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Man Of Steel'
Wonder Woman SoundtrackImport
Pressed On Double 180-Gram Audiophile Vinyl
PVC Protective Sleeve
Score By Rupert Gregson-Williams
Featuring The Song To Be Human By Sia (feat. Labyrinth)
Wonder Woman is a 2017 American superhero film based on the DC Comics character of the same name. After Man of Steel, Batman v Superman: Dawn of Justice and Suicide Squad, it is the fourth installment in the DC Extended Universe.
Before she was Wonder Woman she was Diana, Princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.
Rupert Gregson-Williams, a member of Hans Zimmer's Remote Control Productions team of composers, wrote and composed the film's music. He was joined by Tom Howe, Paul Mounsey and Andrew Kawczynski who provided additional music.
Australian singer Sia wrote a song for the film, titled To Be Human, featuring English musician Labyrinth, which is also featured on the soundtrack.LP 1
1. Amazons Of Themyscira
2. History Lesson
3. Angel On The Wing
4. Pain, Loss & Love
5. Ludendorff, Enough!
6. No Man's Land
1. Wonder Woman's Wrath
2. The God Of War
3. We Are All To Blame
4. Hell Hath No Fury
5. Lightning Strikes
6. Trafalgar Celebration
7. Action Reaction
8. To Be Human (Performed By Sia [feat. Labrinth])$46.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hans Zimmer - The Classics (Awaiting Repress)The Classics is a stunning new album from the world's most exciting film composer, Hans Zimmer. The album features back-to-back blockbuster hits including the iconic music from Pirates of the Caribbean, Academy Award®-winner The Lion King, the powerful and evocative theme from The Dark Knight Rises and the Platinum-selling "Now We Are Free" from Gladiator. For the first time, the bold and unmistakable music of Hans Zimmer has been reimagined and arranged for some of the world's greatest classical musicians, including The Piano Guys, Lang Lang, 2CELLOS, Lindsey Stirling, Till Brönner, Amy Dickson, Leona Lewis and many more. This incredible collection is a must-have for all fans of the most in-demand composer in Hollywood.
Hans Zimmer has scored more than 120 films, which have, combined, grossed over 24 billion dollars at the worldwide box office. He has been honored with an Academy Award®, two Golden Globes®, three Grammys®, an American Music Award and a Tony® award. In 2003, ASCAP presented him with the prestigious Henry Mancini Award for lifetime achievement for his impressive and influential body of work. He also received a star on the Hollywood Walk of Fame in December 2010. His Academy Award®-winning score to The Lion King has sold over 15 million copies since release in the early 90s. Some of his most recent works include Zack Snyder's Man of Steel, The Lone Ranger, History Channel's miniseries The Bible, the Christopher Nolan-directed films Inception, The Dark Knight and The Dark Knight Rises; Guy Ritchie's Sherlock Holmes: A Game of Shadows, Ron Howard's Rush and Steve McQueen's Twelve Years A Slave. His most recent Academy Award® nomination, his 10th, was for Interstellar.1. Main Theme (From The Dark Knight Rises) - Lindsey Stirling
2. Themes from Pirates of the Caribbean - The Piano Guys
3. Gladiator Rhapsody (From Gladiator) - Lang Lang
4. Main Theme (From Crimson Tide) - Till Brönner
5. Time (From Inception) - Tina Guo
6. This Land (From The Lion King) - Amy Dickson
7. Now We Are Free (From Gladiator) - Leona Lewis
8. Flight (From Man of Steel) - Lang Lang / Maxim Vengerov
9. Light (From The Thin Red Line) - Maxim Vengerov
10. The Battle Scene (From Gladiator) - Khatia Buniatishvili
11. The Well (From The Ring) - 2CELLOS
12. The Docking Scene (From Interstellar) - Roger Sayer$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Man From U.N.C.L.E. Orginal SoundtrackImport
180 Gram Audiophile Vinyl
Gatefold Sleeve / 4-page Booklet
PVC Protective Sleeve
Henry Cavill (Man of Steel) stars as Napoleon Solo opposite Armie Hammer (The Social Network) as Illya Kuryakin in director Guy Ritchie's The Man From U.N.C.L.E., a fresh take on the hugely popular 1960s television series.
Ivor Novello winning and multi-BAFTA nominated composer Daniel Pemberton (a.o. The Awakening and the Sundance Jury winning Enemies Of The People) created an exciting soundtrack with relaxing lounge instrumentals full of Jazz and Swing elements. Moreover the soundtrack contains seven original classics as Compared To What by Roberta Flack or Take Care Of Business by Nina Simone. Pemberton has also scored countless Emmy, BAFTA, Grierson and RTS winning comedies, documentaries and lifestyle shows and worked with Oscar winning directors and editors.
The Man from U.N.C.L.E. also stars Alicia Vikander (Anna Karenina), Elisabeth Debicki (The Great Gatsby), with Jared Harris (Sherlock Holmes: Game of Shadows) and Hugh Grant as Waverly.LP1
1. Compared To What
2. Out Of The Garage
3. His Name Is Napoleon Solo
4. Escape From East Berlin
5. Jimmy, Renda Se
6. Mission: Rome
7. The Vinciguerra Affair
8. Bugs, Beats And Bowties
9. Cry To Me
10. Five Months, Two Weeks, Two Days
11. Signori Toileto Italiano
12. Breaking In (searching The Factory)
1. Breaking Out (the Cowboy Escapes)
2. Che Vuole Questa Musica Stasera
3. Into The Lair (betrayal, Pt. I)
4. Laced Drinks (betrayal, Pt. Ii)
5. Il Mio Regno
6. Circular Story
7. The Drums Of War
8. Take You Down
9. We Have Location
10. A Last Drink
11. Take Care Of Business
12. The Unfinished Kiss$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Surgical SteelWithout a doubt, UK legends CARCASS have released several classic albums over the years and changed the trajectory of extreme metal with each consecutive release. Whether it was inventing gore-grind (i.e. »Reek of Putrefaction«, »Symphonies of Sickness«) or creating the template for melodic death metal (i.e. »Heartwork«), CARCASS has always made records by which bars were set and rules were broken. Upon their untimely demise in 1996, fans mourned the loss of the seminal act and longed that the group would one day be exhumed from their premature grave. After an 18 year hiatus, CARCASS has been fully reanimated and it's safe to say, they haven't missed a pathological step.
With »Surgical Steel«, CARCASS has risen to the occasion and given fans an album that holds up to their classic repertoire, delivering another milestone in their highly influential career. Everything a CARCASS fan could want is on this record, with every era of the band represented. Its genesis however was not without its fair share of blood, sweat and tears of course. Long-time producer Colin Richardson actually walked out on the mixing sessions after tracking, possibly burnt out from the stress of having to top such landmark productions as »Heartwork«. The equally renowned Andy Sneap (TESTAMENT, EXODUS, MEGADETH) stepped in at this time to mix the record, and put the finishing touches on their long-awaited masterpiece. The result is a combination of talent that should undoubtedly go unmatched for an undetermined stretch of time.
In an era seemingly content to endlessly chug away at their e-strings in various rhythmic denominations, CARCASS has brought the power of the riff back to a generation. Songs like `The Master Butcher's Apron´, `Unfit for Human Consumption´, `The Granulating Dark Satanic Mills´, `Noncompliance to ASTM F899-12 Standard´, are sure to become classics and put an air-guitar in the hands of every man, woman and child within earshot. Only the choicest of cuts were made to bring us a record worthy of the CARCASS legacy. In short, »Surgical Steel« is just what the doctor ordered.1. 1985
2. Thrasher's Abbatoit
3. Cadaver Pouch Conveyor System
4. A Congleated Clot Of Blood
5. The Master Butcher's Apron
6. Noncompliance To ASTM F899-12 Standard
7. The Granulating Dark Satanic Mills
8. Unfit For Human Consumption
9. 316L Grade Surgical Steel
11. Mount Of Execution
12. Intensive Battery Brooding (DIGI bonus track)$24.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
The Man From U.N.C.L.E. SoundtrackImport
180-Gram Audiophile Vinyl
Includes A 4-Page Booklet
PVC Protective Sleeve
Limited Edition Of 750 Individually Numbered Copies On Green Marbled Vinyl
Henry Cavill (Man of Steel) stars as Napoleon Solo opposite Armie Hammer (The Social Network) as Illya Kuryakin in director Guy Ritchie's The Man From U.N.C.L.E., a fresh take on the hugely popular 1960s television series.
Ivor Novello winning and multi-BAFTA nominated composer Daniel Pemberton (a.o. The Awakening and the Sundance Jury winning Enemies Of The People) created an exciting soundtrack with relaxing lounge instrumentals full of Jazz and Swing elements. Moreover the soundtrack contains seven original classics as Compared To What by Roberta Flack or Take Care Of Business by Nina Simone. Pemberton has also scored countless Emmy, BAFTA, Grierson and RTS winning comedies, documentaries and lifestyle shows and worked with Oscar-winning directors and editors.LP 1
1. Compared To What - Roberta Flack
2. Out Of The Garage
3. His Name Is Napoleon Solo
4. Escape From East Berlin
5. Jimmy, Renda Se - Tom ZÉ And Valdez
6. Mission: Rome
7. The Vinciguerra Affair
8. Bugs, Beats And Bowties
9. Cry To Me - Solomon Burke
10. Five Months, Two Weeks, Two Days - Louis Prima
11. Signori Toileto Italiano
12. Breaking In (Searching The Factory)
1. Breaking Out (The Cowboy Escapes)
2. Che Vuole Questa Musica Stasera - Peppino Gagliardi
3. Into The Lair (Betrayal Part I)
4. Laced Drinks (Betrayal Part Ii)
5. Il Mio Regno - Luigi Tenco
6. Circular Story
7. The Drums Of War
8. Take You Down
9. We Have Location
10. A Last Drink
11. Take Care Of Business - Nina Simone
12. The Unfinished Kiss$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-DEA-6813xThe Tallest Man On Earth
There's No Leaving NowThere's No Leaving Now, the newest record from Kristian Matsson's aptly titled moniker, The Tallest Man On Earth, finds the Swedish troubadour trading in the sense of urgency that fueled his first two records for a confidently relaxed approach. Drums, piano, baritone guitar, woodwinds and pedal steel layer this collection of songs that never compromise virtuosity for immediacy.1. To Just Grow Away
2. Revelation Blues
3. Leading Me Now
5. Bright Lanterns
6. There's No Leaving Now
7. Wind and Walls
8. Little Brother
10. On Every Page$17.99Vinyl LP - Sealed Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Manley Steelhead RC Phono Stage
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Handcrafted in the USA
We debuted to the world a killer frikkin' cool phono stage at CES 2001. It was called, aquatic naming theme continuing, The Steelhead®, as it is an upstream device and has a very clever MC variable load auto tranny that we designed and our very own Manley Magnetics department executed (which makes the MC stage so very clever). Iron=transformer=steel makes sense to me...
It has two Moving Coil inputs with selectable impedance load 25, 50, 100, 200 and 400 Ohms via Mr. Clever Steelhead transformer/autoformer. It also has variable and selectable Moving Magnet input impedances too 25, 50, 100, 200 Ohms and 47 kOhms. Very nifty is the selectable-dial-able-in-able-from-the-faceplate-able capacitive loading for all three of the MM & MC inputs 0 to 1100 picofarads in 10 picofarad steps. Very cool! Equalize baby! TEN picofard steps! Wow! Now you can really dial this in for perfect cartridge matching with ZERO penalty. None of this switching detracts from the sound quality or adds any extra anything to the signal path. Rest assured.
It's got six tubes. 2 x 6922 plus 4 x 7044 or 5687. It's got a big honkin' volume control. It can drive an amplifier directly if you want, if you don't do digital. Hey and if you happen to have three turntables set up, we give you 2 x MC and 1 x MM selectable inputs! It's got variable and fixed volume outputs. And All-tube really low Z tube buffered outputs. Like inherently 20 Ohms plus the little 47 Ohm OK drive those high capacitance audiophile cables why doncha resistor, so it's real output impedance is only 67 Ohms. No wanky cathode follower (oh bor-ing) output here like the other guys. We got your real low impedance all-tube outputs right here! It will drive anything and everything. Long cables, no problem.
It's got selectable gain 50, 55, 60, 65dB on a switch that even auto-mutes as you change it so no nasty bangs. Gain switch markings are referred to from the input of the 1st active electronics at 1 kHz to the fixed output @ 10k load, regardless of whether source is MM or XFMR stepped-up MC. It is not really practical to include MC step-up gain on the front panel markings due to the variable SOURCE impedances of the MC cartridges and the variable LOADING that the input XFMR will have on any given cartridge. All of this total MC gain variability should be confined to about 3 to 12 dB of range though. XFMR step-up gain plateaus as the load Z on a given MC cartridge is optimised...producing no VOLTAGE gain but in fact a bit more POWER gain... All this means you should set a load Z which sounds best with your particular MC cartridge and adjust gain to suit your system's operating level. Whatever you like. You will not blow anything up.
(Bottom line: there is plenty of gain... enough to do justice to your fave lo-output MC cartridges).
It's got a mute switch. It's got a just turn it down while I cue up so I don't throw my woofer cones across the room but I still want the same volume I was listening at before I flipped the side DIM switch. And what goes with DIM better than SUM which would be the MONO button... It has a killer hyper-regulated outboard power supply that plugs in on the huge-est connector you ever saw. And you can just hit the standby button to keep everybody off while you take a small holiday to Tahiti. A backlit MANLEY STEELHEAD illuminated badge reflects back to vinyl-days-of-yore while the millions of BLUE LEDs remind you that this is modern tube engineering design, baby!
The VARIABLE Outputs are controlled by the precision film dual NOBLE® volume control. They are SMOOTH action these days as the fashion went against the detented ones.
This is a tweak-o-holic tube-lover's dream...$8,400.00Manley Steelhead Phono Stage Buy Now
Boerum PalaceColored Vinyl
Boerum Palace is Steve Gunn's second album, originally released in 2009. The album starts off with a headlong rush into the hypnotic "Mr. Franklin". Gunn's fluid playing style, especially as portrayed within this track, provides ample space for the development of infectious musical themes. The track ends in a dextrous duel between Gunn's guitar and guest Marc Orleans' (of D. Charles Speer & the Helix, Sunburned Hand of the Man) vicious pedal steel. The album mixes Gunn's long-form blues / raga / psych explorations alongside briefer cuts that equally display his songcraft. These tracks, such as "Variation II" and "Jadin's Dream," demonstrate that Gunn is equally confident with shorter or longer compositions. Gunn's voice is joined by an ethereal turn from the Vanishing Voice's Heidi Diehl on the album's central and haunting "House of Knowledge." The track opens with a building central guitar theme. This theme allows Gunn to layer on further guitar explorations. The tone set by these musical themes builds into the duo's vocal delivery that delivers volumes despite being uttered in gentle tones. Other highlights include "Cryin' Eyes," an inspired reworking of J.J. Cale's "Crying Eyes" featuring backing instrumentation from Marc Orleans, and the richly textured album finale "Mustapha's Exit."1. Mr. Franklin
2. Variation II
3. House of Knowledge
4. Cryin' Eyes
5. Jadin's Dream
6. Dusted Mind
7. Mustapha's Exit$16.99Colored Vinyl LP - Sealed Buy Now
All American MadeA lot can change in a year: markets boom and bust, trends come and go, presidents
get elected. In 2015, Margo Price was a country underdog just trying to keep
enough gas in the tank to get to the next gig, but by the end of 2016, she was one
of the genre's most celebrated new artists and a ubiquitous presence on late night
television and at major festivals around the world.
It's the kind of year most musicians can only dream of, and the arrival of Price's
spectacular sophomore album, "All American Made," proves that she hasn't taken a
moment of it for granted. Delivering on the promise of her debut and then some, the
record finds Price planting her flag firmly in the soil as a songwriter who's here for
the long haul, one with the chops to hang with the greats she so often finds herself
sharing stages with these days.
A prolific writer with a knack for candid self-reflection, Price has never had to look
too far for inspiration, and on 'All American Made,' she and her songwriting partner/
husband, Jeremy Ivey, continue to depict the trials of everyday life with unflinching
honesty, painting poetically plainspoken portraits of men and women just trying to
Highs and lows, long nights and hard days, wild women and cocaine cowboys,
politics and sexism, it's all in there, singularly filtered through Price's wry, no-bullshit
perspective. Throughout the album, her contemporary take on classic sounds is at
once familiar and daring, an infectious blend of Nashville country, Memphis soul,
and Texas twang that tips its cap to everyone from Waylon and Willie (who makes
a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the
cookie-cutter pop that dominates modern country radio. Rich with swirling pedal
steel, honky-tonk rhythms, and Price's stop-you-in-your-tracks vocals, 'All American
Made' is deeply reverent of tradition even as it challenges conventions, a nuanced
exploration of conflicted emotions for our deeply conflicted times.1. Don't Say It
3. A Little Pain
4. Learning to Lose
5. Pay Gap
6. Nowhere Fast
7. Cocaine Cowboys
8. Wild Women
9. Don't Say It
10. Do Right By Me
12. Don't Say It$17.99Vinyl LP - Sealed Buy Now
The New Hovering DogBJ Cole came to prominence in the early 1970s with the country rock outfit, Cochise. His signature pedal steel playing has marked numerous LPs including ones by T Rex, Elton John (Tumbleweed Connection and Madman Across the Water), Cat Stevens, Bjork, The Verve, Depeche Mode, Beck, Elvis Costello, David Gilmour, Emmylou Harris, Pet Shop Boys, Robert Plant, Scott Walker, and the list goes on. The man Sting once described as "the best pedal steel player in the world" is versed in many styles from pop, rock, jazz to experimental. His versatility is perhaps no better showcased than on his first solo album The New Hovering Dog; it combines poetry with orchestration and electronics with a strong cast of musicians from that era. Originally released in 1972 on United Artists, it is now available again on LP after 40 years, remastered and two bonus tracks added.1. The Regal Progression
2. Now You See Them, Now You Don't
3. The Cold Mountain Mariner
4. Up On The Hill Where They Do The Boogie
5. You're Probably Lost
6. Five Pieces For Steel Guitar & Percussion
7. I Know Now
8. The East Winchley Tango$19.99Vinyl LP - Sealed Buy Now
Spills And ThrillsJohn Paul Keith is a native of Knoxville, TN who has moved around a lot and played in a lot of different bands (The V-Roys, The Nevers, Ryan Adams' Pink Hearts, Stateside, Harlan T. Bobo, Jack Oblivian and Jim Dickinson's garage rock project, Snake Eyes). Keith moved to Memphis a couple of years ago and hooked up with Alvin Youngblood Hart's former rhythm section, bassist M. Edgar Stuart and drummer John Argroves. They soon recruited guitarist/producer/recording engineer Kevin Cubbins, along with pedal steel player John Whittemore (Jack Oblivian & The Tennessee Tearjerkers) and organist/piano man Al Gamble. Spills And Thrills is John Paul Keith & The One Four Fives debut release.1. Lookin' For A Thrill
2. Pure Cane Sugar
3. Secondhand Heart
4. She'll Dance To Anything
5. Cookie Bones
6. Let's Get Gone
7. Smoke In A Bottle
9. Rock N Roll Will Break Your Heart
10. If I Were You
11. Too Hip
12. Doin' The Devil's Work$16.99Vinyl LP - Sealed Buy Now
WishboneWishbone is the sophomore album from the British-born artist who calls New York City home. Recorded in Los Angeles with producer Ted Hutt (Gaslight Anthem, Lucero, Old Crow Medicine Show), the well crafted songs on Wishbone live up to the expectations put upon a young man the Wall Street Journal touted as a "promising talent" with "much more to say," after the release of his Liam Watson-produced debut album, A Winter Tale.
On Wishbone Long taps into a broader pallete of emotions than he has on past releases, eschewing melancholy and eloquently channeling anger and frustration into gritty, hard driving guitar parts (the majority of which are played by Long) that compliment his rough-hewn vocals. Steel guitar provides an apt counter balance, adding a hint of twang and drawn out expanse to the urgency put forth in the lyrics. Throughout the album Long displays his deft control of melody and tone, well practiced over many years of prolific songwriting.1. Devil Moon
2. She Won't Leave
3. In Your Way
4. Blood in the Orchard
5. Help You Mend
6. Making You Talk
7. All My Brothers
8. My Parade
9. Yesterday Yesterday
10. Waiting for Dawn
11. Not Tonight, Not Today
12. To the Light$19.99Vinyl LP - Sealed Buy Now
Available On Vinyl For The First Time
Despite Joe Cocker's tragic passing in 2014, his music will live on forever. After the Music On Vinyl releases of Maddogs & Englishmen [MOVLP355], Sheffield Steel [MOVLP540] and Live [MOVLP1254], we're proud to dedicate a fitting farewell to the man that has touched the hearts of millions.
Greatest Hits contains his most memorable tunes on a double gatefold album, with songs like Have A Little Faith In Me, Summer In The City, You Are So Beautiful, You Can Leave Your Hat On, a live duet with Eros Ramazotti (That's All I Need To Know) and of course a thrilling live version of With A Little Help From My Friends.
This particular selection of songs has not been released on vinyl before.LP1
1. Summer In The City
2. Could You Be Loved
3. The Simple Things
4. N'oubliez Jamais
5. Have A Little Faith In Me
6. What Becomes Of The Broken-Hearted
7. Don't Let Me Be Misunderstood
8. Delta Lady
9. You Are So Beautiful
1. That's All I Need To Know (Live Duet With Eros Ramazzotti)
2. Let The Healing Begin
4. Night Calls
5. Don't You Love Me Anymore
6. When The Night Comes
7. You Can Leave Your Hat On
8. Unchain My Heart
9. With A Little Help From My Friends (Live)
7. Many Rivers To Cross
8. So Good, So Right
9. Talking Back to the Night
10. Just Like Always$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
XeZs is devoid of genre and unclassifiable. Since 2000, founder Sam Hillmer has remained its purveying constant, and with the addition of loose-limbed, meditative percussionist Greg Fox (Liturgy, Guardian Alien, Man Forever), and virtuosic avant-classical guitarist and composer Patrick Higgins, the band has found its epochal lineup. The trio's vision is crystallized on Xe, Zs' first full-length featuring the new trio, and first proper since 2010's critically acclaimed New Slaves. Hillmer, Fox and Higgins-three supremely heavy sages who exchange their pulsating phraseology with a mind-blowingly telepathic bent-in one room, nailing Xe in one miraculous live take, manned by Higgins and noted A-list producer Henry Hirsch (Lenny Kravitz, Madonna, Mick Jagger) at the boards in Hudson, New York's Future-Past Studios. The music on Xe even transcends artistic mediums, influencing renowned visual artist Tauba Auerbach, who believed Zs was examining the same structural concerns as her own work. She created two 3D steel helix sculptures derived from the scientific varieties known as the Z helix and S helix, which were then arranged and photographed in various configurations for the Xe album art. The album's minimalist, esoteric vibes aligned perfectly with Auerbach''s mind-bending and shadowy metallic sculptures. The artist attests to have never worked so hard on a record cover, nor gotten so much out of doing so, creatively and personally.Future of Royalty
Xe$17.99Vinyl LP - Sealed Buy Now
All Hat And No Cattle (Awaiting Repress)All Hat and No Cattle follows the group's 2010 self-titled debut, which introduced the veteran Foo
Fighter Chris Shiflett's skill for writing understated, infectious Americana-influenced rock songs. Firm believers that in order to know where you're going, you've got to know where you've been,
Chris Shiflett & The Dead Peasants recorded All Hat and No Cattle with a mix of reverence and revelry. Featuring nine classic honky-tonk covers and one original, the album's playful enthusiasm is palpable throughout the faithful yet fresh interpretations; from the carousing opener Guitar Pickin' Man to the bluesier, doo-wop country of Happy Part Of Town to the apt, barnstorming closer Are You Sure Hank Done It This Way?
While touring with Foo Fighters around their last album, Shiflett was inspired with the idea to learn
an abundance of old school honky-tonk songs, and then hit the road as a cover band. After arriving
back home, the Dead Peasants reconvened and spent months rehearsing before playing shows all through spring and summer 2012. Wanting to capture the spirit of these performances, the band headed into Studio 606 in Los Angeles to track a selection of Shiflett's favorites from their live set. The band recorded All Hat and No Cattle live and all together in one room, with only vocals and pedal steel overdubbed.1. Guitar Pickin' Man (Don Rich and the Buckaroos)
2. Good Time Charlie's (Del Reeves)
3. Pop A Top (Jim Ed Brown)
4. Happy Part OfT own (Wynn Stewart)
5. Skid Row (Merle Haggard)
6. Live Fast, Love Hard, Die Young (Faron Young)
7. Playboy (Wynn Stewart)
8. King Of Fools (Buck Owens)
9. A Woman Like You (ORIGINAL)
10. Are You Sure Hank Done It This Way? (Waylon Jennings)$13.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Harvest Floor (Awaiting Repress)
Deluxe Gatefold Cover with Matte Finish
Bloody Steel Colored Vinyl (Red Splatter on Silver Vinyl)
San Diego, CA's finest purveyors of extreme metal, Cattle Decapitation, are planning a series of limited edition vinyl releases for 2014 under the banner Decade of Decapitation, to celebrate 10 years of releases on Metal Blade Records. The band's entire Metal Blade discography: To Serve Man (2002), Humanure (2004), Karma.Bloody.Karma (2006), The Harvest Floor (2009), and Monolith of Inhumanity (2012) are all being prepared in lavish gatefolds for release. The colors, handpicked by the band, reflect the concept or color scheme behind each album. Fans will also have the opportunity to pick up a collectable box that comes with an exclusive T-shirt, both with brand new art from longtime Cattle Decapitation cover artist, Wes Benscoter. Additionally, To Serve Man, the band's debut full-length, and their sophomore effort Humanure have been remastered specially for this release. Each vinyl will be released separately in the coming months.
Cattle Decapitation's Travis Ryan adds: We are very excited to announce the Decade of Decapitation reissues! All of our Metal Blade discography has been out of print since right after each release and we're glad we will finally be able to meet some of the demands of the fans with these cool reissues! I've had rare items in my personal collection that came with an empty spot for other items that had to be hunted down in order to be complete, I always thought that was fun and so now we pass the hunt on to our fans! The box art is another quality piece from the great Wes Benscoter which reveals the inside living space of a psychopath hellbent on revenge, the same point of view from which the majority of our lyrics come from.1. The Gardeners Of Eden
2. A Body Farm
3. We Are Horrible People
4. Tooth Enamel And Concrete
5. The Ripe Beneath The Rind
6. The Product Alive
7. In Axestasy
8. Into The Public Bath
9. The Harvest Floor
10. Regret & The Grave$22.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Limited To 500
I'm at a loss to name any bands that Old Smokey sounds like. Old Smokey is a dark, gypsy/Middle Eastern, folk collision. It's a mixture of string and woodwind instruments unlike any I've seen. - Mark Ellers, Athens Banner Herald
Old Smokey's instrumental tune Leggy, is a pleasant, wandering thing, a nice little taste of the band's upcoming full-length, reportedly titled Wester Easter. - Gabe Vodicka, Flagpole Magazine
Local weavers of the string dream known as Old Smokey have finished their debut record, titled Wester Easter and may we say, it's an ear tickling treasure for sure. - Zeke Sayer, Gypsy Farm
Old Smokey is a unique five piece ensemble featuring Jim Willingham on banjo, Jason Trahan on lap steel, John Fernandes on violin/clarinet/bass clarinet, Jacob Morris on cello, and Rob Lomax on drums. Their quixotic and sometimes haunting sound has developed organically; the way the instrumentation of the band blends is both complementary and evocative. This distinctive unit began playing together over two years ago. Old Smokey's first full-length album, Wester Easter will be released on Cloud Recordings.
Wester Easter covers a wide span of musical influences, but retains a coherent sound, all its own. Some of the songs capture an Ennio Morricone spaghetti-western influence, while others take on an East Indian psychedelic palette not unlike some of the wanderings of Erkin Koray, or a lost Bollywood soundtrack from the seventies. Dead Man's Pose, a chant-y upbeat scorcher, is grounded in something akin to a New Orleans second line structure. There are a few numbers on Wester Easter that seem to be channeling the tumbleweed landscapes of The Sons of Pioneers, or the smoky country of a Roger Miller ballad. There's even a bit of a rock n' roll stomp or Velvets' rattle to numbers such as All the Way Slow -- but it's almost as if the band got lost in Appalachia on the way to the sock hop. John Fernandes, Cloud Recordings' main-man, and Old Smokey's violin and clarinet player, has approximated sonic references for Old Smokey: Fans of Bruce Langhorne, Abner Jay, Bollywood steel guitar music, and The Monks will surely dig our hard to describe sound.
Despite a wide adventurous berth, Wester Easter is not the soundtrack of a flippant genre-jumping band. Throughout the album, their strong, sonorous mark is consistently there, as the instruments blend, swirl, and crescendo, then break down, from time to time, into the spidery banjo, drums, and plucked-cello skeletal substructure. Led by Jim's reedy lead vocal, spinning narratives or spilling out constellations of imagery, the whole band often joins, in chorus, to create layered harmonies or group chants.
Old Smokey is compiled of veterans of the Athens music scene. Members have played with bands such as The Olivia Tremor Control, Circulatory System, Vic Chesnutt, Ham1, Moths, Madeline, The Good Ship, and The New Sound of Numbers, to name just a few of their past and current projects.1. Dead Man's Post
2. The Transylvania Effect
3. You're Always Gonna Be Able To Get One More
4. All The Way Slow
5. The Whistler's Song
6. Freedom Cowboy
7. Wester Easter
8. Transylvania Link
9. Everyday I'm Building A Fool
11. Vacant Lot
13. Mapache$13.99Vinyl LP - Sealed Buy Now
In the lush tobacco fields of North Carolina where BJ Barham was raised, people work hard. Families stay
nearby, toiling and growing together. BJ loves those farms and his tiny Reidsville hometown, but he had to run off
and start American Aquarium, a band now beloved by thousands. He couldn't stay, but he couldn't really leave,
either: he's still singing about the lessons, stories, and lives that define rural America--and him.
Recorded at 3CG Records in Tulsa, OK, American Aquarium's seventh studio album, Things Change was
produced by Grammy-nominated singer-songwriter John Fullbright and features cameos from Americana standouts
including John Moreland and Jamie Lin Wilson. Stacked with BJ's signature storytelling--always deeply personal
but also instantly relatable, Things Change questions and curses current events, shares one man's intimate
evolution, and leaves listeners with a priceless gift: hope.
BJ's candor has fueled American Aquarium's runaway appeal, visible most clearly in consistently sold-out
shows across the country and throughout Europe - between 200 and 250 dates a year. Much has changed for the
band and BJ since their acclaimed last effort, Wolves. In 2017, every American Aquarium member save BJ quit
the group. American Aquarium has featured about 30 players since BJ founded the outfit in 2006, and while each
member has left indelible marks, the band has always been anchored by the literary songs and sometimes roaring,
sometimes whispering, drawl of BJ Barham. Featuring a new band lineup that includes Shane Boeker on lead guitar,
drummer Joey Bybee, bassist Ben Hussey, and Adam Kurtz on pedal steel and electric guitar, as well as a
reinvigorated frontman in BJ, Things Change is American Aquarium's first release on a label after selling thousands
of records on their own.1. The World Is On Fire
3. Tough Folks
4. When We Were Younger Men
5. One Day At A Time
6. Things Change
7. Work Conquers All
8. I Gave Up The Drinking (Before She Gave Up On Me)
9. Shadows Of You
10. 'Til The Final Curtain Falls$20.99Vinyl LP - Sealed Buy Now
UNIM-BIG-5931xGlen Campbell & The Band Perry
Glen Campbell: I'll Be Me SoundtrackHonored in 2012 with the GRAMMY Lifetime Achievement Award, Country Music Hall of Fame member Glen Campbell has recorded his last song.
I'm Not Gonna Miss You was written by Campbell and Julian Raymond specifically for a new documentary titled GLEN CAMPBELL: I LL BE ME. Produced by Raymond, the song was recorded in the Los Angeles-based Sunset Sound Factory and East West Recording Studios.
With a mere handful of piano chords, then a swell of harmonies, I m Not Gonna Miss You opens into the poignant, yet clear-eyed revelation of the things Alzheimer s steals. Almost lumbering through the melody, Campbell s weathered tenor confesses the painful truths of what is lost, the cost and the reality that it will all be lost to him, the man who can t remember. Pedal steel weeps, strings bathe the melody that rises against drums and an electric guitar that mirrors the unbreakable passage of life and time.
GLEN CAMPBELL: I LL BE ME is an epic human drama that intimately showcases the man and his music throughout Campbell s struggle with Alzheimer s. Chronicling the story of love, laughter, resilience and power of song, this film shows how against all odds, America s greatest country star would not give up. Directed and produced by James Keach (producer of Walk The Line) and produced by Trevor Albert (Groundhog Day).
Big Machine Records will proudly release a soundtrack for the film that also features The Band Perry, who previously paid tribute to Campbell during the 2012 GRAMMY Awards. The project also features Campbell s daughter Ashley who performs an original song.
We are so honored to not only release Glen Campbell s final recording, but to be associated with such a profound film that will help raise awareness of those suffering from Alzheimer s and spotlight the important role of those who care for them, remarked Big Machine Label Group President & CEO Scott Borchetta who serves as the project s Executive Producer with Keach.
Additionally, several of today s biggest musical stars appear in the film to pay tribute to the legend including Bruce Springsteen, Bill Clinton, The Edge (from U2), Paul McCartney, Jay Leno, Vince Gill, Jimmy Webb, Taylor Swift, Blake Shelton, Sheryl Crow, Keith Urban, Brad Paisley, Steve Martin, Chad Smith, and The Band Perry.1. I'm Not Gonna Miss You - Glen Campbell and The Wrecking Crew
2. Gentle on My Mind (Documentary Version) - The Band Perry
3. Remembering - Ashley Campbell
4. All I Need Is You - Glen Campbell
5. The Long Walk Home - Glen Campbell
6. Wichita Lineman (Live from Ryman Auditorium) - Glen Campbell
7. A Better Place (Live from Ryman Auditorium) - Glen Campbell
8. Gentle on My Mind (Single Version) - The Band Perry
9. Home Again - Ashley Campbell
10. I'm Not Gonna Miss You (Single Version) - Glen Campbell$19.99Vinyl LP - Sealed Buy Now
'Palingenesis' is impossibly delicate, impeccably rendered neofolk; it is transporting and autumnal, bringing spectral figures into focus, exploring with curiosity and wonder the darkest heart of a vast folkloric wilderness. - Michael Nelson (STEREOGUM)
Derived from the greek words for 'birth' [genesis] and 'again' [palin], the term Palingenesis refers to a variety of concepts of rebirth and recreation, ranging from the stoic idea of the continuing recreation of the cosmos, the christian belief in spiritual regeneration through baptism, or the originally pythagoreean concept of the souls' transmigration into a new body. NEBELUNG take up the energy behind these concepts, using them as archetypal images for mans' eternal strive for spiritual perfection in a meditation on death and decay, transformation and renewal.
More than two years on the making, the release of PALINGENESIS defines a new era for NEBELUNG. Where its predecessors had been singing the hymn of autumn and night by the means of simply structured melancholic folk songs, PALINGENESIS takes on a different approach, transcending the boundaries of lyrics and song, sparing light and reason, and letting the music take on a direct and unaltered way to the depths of the subconscious. PALINGENESIS is a deep and transforming listen, with tracks built up like Mantras, tucking the listener into a dense and detailed tapestry of subtly woven, intertwining melodies and drones, rich in detail and structure, incorporating such a variety of acoustic instruments as both classical and steel stringed guitars, cello, accordion, indian harmonium, hammered dulcimer, glass harp, percussion and voice.1. Mittwinter
6. Innerlichkeit$23.99Vinyl LP - 2 LPs Sealed Buy Now
RideFor his fiftieth birthday, Anthrax guitarist Scott Ian wanted one present more than any other - the reunion of one of his favorite unsung heroes, Mother Superior - only he wanted to be a part of the lineup. They're a great, classic band that hit me in the same spot as all my favorite '70s bands, whether it's UFO, Ted Nugent, Cheap Trick or KISS, Ian explains. I knew getting to play with them would be like joining KISS.
Thanks to Scott's wife Pearl Aday, who has been working with Mother Superior front man Jim Wilson for years, all it took was a quick phone call and the stage was literally set for Scott's dream gig.
The band, which quickly gained the interests of Joey Vera (Armored Saint/Fates Warning) and John Tempesta (White Zombie, The Cult) called itself Motor Sister after the Mother Superior song Little Motor Sister and got together the day before the party to rehearse in Ian's jam room. The energy in the room was amazing, Ian says. It felt awesome. It was just something we did for fun and to celebrate my birthday.
The minute I started to play with Scott, Joey and John the chemistry was amazing, Wilson says. We sounded like a band that had been together forever. Enthralled at the idea of making a record of his favorite Mother Superior songs, Ian contacted producer Jay Ruston (Anthrax, Steel Panther, Stone Sour) and asked if he thought it was possible to recapture the same spontaneous energy generated at their makeshift gig. He said, 'Yeah, we can make the record in two days and we can make it sound really good.' So that's what we did, Ian says. A week and a half later, we made the record in LA over a two day period. We recorded the whole thing live in the studio.
While everyone in Motor Sister is busy with their day jobs, they are all interested in playing live as much as possible. We are a great live band Ian says. We proved it to ourselves in my jam room. It was our ability to play live together that made this happen and I can see us getting onstage and playing this shit back-to-back, Ramones-style, and just blowing people's minds with the power of these songs. And the door is always open to write more material because Pearl and Jim are always working together and I'm always with them. So we'll see what happens in the future.LP 1
1. A Hole
2. This Song Reminds Me of You
3. Beg Borrow Steal
4. Fool Around
5. Get That Girl
6. Head Hanging Low
1. Fork in the Road
2. Little Motor Sister
3. Pretty in the Morning
6. Devil Wind$30.99Vinyl LP - 2 LPs Sealed Buy Now
Making GhostsYou can call Great Peacock a folk band... but don't expect them to make music for campfires or square dances. Raised in the Deep South and headquartered in Nashville, they're a group of red-blooded country boys who aren't afraid of the big city. Case in point: Making Ghosts -- the duo's harmony-heavy, guitar-driven debut album -- whose 11 songs find the middle ground between rootsy, down-home Americana and super-sized arena pop/rock.
"To us, it's just pop music with organic acoustic instruments," says Andrew Nelson, who shares lead vocals and guitar duties with co-founder Blount Floyd. "The album has some fiddle, some pedal steel and a whole lot of acoustic guitar, which sounds like the traditional setup for a country band. But this isn't a country record. It's not really a folk record, either. It's a pop/record... with folk tendencies."
Nelson and Floyd first crossed paths in their early 20s, bonding instantly over a shared love of cheap beer and good Southern music. After logging several years together in a loud, Tennessee-based rock band, they split off to form their own project, swapping out the amplified swagger of their previous group for a straightforward sound anchored by acoustic guitars, anthemic melodies and two intertwined voices. Like an old-school harmony duo retuned for a new generation, they started off with a handful of classic influences -- the country croon of George Jones, the working class rock & roll of Bruce Springsteen, the heartland hum of Tom Petty -- and expanded their sound from there, turning Great Peacock into the sort of band that's simultaneously rooted in tradition and headed toward new territory.
The music on Making Ghosts reflects Great Peacock's ambition. Songs like "Tennessee" are swooning, sweeping tributes to the band's homeland, while "Take Me To The Mountain" pushes the band toward anthemic territory, fueled by super-sized drums and a radio-ready melody. On "Arms," the guys jump between haunting verses and big, Technicolor choruses, capping everything off with a screeching guitar solo. These peacocks know how to strut their stuff.
What's in a name, by the way? In Great Peacock's case, quite a bit.
"We initially thought it was just a funny name for a band," Nelson admits, "but through the evolution of everything we've done, we've always been big and colorful. That's why Blount jumps around onstage. That's why I wear a suit jacket embroidered with feathers, which is basically a poor man's nudie suit. We've embraced the image of the big peacock feathers, and we want to entertain you. We look that way, we think that way, and we sound that way, too."1. Making Ghosts
2. Church Bells
4. Take Me to the Mountain
5. Go Back
6. Desert Lark
7. Gulf Dreams
8. Broken Hearted Fool
9. Summer Song
11. Higher Ground$21.99Vinyl LP - 2 LPs Sealed Buy Now