the seven songs acts as a chapter from an altogether longer tale. Monstrous, mountain-shaking riffs are order of the day in the Empire, stepping aside only for Riddell's searing leads to take hold, whilst the lock-tight Bruce/Claydon rhythm section underpins all. Heading the charge from centre stage, Wright's lyrics act as a vivid narrative, painting pictures of ancient ritual and sprawling landscapes, somewhat reminiscent of Manilla Road and Brocas Helm in their prime. Some might assume that DSOTT is a concept album, however in reality, Age of Taurus is more like a 'concept band', intent on delivering undiluted and intriguing heavy metal to all that will listen.1. A Rush of Power
2. Sinking City
3. Always in the Eye
4. Walk With Me, My Queen
5. Desperate Souls
6. Embrace the Stone
7. The Bull and the Bear$34.99Vinyl LP - Sealed Buy Now
WARB-NON-2058xShannon And The Clams
OnionShannon & The Clams' forthcoming release Onion was produced by The Black Keys front man Dan Auerbach at his Nashville studio. On their new LP, the band explores themes of origin and self-determination, loss and recovery, and the power of community to heal after tragedy. "It's okay for people to interpret the songs," Shannon Shaw says. "You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is."
Shannon & The Clams had already begun writing for the Onion sessions in Fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. In the wake of the fire, the band looked back at their origins in the Oakland underground and the importance of that world to their genesis. They could recognize the community as a delicate incubator for fringe art, and an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform. The song "Backstreets" is Cody's response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer "Don't Close Your Eyes" is Shannon's response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy.
Over the last decade, Shannon and her chief collaborator guitarist Cody Blanchard have released four albums of 60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians. In this current iteration, Shannon and the Clams, consisting of Shannon Shaw on bass and vocals, Cody Blanchard on guitar and vocals, Nate Mahan on drums, and Will Sprott on keyboards.1. The Boy
2. It's Gonna Go Away
4. If You Could Know
5. I Never Wanted Love
7. Did You Love Me
8. Love Strike
9. I Leave Again
11. Tell Me When You Leave
12. Strange Wind
13. Don't Close Your Eyes$19.99Vinyl LP - Sealed Buy Now
Heaven & HullImport
Available On Vinyl For The First Time
Heaven And Hull was the final solo album by David Bowie alumnus and Rock guitarist Mick Ronson, released in 1994, following Ronson's death the previous year. The album features collaborations by long time friends of Ronson including David Bowie, Joe Elliott, and Ian Hunter. Other artists on this first-ever LP include Peter Noone, Martin Chambers and Chrissie Hynde, Phil Collen and John Mellencamp.
The All The Young Dudes track on Heaven And Hull is from the Freddie Mercury Tribute Concert, where Ronson himself was suffering from cancer. On screen, he appears very thin, while still playing blistering guitar. It proved to be his last concert.
Sham Morris, one of the album's producers: During the making of Heaven And Hull, (working title To Hull And Back) I asked Mick to visualize a characteristic from his home town of Hull. His first thought was the Humber Bridge. The Bridge became very symbolic for those of us working on the album and it was his wish to incorporate it in the artwork. Mick has crossed the Bridge now and left us this swan song.1. Don't Look Down
2. Like A Rolling Stone
3. When The World Falls Down
4. Trouble With Me
5. Life's A River
6. You And Me
7. Colour Me
8. Take A Long Line
9. Midnight Love
10. All The Young Dudes$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Mediator Between Head And Hands Must Be The HeartIt was the city of Belo Horizonte, Brazil that launched the ascent of their native sons in SEPULTURA (Portuguese for "grave") in 1983 with a trajectory unsuspectingly aimed at the worldwide metal music scene. A band with humble economic beginnings whose musical identity was forged in the context of living through Brazil's authoritarian military dictatorship, SEPULTURA would go on to become Brazilian ambassadors to the metal world, revered master architects of the death/thrash genre, and the most successful heavy metal band from the Federal Republic of Brazil.
When SEPULTURA experienced a line-up change in the mid-1990s that was widely covered by the metal press around the world, remaining members recruited American Derrick Green in 1997 to front the band, a position the Cleveland, Ohio native has held for the past fifteen years and counting. This past June, long-time guitarist Andreas Kisser (who joined in1987), original bassist Paulo Jr., and drum prodigy Eloy Casagrande, SEPULTURA entered the studio in Venice, California with renowned producer Ross Robinson (KORN, MACHINE HEAD, FEAR FACTORY) - who also worked on the band's landmark 1996 release, »Roots« - and co-producer Steve Evetts (THE DILLINGER ESCAPE PLAN, SYMPHONY X, INCANTATION) - who previously worked on SEPULTURA's »Roorback« (2003), the »Revolusongs« EP (2002), and »Nation« (2001) - to record the band's seventh studio album with Green (and their second album for Nuclear Blast): »The Mediator Between The Head And Hands Must Be The Heart«, scheduled for release this October.
Inspired by Austrian filmmaker Fritz Lang's classic 1927 movie "Metropolis," SEPULTURA leans heavily on the strength of their thrash metal influences to make a statement against the dehumanizing effects of technology. Guitarist Andreas Kisser delves a little deeper:
"In the movie, a crazy millionaire wants to transform a robot into a real person. That's kind of the opposite of what we live today. More than ever, we are robotized through the worldwide web, Google glasses, chips under our skins and globalized slavery our society suffers nowadays. Being that the novel was written in the early 1920s, it's almost prophetical. The phrase that inspired me - the main message of the story - points to the heart as being the human factor that keeps a man a man - not a robot. The heart beats with freedom of choice. We have to think for ourselves to create a real world, not a matrix."
Exploring the miseries and privileges associated with technological power, »The Mediator Between The Head And Hands Must Be The Heart« - SEPULTURA's angry dystopian documentary in sonic form - also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion, and the still-widening divide & unbridgeable gap between pampered citizens who live in decadent luxury and the working poor who withstand unbearable living & working conditions to simply survive.
The album's opening track, 'Trauma Of War', begins as a cacophony of noise that gives rise to an urgent panic that spins into a paranoiac distress about others making decisions that will lead to our demise in war. In 'The Vatican', we listen as yearning souls pray to their god to alleviate their suffering as the furious vocals, guitars, and drums document the moment when the faithful come face-to-face with the reality of their absent god too self-absorbed with being adored to notice humanity's cries for help. 'The Bliss Of Ignorants' is an indictment by those who intimately know the depths of human suffering against those who don't wish to know. 'Grief' weeps with its gnosis of such a feared emotion. With so many recent natural disasters throughout the world, who could deny the truth behind human greed & corruption sung about in 'Manipulation Of Tragedy'?
With both the 2014 FIFA World Cup championship and the 2016 Olympic Games headed to Rio de Janeiro, Brazil, a worldwide audience will surely be mesmerized by the glamour surrounding these world-broadcasted events. But there are those who bear witness to what won't be televised; there are those who have seen the decades of daily strife of Brazilian citizens with wide-open eyes.
»The Mediator Between Head And Hands Must Be The Heart« never lacks confidence in what SEPULTURA knows: "I live in São Paulo, one of the big metropolises in the world with more than 20 million people living and working in it," asserts Kisser. "I know how it is to live in daily chaos. Our music reflects a lot of that feeling."
Featuring a guest appearance by former SLAYER drummer Dave Lombardo, »The Mediator Between Head And Hands Must Be The Heart« does what many great albums do: it captures a moment in time and carves out a place to have a dialogue with listeners with an honesty that rings so true, it becomes a part of our arsenal with which to defend ourselves against the wrongdoings of the world.1. Trauma Of War
2. The Vatican
3. Impending Doom
4. Manipulation of Tragedy
6. The Bliss Of Ignorants
8. The Age Of The Atheist
10. Da Lama Ao Caos (Chico Science & Nação Zumbi cover)$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Carnegie Hall ConcertFrom-the-Vault Live Release Captures Iconic Singer-Songwriter at Height of Her Breakout Period
Half-Speed Mastered from the Original Tapes: Intimate Sonics Make It Seem Like King is Sitting Five Feet Away
Stripped-Down Songs Teem With Warmth, Nuance, Emotion; James Taylor Also Appears
Every so often, a from-the-vault release captures our hearts, minds, and attention in such a way that its impossible not to tell all family, friends, and neighbors about its existence. Originally issued to commemorate the 25th anniversary of Tapestry, Carole Kings The Carnegie Hall Concert: June 18, 1971 is such a record, a fortunate document of an absolutely magical period in the singer-songwriters legendary career and a revealing look at the then-stagefright artist turning in a commanding performance just as she was becoming a superstar.
Half-speed mastered from the original tapes, Mobile Fidelitys numbered limited-edition 180g LP of this compelling concert album brims with liveliness, depth, dimension, detail, and transparency. The nuances of Kings spare performances and warm vocals emanate as if shes sitting five feet away. Stripped down even further than they are on the studio albums, songs breathe with palpable earnestness and emotion, the subtle differences from their more polished studio brethren allowing listeners an insight into Kings creative genius.
At the time of its recording, King still suffered from shyness and who could blame her? She had been accustomed to penning lyrics for other artists and sitting behind a desk in the Brill Building. Only recently did King strike out on her own and enter the public realm. This set encapsulates this contrast in thrilling fashion. Disarmingly genuine and daringly honest, The Carnegie Hall Concert: June 18, 1971 benefits from the inclusion of Kings nervous between-song banter that exposes who she is as a person and performer. Most importantly, despite her anxiety, she turns out stirring renditions of tunes from 1970s Writer, Tapestry, and even a few from Music.
Her control is demonstrated on the records six opening cuts, which feature King alone at her piano. For the remainder of the program, shes accompanied by guitarist Danny Kortchman, bassist Charles Larkey, and a string quartet, which enter and exit according to arrangement. As such, the concert is profoundly intimate and personal, an unplugged session that predated the use of the term by nearly two decades. Longtime collaborator James Taylor joins her for a memorable medley of some of her biggest hitsWill You Love Me Tomorrow/Some Kind of Wonderful/Up on the Roofthe chemistry evident of why the duos 2010 tour was one of the most in-demand outings in years.
Mobile Fidelitys remastered sound ties everything together and is what makes this release extra special. By going to the original source, the audiophile label considerably opens up the sonic perspectives, revealing the spacious acoustics of the famed venue that act in concert with Kings music. In particular, the songs from Writer benefit from the no-nonsense production. You can literally picture Kings piano beside her, and her voice sincere, tender, melodic is rich, full-bodied, and penetrating. Listeners can even hear it crack on occasion, the results a consequence of her nerves. Unpolished and non-synthetic, the performance is better for it.
No, they don't make albums like this anymore. The Carnegie Hall Concert: June 18, 1971 as real as it gets. And so is the sound. Get your collectible copy now!
This title is not eligible for discount.1.I Feel the Earth Move
3.After All This Time
4.Child of Mine
5.Carry Your Load
6.No Easy Way Down
7.Song of Long Ago
10.So Far Away
11.It's Too Late
13.Way over Yonder
15.You've Got a Friend [Performed with James Taylor]
16.Will You Still Love Me Tomorrow?/Some Kind of Wonderful/Up on the Roof [medley; performed with James Taylor]
17.(You Make Me Feel Like) A Natural Woman$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Plays The Music Of John WilliamsImport
180 Gram Audiophile Vinyl
PVC Protective Sleeve
Includes 4-Page Booklet
Unique Collaboration Between John Williams And Yo-yo Ma
Available On Vinyl For The First Time!
Yo-Yo Ma Plays the Music of John Williams is a 2002 album of John Williams compositions performed by Yo-Yo Ma and the Recording Arts Orchestra of Los Angeles.
For an instrument with such rich expressive powers, the cello has long suffered from a shortage of great concertos. Leave it to John Williams, the composer best known for his popular, emotionally charged scores to Star Wars, ET, and many other blockbuster movies, to ride to the rescue with a new Cello Concerto, an intense, expressive, and rhythmically vital offering tailor-made for Yo-Yo Ma's dexterous touch.
Like the composer's Violin Concerto, this one is imbued with impressionistic textures and colors, but there's also a hard-driving, modern edge. Call it 21st-century Ravel. Williams wrote the concerto with Ma in mind, and it's a test of even Ma's formidable technique. It also boasts powerful orchestral writing, especially for the percussion and brass.
Three other premieres are included on the album as well. The Elegy for Cello and Orchestra is a lyrical and atmospheric tone poem, with shades of FaurÉ at every turn of phrase. The expressionistic Three Pieces for Solo Cello, though, seem more akin to Benjamin Britten's solo cello suites in their abstract, concentrated intensity. Heartwood is another tender and sensitive reverie. It gradually builds in strength but ends as it began, with a whisper of tranquil serenity.
Ma's virtuosity is dazzling, and his engagement with the music is typically deep. He makes clear that Williams's music isn't just for the movies; indeed, with his new concerto, Williams has done the cello a great service.
Yo-Yo Ma Plays the Music of John Williams celebrates its 15th anniversary this year and is now finally available on vinyl for the first time. A 4-page booklet with an extensive story written by John Williams is included.LP 1
1. Concerto for Cello and Orchestra
- I. Theme and Cadenza
- II. Blues
- III. Scherzo
- IV. Song
2. Elegy for Cello And Orchestra
1. Three Pieces for Solo Cello
- I. Rosewood
- II. Pickin'
- III. the Long Way North
2. Heartwood$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Let The Record PlayWe can come together, we won't give up on the fight, sings Nashville's Moon Taxi on their smash single Two High, a song that catapulted them to the top of the streaming charts and the forefront of the national stage. Filled with emotive vocals, a percussive beat and some unexpected, infectious horns, it's a track that shows the band - which has been together for over a decade - venturing into more adventuresome territory than ever. Fearlessly melding rock with pop hooks, clever synths and roots touchstones gleaned from their home in Music City, Moon Taxi's forthcoming fifth record and first for RCA will find the five-piece doing what they do best: coming together and fighting for music that triumphs above all.
Two High, the band's newest single, has been taking Moon Taxi - Trevor Terndrup (vocals, guitarist), Spencer Thomson (lead guitarist and producer), Wes Bailey (keyboardist), Tommy Putnam (bassist) and Tyler Ritter (drummer) - to new heights, topping over 60 million streams on Spotify and making heavy rotation on SiriusXM. Written in response to the push for peace, but not reacting to the politics, of the Women's March this past January, it's a song that encourages listeners to keep looking for a positive way forward - from their own internal battles, to the ones suffered by the world at large.
It's perhaps due to Moon Taxi's inspired, inclusive worldview when it comes to their music that they've been able to have songs featured as the soundtrack to multiple commercial and TV placements - from BMW, Nashville, MLB, NFL to HBO Sports - but it's their infectious live performances that keep fans coming back night after night. Touring for the better part of the decade, they're the kind of band that inspires a loyal following willing to drive miles and miles (or fly many more) to catch them again and again.1. Let the Record Play
2. Not Too Late
3. Good as Gold
4. Two High
5. No More Worry
6. Moving to the City
7. Nothing Can Keep Us Apart
8. Keep Me Coming
10. The Way$19.99Vinyl LP - Sealed Buy Now
The Genius Sings the BluesNumbered Limited-Edition 180g LP from Mobile Fidelity
1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era
Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP
Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.
From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.
Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.
Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.
Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet ErtegÜn said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.
Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.
This title is not eligible for discount.1.Early in the Mornin'
2.Hard Times (No One Knows Better Than I)
3.The Midnight Hour
4.(Night Time Is) the Right Time
7.I'm Movin' On
8.I Believe to My Soul
10.Mr. Charles' Blues
11.Some Day Baby
12.I Wonder Who$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blood On The Tracks (Awaiting Repress)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.
A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.
For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.
Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.
Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for discount.1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
A Tribute To Michael BeenFeat. Robert Levon Been Of B.R.M.C.
Robert Levon Been of Black Rebel Motor Cycle Club pays tribute to his late father's music with an unforgettable live performance leading his father's
legendary band The Call. Starting with their self-titled 1982 debut, The Call gained acclaim from countless critics and had their music hailed as "uncompromising," "urgent,"
"bristling," and even "apocalyptic." Those in the know- from Spin to New Musical Express-have extolled The Call for the depth of their material and the
passion with which it's performed. "If there is any justice," wrote the Philadelphia Daily News in the band's earliest days, "The Call will soon be heard and
celebrated 'round the world as the best new rock band of the '80s."
Over the next eight years, The Call would release seven heavily praised albums and earn considerable airplay with iconic hits songs like "Let The Day
Begin" and "I Still Believe (Great Design)." After a seven-year break, the band reformed in 1997 to record To Heaven & Back which had a limited release.
The Call then disbanded, paving the way for Been to begin serving as sound engineer for his son Robert Levon Been's band Black Rebel Motorcycle
Club. But while working with Black Rebel Motorcycle Club at the 2010 Pukkelpop festival in Belgium, Been suffered a heart attack and passed away
Now The Call have captured an incredible live performance, for the first time in over 20 years, with Robert taking over his father's role. He joins drummer
Scott Musick, guitarist Tom Ferrier, and keyboardist Jim Goodwin at The Troubadour in Los Angeles for this historic and electrifying event. In addition to
delivering passionate lead vocals, Robert played his father's signature fretless bass guitar (which had been stolen but returned in time for the event). The
musical connection that was created is seamless, and all the crowd's expectations were exceeded. For Robert-who grew up going out on the road with The Call anytime he had a break from school-the performance offered the chance to honor his musical legacy and perform nearly a dozen and a half songs from the band's esteemed catalog. And for the original members, the show allowed the opportunity to move forward with the band while preserving the solidarity that Been very much treasured as the founder of The Call.
"That's something I've wanted since I was 16 years old, when I heard The Band for the first time," Been once said of the band's uncommon cohesiveness. "When that happens-that chemistry between people-it's incredibly satisfying To know that we've done this together is what makes it all worthwhile."1. Everywhere I Go
2. I Still Believe
3. I Don't Wanna
4. Floating Back
5. Into the Woods
6. Turn a Blind Eye
8. You Were There
9. Red Moon
10. Let the Day Begin
11. Modern Romans
12. You Run
13. The Walls Came Down
14. Uncovered$24.99Vinyl LP - 2 LPs Sealed Buy Now
Holographic ViolenceIn the five years since Grave Babies' debut album Deathface was released, founder Danny Wahlfeldt has been handling all songwriting and recording duties for the Seattle-based band, with invaluable help from friends in performing their material live. For their newest album entitled Holographic Violence, Wahlfeldt chose a different path, causing a significant change in the band's overall sound.
Holographic Violence is Grave Babies' second Hardly Art full-length after Crusher (2013), and further explores the themes of nihilism, the pending doom of mankind, and shaming humanity, which the band has been building their gloomy reputation on since the beginning. This time however, instead of recording everything in his basement, Wahlfeldt enlisted the help of Bryce Brown (Crypts) on bass and Mark Gajadhar (Blood Brothers, Past Lives) on drums in the early stages of recording. The songs on Holographic Violence fell into place in Mark's studio on Orcas Island, Washington. Mixing was handled by Matt Bayles (Alice in Chains, Mastodon), with final mastering by Chris Common (Chelsea Wolfe, Mars Volta). As a final touch, Claire Haranda was added to the lineup on keyboards and synth to round out the band's live sets. By leaving the edgy, lo-fi haze of earlier output in the past, these songs have clarified what the music of Grave Babies has to offer the future.
That is, if humanity has a future?
"I wanted it to be a last cry for sanity going into our dystopian future," Wahlfeldt says about Holographic Violence. Grave Babies has long held a crush on morbidity, death, and corruption, building a romantic relationship around the juxtaposition of the dark contextual matter with hook-heavy songs rife with pretty melodies and harmonies. The 11 new songs on Holographic Violence present this powerful combination from a science fiction perspective, begging the question: has our imagination outpaced the confines of our reality as we keep going down the same path, believing there's hope? Playing anthemic pop songs with a strange male choir-esque sound to the vocals adds a distinctly cultish feel to the abrasive exercise of figuring out if it is possible to circumvent destructive human predispositions.
Thus, Holographic Violence is a lesson in authenticity as we must look deeper into the subject matter for the finer details, instead of skimming the surface and believing we have things right at a mere glance. Maybe we just have to come to terms with the fact that the things that we're constantly running away from are inherent in ourselves and inescapable? Grave Babies mission is not to find the answers to these questions, but to challenge the listener and on Holographic Violence, their uncompromising aesthetic makes the suffering a little prettier.1. Eternal (On & On)
2. Beautiful Lie
3. Try 2 Try
4. Something Awful
5. Punishment (Only A Victim)
6. Metal Me
7. Pain Iz Pleasure
8. Positive Aggression
9. N2 Ether
10. Concrete Cell
11. War$14.99Vinyl LP - Sealed Buy Now
Moanin'On their second album, The Hive Dwellers make with a low, wailing expression of sorrow (or suffering). Moanin' is a collection of field recordings made at Dub Narcotic Studio in Olympia, Washington. It's a noisy pop runaway freight train that stirs the blues soul rockin' of their debut album Hewn from the Wilderness to a new beat music recipe. The Hive Dwellers' Calvin, Gabriel and Evan have toured across the United States and left a wake of frug and shimmy shines that won't be forgotten any time soon. You beat the tambourine to "Streets of Olympia Town" in Knoxville; stomped the floorboards to "Montgomery Hammer" in Buffalo; knocked a heady bongo to "Baby Be Mine" in Oakland.
C'mon, join in Moanin' for a while.1. Baby Be Mine
2. Streets of Olympia Town
3. Ask You
4. Love Will Come Back Again
5. Your Kissing Me
7. Montgomery Hammer
8. Lynch the Swan
9. Love on the Wax
10. Daughters of Rebellion$18.99Vinyl LP - Sealed Buy Now