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Marathon (Awaiting Repress)
The Santana Friday Music 180 Gram Audiophile Series Continues!
The Original 1979 Rock Fusion Classic Marathon Album!
First Time 180 Gram Vinyl + Gatefold Cover Presentation!
Mastered By Joe Reagoso - Pressed At R.T.I.
The legendary Santana set the music world on fire back in the late
sixties out of San Francisco with their hypnotic blend of Latin-fused rock,
jazz and soul, augmented with brilliant and skillful musicianship of their
leader and guitarist Carlos Santana. Bursting on the scene initially with
the worldwide smash hit single Evil Ways (Santana's Greatest Hits Friday
Music #33050), this first offering would prove to become the huge catalyst
for things to come.
Throughout the remainder of the late seventies and beyond, Carlos
Santana would take the band to the top of all the popular music charts as
the 1979 classic rocker Marathon would go on to yield a plethora of hit
tracks at all formats of radio.
No stone is left unturned, as this masterpiece is loaded with hit after hit
with smashes like You Know That I Love You, the powerful Hard Times, the
soulful Summer Lady and of course their stellar rock hit All I Ever Wanted,
all featuring the righteous guitar of the legendary Carlos Santana as well as
being the first Santana LP to feature the stellar vocals of longtime front man
Alex Ligertwood and keyboard legend Alan Pasqua.
As one of the most enduring albums in their massive career catalog,
Santana's Marathon included some significant album tracks too like the
rocking masterpiece Lightning In The Sky and the powerful medley of Stand
Up/Running. The fantastic work also includes the wonderful title track
instrumental Marathon featuring the all-star percussive line-up of Graham
Lear, Armando Pereza and Raul Rekow. All in all, Marathon took the fans
by storm, forever retaining the title superstars to the Santana franchise.
Friday Music is pleased to announce for the very first time on
audiophile vinyl Marathon by Santana. Mastered impeccably by Joe
Reagoso at Friday Music Studios, this amazing classic truly shines in the
audiophile vinyl domain. Pressed at R.T.I., this brilliant masterwork truly
resonates as you remember from years ago.
To enhance your limited anniversary edition album experience, this
first time audiophile vinyl release is also for a very short time being offered
in a first time gatefold cover presentation, featuring the original album cover
design, plus the inner sleeve artwork now displayed beautifully inside the
Welcome back and celebrate the music of Santana with their amazing
Marathon ... an audiophile first time vinyl release, only from your friends
at Friday Music.
All I Ever Wanted .1. Marathon
2. Lightning In The Sky
3. Aqua Marine
4. You Know That I Love You
5. All I Ever Wanted
6. Stand Up/Runnin
7. Summer Lady
9. Stay (Beside Me)
10. Hard Times$29.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
The Marathon EPLowtalker is made up of Stu Ross, formerly of Wisconsin metal band Misery Signals and Canadian rock band Living With Lions, and Matt Keil and Casey Hjelmberg of Canadian hardcore favorites Comeback Kid. Drawing influence from their current/past projects, Lowtalker delivers a sonic revolution of raw, jolting, post punk injected with fist-pumping, pit-swirling intensity on their sophomore, six-song release, The Marathon EP. For fans of Living With Lions, Misery Signals and Comeback Kid.1. Tension
2. Like Minnows
5. The Weight Of An Anvil
6. Chances$14.99Vinyl LP - Sealed Buy Now
Juju Marathon Sysytem Vol. 1Import
A traditional form of Nigerian popular music, Juju spreads from the ancient Yoruba percussion style and its first recordings can be dated back to the 1920s. Taking its name from the shamanic rituals of the southwestern regions, Juju evolved into a very popular musical genre in the '60s and '70s when artists of the caliber of King Sunny Ade and Ebenezer Obey (aka Chief Commander) took it to a new apex, blending traditional instruments like the talking drum with elements of western music, such as the guitar. Chief Brigadier Olu Oni adds to this extremely popular genre a hint of international elements, and this record has brought Juju beyond West Africa and into the rest of the world.1. Alagbami Ni Jesu
2. Asotobari Ni Korafo Omo Re
3. Omo Alade Ngesin
4. Odun Ton Mi Ti Wa Side
5. Irawo Mole Ye Ye
6. Irepo Lotokafi Mabaralo
7. Ogodo To Fefe Ni Sesin Nko
8. Oni Inu Ole Odun$27.99Vinyl LP - Sealed Buy Now
I Gazed At The Rapture ReadyMidnight Masses is an ever-expanding 4 to 14 member collective of mostly Brooklyn-based artists, led and formed by Autry Fulbright in the wake of his father's untimely death. Fulbright began the project with cathartic, marathon sessions in Austin, Texas, alongside long-time friend Jason Reece of Trail of Dead. Lush and washy. If Billie Holiday were to sing with The Doors, the outcome might sound something like this - Wired.com As if the religiosity of down south collided with a full throttle rock band creating a haunting spiritually engrossing psychedelic rock experience - The Tripwire1.Walk On Water
4.Rapture$12.99Vinyl LP - Sealed Buy Now
Workin' With the Miles Davis Quintet (Awaiting Repress)Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the 3rd in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia, producing music of high energy and immediacy. This is a mix of standards and originals, up-tempos and ballads, and a trio number, Ahmad's Blues. Miles is the sole survivor of this quintet but the music made in the mid-50's period will live forever. The excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers and Philly Joe Jones, and Miles' poignancy and intense swing. Recording engineered by Rudy Van Gelder.1. It Never Entered My Mind
3. In Your Own Sweet Way
4. The Theme (take 1)
5. Trane's Blues
6. Ahmad's Blues
7. Half Nelson
8. The Theme (take 2)$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
POST-Pressed On 180-Gram Light Blue Vinyl
Jeff Rosenstock was an anxious kid who grew into an
anxious adult and has also made a bunch of music along the
way, with a bunch of bands, most notably Bomb the Music
Industry! who apparently pioneered giving shit away for free
on the internet - or at least got some of the credit for it.
Now he plays with his bi-coastal band of rad musicians,
mixing punk energy with diverse instrumentation and
occasional accuracy. The new record POST- was written in
the days after the 2017 Presidential inauguration, recorded
in a marathon session and finished moments before it was
released digitally on New Year's Day.
The lyrics get (really) heavy but the melodies are so catchy
and the builds are so big and bright that the end result is
more of a rallying cry than a surrender.1. Mornin'!
3. Yr Throat
4. All This Useless Energy
6. TV Stars
8. Beating My Head Against A Wall
10. Let Them Win$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In The Hollows
there's a thrilling feeling of freedom to it all.
Nat Baldwin is a musical maverick one of the
best leftfield pop albums of the year.
-DROWNED IN SOUND
terrifically earnest, terrifyingly intimate, and
-THE BOSTON PHOENIX
In The Hollows is Nat Baldwin's followup to 2008's People Changes. Despite his busy scheule recording and touring as the bass player for Dirty Projectors, Nat found time to write
and record his most soulful and ambitious collection of songs to date. After recording the
initial tracks at Machines With Magnets in Pawtucket, RI, Nat recruited Otto Hauser for
drums and percussion, and Rob Moose and Clarice Jensen to write string arrangements.
Discussing the album's production, Nat says I wanted to achieve a consistency throughout
that my past albums have lacked. I wanted the strings to add to the mournful quality of the
songs, weaving their way through the sonic terrain, providing emotional emphasis, but also
leaving necessary amounts of space. Albums by Nick Drake, Judee Sill, Joanna Newsom,
Antony & the Johnsons, and Bill Callahan, to name a few, provided inspiration in balancing
that intimacy with minimal, but powerful, adornments.
Much of the album was written while Nat was training for a marathon at his home in Maine.
According to Nat, I had a pretty rigorous and consistent routine of running/working out
early in the morning, and working on music all afternoon/evening. I also started reading
obsessively during this time, as I wasn't moving around much after the morning marathon
training. Some of the songs were inspired by books I was reading, and some were inspired
by my lifestyle. Blending autobiographical details with fiction, the songs cover a wide
range of topics including boxing, drowning, bodybuilding, target practice, will power, Steve
Prefontaine, competition, separation, isolation, devastation, manipulation, conflagration,
intoxication, and suicide.
Immersive, athletic, and often profound, In the Hollows represents his clearest and most
consistent album-length statement, melodically, structurally, and lyrically. Nat explains
that I hope it is as unsettling as it is beautiful. I want it to make people feel things they
can't describe.1. Wasted
3. Half My Life
4. In The Hollows
5. The End Of The Night
6. Cosmos Pose
8. Bored To Death
9. A Good Day To Die$16.99Vinyl LP - Sealed Buy Now
Live In EuropeImport
After only 2 studio albums, Rory Gallagher released Live! in Europe in 1972. Considered a landmark live album, the record - then containing 7 tracks - became Rory's 1st gold record. Heavily influenced by the likes of Woody Guthrie, Bill Broonzy and Leadbelly, Rory taught himself to play the mandolin, acoustic guitar, harmonica and also mastered the slide. After discovering the electric blues of Muddy Waters he started experimenting with different styles.
After Gallagher's band Taste broke up (he recorded 2 studio & 2 live albums with Taste) Rory toured under his own name and recorded 'Rory Gallagher' and 'Deuce' with his power trio, featuring bassist Gerry McAvoy (whom stayed in his band for 20 years) and drummer Wilgar Campbell.
Rory Gallagher won his greatest acclaim with his marathon live shows and was voted 'Melody Maker's Top Musician of the Year' in 1972, trumping Eric Clapton. It's his live shows which captured the raw energy of his songs, Rory insisted, and therefore, he released a number of live albums. Live! In Europe contain the 'definitive versions' of some of his well known songs and is an instant classic, which seamlessly blends folk, acoustic blues & blues-rock.1. Messin' With The Kid
3. I Could've Had Religion
4. Pistol Slapper Blues
5. Going To My Home Town
6. In Your Town
7. Bullfrog Blues$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Secret SistersThe Alabama-reared siblings, Laura and Lydia Rogers, whose new album is steeped in the familial camaraderie and mesmerizing harmonies braced by their Mussel Shoals roots, recorded their inaugural musical effort at Nashville's renowned Blackbird Studio. Produced by revered county knob-turner Dave Cobb (Waylon Jennings and Jamey Johnson), and executive-produced by T-Bone Burnett, The Secret Sisters' sound captured on their debut has been described by Burnett as as close to pure as it gets, and I've been doing this for forty years.
Recorded in a marathon two-week recording session, the producers also brought in vintage analog recording equipment and vintage microphones, determined to properly capture the sisters' magical harmonizing and stunning vocal power. Their signature sound is evident on songs such as Why Don't Ya Love Me, Why Baby Why, and the lifting anthem Tennessee Me, among others.
The Secret Sisters co-wrote several of the songs on the new album and reworked found treasures, including the Frank Sinatra classic Something Stupid. They also enlisted the support of legendary country musicians such as pedal steel great Robbie Turner and piano legend Pig Robbins, among others.1. Tennessee Me
2. Why Baby Why
3. The One I Love Is Gone
4. My Heart Skips A Beat
5. Somethin' Stupid
6. I've Gotta Feeling
7. Do You Love An Apple
8. All About You
9. Waste The Day
10. Why Don't You Love Me
11. House Of Gold$24.99Vinyl LP - Sealed Buy Now
Listen To My Song: The Music City SessionsBorn and bred in Berkeley, California, Darondo (given name William Daron Pulliam) first played professionally at the age of 18 in The Witnesses, a blue-eyed soul troupe resident at East Bay teen club the Lucky 13 in the 60s, but it wasnt until the early 70s that the singer-guitarist hit his stride.
When Darondo signed with Ray Dobards Music City label in August of 1973, he brought along a superb stash of self-penned tunes, arranged by musical mentor John Al Tanner, and all cut in two marathon all-night sessions. Even with overdubbed strings, horns and keyboards, the results were righteously funky; Memphis-tinged, for sure, but equal in its conveyance of the urgent street vibe of the East Bay.
The album offers the complete sessions while the special vinyl edition approximates the album that Darondo should have issued in 1974, but Ray Dobards notorious parsimony and hubris meant singer and label parted company far too quickly, leaving only the Music City 45 of Didnt I as evidence of their brief association.
In interviews Darondo often references the lost Music City album. And with good reason: he was at the top of his game, focused, creative, and moving exceptionally fast to use a cherished phrase, cuttin up! Thus, Listen To My Song: The Music City Sessions provides some closure as well as indisputable evidence, should you need it, that Darondo is one of the greats.1. I Don't Understand It
2. I'm Gonna Love You
3. Didn't I
4. Luscious Lady
5. Saving My Love
6. Gimme Some
7. Get Up Off Your Butt
8. I'm Lonely
9. Do You Really Love Me
10. Listen To My Song$18.99Vinyl LP - Sealed Buy Now
REDI-WIC-2229xFirst Aid Kit
The Big Black And The BlueFirst Aid Kit, the Swedish folk duo composed of sisters Johanna and Klara Söderberg, recorded their debut album, The Big Black & The Blue with their father at their home studio in Sweden. Released in North America in May of 2010 via Wichita Records, the effort quickly earned praise from AOL Music, NPR's All Things Considered, Nylon and SPIN and landed on numerous 2010 'Best Of' lists.
In support of the endeavor, the sisters performed at the Austin City Limits festival, CMJ Music Marathon and SXSW, toured the US twice and found time to record a Blue Series 7 of Buffie Sainte Marie's Universal Soldier with Jack White at his request for Third Man Records.
In 2011 the band toured with both Lykke Li and Bright Eyes and recorded their sophomore album, The Lions Roar with producer, Mike Mogis. Released in January of 2012, it was greeted heartily by press and radio and broke onto the Billboard 200 album chart.
Wichita Recordings is thrilled to offer the reissue of First Aid Kits' debut album The Big Black & The Blue which features live show standouts Ghost Town, Hard Believer and I Met Up With The King among others.1. In The Morning
2. Hard Believer
3. Sailor Song
4. Waltz For Richard
5. Heavy Storm
6. Ghost Town
8. A Window Opens
9. Winter is All Over You
10. I Met Up With The King
11. Wills Of The River$17.99Vinyl LP - Sealed Buy Now
GaloreComprised of longtime friends Marcus Pepperell (vocals, guitar, keys)
and John Hamson Jr. (drums, vocals, bass), THUMPERS make colorful,
exuberant alt-pop that celebrates their innate musical kinship and draws
upon their shared childhood memories. The London-based band combine
layered androgynous vocals with muscular drums, astral synths and
shimmering guitars in a celebration of the breathless sensations of youth
and coming of age.
Friends since the age of 11 and playing in bands together since their
teens, the two reignited their musical bond again in early 2011. Initially
exchanging ideas over long distance correspondence, they used breaks
from travel and other projects for intensive, marathon recording sessions.
Retreating to the familiar surroundings of their hometown, they worked
intuitively and resourcefully in utilizing every means at their disposal
(with siblings occasionally joining in on the recording process) with the
sole objective of producing great recordings touched by a transcendental
jubilance and vague air of the otherworldly.
Live, THUMPERS are augmented by an interchanging cast of friends
and musicians in faithfully bringing their immersive dynamics and grand
scale sonic vision to the stage.
Galore is the debut album by THUMPERS. The record was produced
by Pepperell and Hamson along with David Kosten (Bat for Lashes,
Everything Everything).1. Marvel
2. Dancing's Done
3. Sound of Screams
4. Unkinder (A Tougher Love)
5. Come on Strong
8. Wilder Wise
10. Running Rope
11. Together Now$16.99Vinyl LP - Sealed Buy Now
Modes and Blues: 8th February 1964
Live At Ronnie Scott's
This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.
Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.
The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.1. Modes and Blues (Part One)
2. Modes and Blues (Part Two)$23.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Contagion SoundtrackPressed On Limited Gold And Red "Biohazard" Starburst Vinyl
Limited To 1200 Copies
Former Red Hot Chili Peppers drummer Cliff Martinez's long-standing collaboration with director Steven Soderbergh ranks right up there with some of the other great composer-director teams in film history, like Bernard Herrmann-Alfred Hitchcock and Ennio Morricone-Sergio Leone, and his 2011 score for the disaster blockbuster Contagion is among his best work. Oddly, it owes some of its uniqueness to the fact that Soderbergh radically recut the film three different times, causing Martinez to adjust the score on the fly, first starting with a more conventional score indebted to thrillers like Marathon Man and The French Connection, then moving in a more dream-like, Tangerine Dream direction, before settling on a sound that incorporated orchestral and electronic timbres into highly propulsive and rhythmic framework. It's like the most chilling "chill-out" electronica you've ever heard, simultaneously hypnotic and horrifying and for its first-ever vinyl release, we at Real Gone Music have fashioned a gatefold album cover featuring film production stills housing a limited gold and red "biohazard" starburst vinyl edition limited to 1200 copies. Between the look of the package and the disquieting music, this one's guaranteed to get you to sign up for a flu shot.1. They're Calling My Flight
2. Chrysanthemum Complex
4. Move Away from the Table
5. The Birds Are Doing That
6. Get Off the Bus
7. 100 Doses
8. Affected Cities
9. Bad Day to Be a Rhesus Monkey
10. I'm Sick
11. Get Us to the Front of the Line
12. Don't Tell Anyone
14. It's Mutated
15. Merry Christmas
16. They Didn't Touch Me
17. There's Nothing in There
19. Bat & Pig
20. Contagion$28.99Colored Vinyl LP - Sealed Buy Now
Nasty, Brutish, and ShortContinually shot out of a cannon, PUJOL contorted through his latest flaming hoop with the recording and release of the EP Nasty, Brutish, and Short. Moving at the speed of the '60's, the EP becomes PUJOL's 10th release in less than two years after acclaimed singles, full lengths and EPs on Third Man, Infinity Cat, Evil Weevil, Jeffrey Drag, Turbo Time and Velocity of Sound. This year, PUJOL left SXSW with the opportunity to make records on a wider scale of release, and scrambled together a skeleton crew of Nashville musicians and friends, in between tours, to make the deadline for a fall release. PUJOL utilized his attitude of whatever works with whatever resources as the creative anchor for the recording of the EP, even to the point of mixing it via text message while on tour in Canada during a marathon back-and-forth between himself and Battletape's Jeremy Ferguson. Striving to turn these obstacles into creative opportunities, PUJOL sought to combine aspects of both home and studio recording into the sound of something that really happened. In his own words: The recording process reflects the material, it was basically done while hardcoremultitasking in between tours, school, previously booked sessions at Battletapes, and general life-madness. The process reflects the narrative and was recorded at the speed of my life, so it's the immediate sound of something that really happened, it wasn't made in a bubble, I can't yet afford such luxurious suds. Ride the Tiger, Holy Diver. Nasty, Brutish, and Short focuses on fragmentation, compartmentalization, and the idea of cultural maxims dominating the individual's ability to vocalize and interact with the external world, essentially being forced into speaking, what PUJOL calls, the loudest person's language, which only resembles truth because a lot of people heard it simultaneously. I wanted to stab at making a narrative that would cyclically feed back into itself, oscillating between the individual's and the cultural lexicon. I finally got to assemble those songs together on a single release. All throughout this unapologetically from-the-hip release, PUJOL marries a lyric of intent to the tune of the uncontrollable variables of a life in what he describes as, E-merican Realism that is sure to ensnare fans of rock and roll, as well as Rockwell.1. Mayday
4. Emotion Chip (No Feeling)
5. Tiny Gods (Singularity)
7. Point Of View$13.99Vinyl LP -Sealed Buy Now
I Am Very FarThe goal was to push my brain to places it didnt want to go. The idea was to not have any idea, to keep myself confused about what I was doing, frontman Will Sheff says about Okkervil Rivers newest album. The resulting record, I Am Very Far, is a startling break from anything this band has done before. By turns terrifying and joyous, violent and serene, grotesque and romantic, its a celebration of forces beyond our control.
On I AmVery Far, Sheff emerges not only as a songwriter of the highest caliber, but a producer and arranger of singular vision. Abandoning the tidy conceptual arcs of Okkervil Rivers previous albums, I Am Very Far is a monolithic, darkly ambiguous work, one that doesnt readily offer up its secrets.
Work on I Am Very Far started in early 2009, after a year spent on the music of others. Sheff contributed vocals to The New Pornographers album Together, wrote a song for Norah Jones The Fall, and helmed the Roky Erickson record True Love Cast Out All Evil, for which his album notes received a Grammy nomination. Immediately upon wrapping up work and leaving Ericksons company, Sheff drove to his home state of New Hampshire for lengthy isolated writing sessions. I wanted to go back home and re-start writing again, like Id never written a song previously, he says, and I wanted the music and lyrics to be both completely wedded together and a little bit beyond my control.
Sheff emerged from the writing process with 30 or so songs, which he narrowed down to 18. In contrast to Okkervil Rivers usual practice of holing up in one studio for months on end, he opted for a series of short, high-intensity sessions, each in a different location, each employing completely different methods than the one before it. For songs like Rider and Wake and Be Fine, Sheff gathered together a massive version of Okkervil River; two drummers, two pianists, two bassists, and seven guitarists, all playing live in one room, and led them on a week of live-in-the-studio marathon sessions, performing a single song obsessively over and over for as many as 12 hours to capture just the right take. Finishing the record from home, Sheff constantly edited and reworked the album, reinventing the song structures, re-recording vocals, re-writing until the very last minute, reshaping even the tiniest of details, ultimately creating an album that plays not only as a lush, seamless epic, but also as the most deeply personal effort of his career.
What can listeners expect? Richer and weirder than The Stage Names and deeper and moodier than even Black Sheep Boy, I Am Very Far is dense, fragmented, opaque. A reverie of uncertainty, it feels at once disorienting and oddly familiar, threatening and friendly. Okkervil River have thrown away all maps and compasses but they continue to chart their way, unblinking, toward destinations unknown.1. The Valley
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need a Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life as a Blast
10. Wake and Be Fine
11. The Rise$19.99Vinyl LP - 2 LPs Sealed Buy Now
URPD-ART-0013xEight And A Half
Eight And A HalfJustin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.
Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.
However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.
What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.
And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.
O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.
Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.
And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."1. When I Was Twenty Nine
3. Go Ego
4. The Turn Around
5. Took A Train To India
6. Wait Up
7. Two Points
8. Walked Into Diazepene
9. Oh, My Head
10. My Forevers$17.99Vinyl LP - Sealed Buy Now
Wall Of Sound (Awaiting Repress)I thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.
Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.
I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.
It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.
The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.
This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.
Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.
I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.
Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what
Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.1. Self Pollution
2. Sorrow and Madness
5. For A Friend
6. Pussy Ghost
7. The Blackest Rose
8. Something to Fight
9. The Soldier
11. The Last Lament$23.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Philadelphias The War on Drugs, the vehicle of Adam Granduciel, frontman, rambler, shaman, pied piper guitarist and apparent arranger-extraordinaire, returns with Slave Ambient. On their debut, the life-affirming Wagonwheel Blues, and the follow-up EP, Future Weather, The War on Drugs seemed obsessed with disparate ideas, with building uncompromised rock monuments from pieces that may have seemed like odd pairs. Folk-rock marathons come damaged by drum machines. Electronic and instrumental reprises precede songs theyve yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient, their proper second album, is a brilliant 47-minute sprawl of rock n roll, conceptualized with a sense of adventure and captured with seasons of bravado.
Slave Ambient features a team of Philadelphias finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciels home studio in Philly, Jeff Zieglers Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of 80s pop.
Instant classic Baby Missiles is part Spingsteen fever dream, part motorik anthem. Original Slave might sound like a hillbilly power drone, but City Reprise #12 suggests Phil Collins un-retiring to back Harmonia. I Was There is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener Best Night offers a band with too many ideas to be in a hurry. During the mid-album centerpiece Come to the City, Granduciel howls and moans, All roads lead to me/I've been moving/Ive been drifting. Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems.1. Best Night
3. I Was There
4. Your Love Is Calling My Name
5. The Animator
6. Come To The City
7. Come For It
8. It's Your Destiny
9. City Reprise #12
10. Baby Missiles
11. Original Slave
12. Black Water Falls$19.99Vinyl LP - Sealed Buy Now
Dad CountryNashville songwriter Jonny Fritz's work ethic and boldness have paid off in spades. It's been a big year for Jonny with opening stints for Alabama Shakes, Deer Tick, Dawes, Shooter Jennings and kudos from CMT and Rolling Stone, among many others. He signed his deal this week (he actually signed the deal with gravy at Nashville landmark Arnold's Country Kitchen), and his third full-length album, Dad Country, is set for release on April 16, 2013.
Produced by Jonny and Dawes' Taylor Goldsmith, recorded at Jackson Browne's Los Angeles studio and finished up in Music City, USA; this breakthrough album balances Jonny's trademark earthy humor and unfiltered worldview with some of his darkest material to date. Co-producer Goldsmith says, "Funny as they can be at moments, his songs access realities and experiences that we're all familiar with but sometimes fail to consider the depths of."
While immersing himself in the music world, Jonny began running marathons from Philadelphia to Barcelona and pounding out his signature leather works - the dog collars and guitar straps - seen all over Nashville and half the musical universe. He found himself in NYC for year trying to save a relationship, and its slow, painful unraveling (and demise) inspired Dad Country's bleakest, heartrending tracks, including "All We Do Is Complain" and "Have You Ever Wanted to Die."
These days, life has never been better for Jonny Fritz. He's back in Nashville again and putting down roots- and has even gone and bought himself a house. "It just keeps getting better. Now, the band is getting paid, I'm getting paid, everybody's happy, and we're packing 'em in when we play."
"This is the dream life. I couldn't really ask for anything else."1. Goodbye Summer
2. All We Do Is Complain
3. Holy Water
4. Social Climbers
5. Ain't It Your Birthday
6. Shut Up
7. Wrong Crowd
8. Have You Ever Wanted to Die
9. Fever Dreams
10. Trash Day
11. Suck In Your Gut
12. Instrumental$17.99Vinyl LP - Sealed Buy Now
Open BookFred Hersch has long been acclaimed as an exploratory artist, an outspoken activist, an influential educator and a uniquely revelatory and lyrical pianist. As one of the most expressive voices in modern jazz, Hersch has never been shy about letting listeners glimpse his most intimate thoughts and emotions. In September, however, Hersch's fans will be treated to even deeper, more revealing insights into the story of the renowned pianist when he publishes his much-anticipated memoir, Good Things Happen Slowly: A Life In and Out of Jazz. As a companion piece, Hersch decided to present an equally direct and vulnerable glimpse into his private musical thoughts with his 11th solo release, Open Book.
The seven pieces on Open Book (set for release via Palmetto Records) offer some of the finest, most unguardedly emotional solo music that Hersch has created in a career unique for its profound poignancy and passion. Recorded in a South Korean concert hall on a superb Hamburg Steinway concert grand piano, the album captures the vital essence of the revelatory adventurousness and intense beauty that have made Hersch one of the most important solo artists in jazz. With more than 40 albums to his credit as a leader or co-leader, Hersch remarkably continues to discover new areas of inspiration and depths of feeling.
For the last two and a half decades I've been pretty open about who I am, what I like and what I'm dealing with at times, Hersch says. But I've always got to dig deeper, and I thought this might be a chance to make an album that's a window into the kinds of things that I play at home or don't play in public all that much.
The album arrives during a momentous month for Hersch. On September 12, the esteemed publishers Crown Archetype (Penguin Random House) will release Good Things Happen Slowly, Hersch's bravely confessional memoir. The book covers the pianist's meteoric rise in jazz from his sideman days alongside masters like Art Farmer and Joe Henderson to his gradual recognition as one of the most individualistic and innovative artists of his generation, a ten-time Grammy Award nominee and winner of countless accolades including being named a 2016 Doris Duke Artist as well as the same year's Jazz Journalists Association Pianist of the Year. But it also frankly reveals his story as the first openly gay, HIV-positive jazz musician, tracing his path through hedonistic post-Stonewall New York City to the dramatic two-month medically induced coma in 2007 from which he emerged to make some of the most stunning and captivating music of his career.
Later that month Hersch will reprise his ambitious Leaves of Grass full-evening piece at Jazz at Lincoln Center's Appel Room, the first time the song cycle has been performed in New York City since 2005. Vocalists Kurt Elling and Kate McGarry will reprise their roles from the original project, which sets the verse of American bard Walt Whitman. The legendary poet's timeless ode to the miracle of nature and openhearted love of all beings seems especially vital in our present socio-political moment.
The centerpiece of Open Book, and the spark that ignited the album, is the nearly 20-minute improvisation Through the Forest. Unique in Hersch's extensive discography, the stream-of-consciousness gem is a miniature masterpiece of narrative development, a compelling journey through an abstract, glimmering landscape, revealing that in his early 60s Hersch continues to take creative risks and daunting inventive leaps.
The creation of Through the Forest was as unplanned and spontaneous as the music itself. In Seoul for a pair of solo concerts during a break in a tour of Asia with his esteemed trio, Hersch overslept during an after-breakfast nap and rushed to take the stage at JCC Art Center Concert Hall for his afternoon performance. The titular forest is, in part, a jetlag and coffee-fueled dreamscape through which Hersch wanders, applying his vivid powers of observation to unusual terrain. I was a little groggy, my defenses were down, and rather than fight it I just gave in to it, Hersch recalls. I'd never really done anything of that length in public where I had no agenda and was able to stay in that zone for such an extended period of time. I realized it was something special, something different that might be the core of an album.
Through the Forest became the leaping-off point for an album intended to be singularly divulgent and reflective. A few months later, Hersch returned to the same hall and recorded the remainder of Open Book alone in the empty venue (with the exception of Benny Golson's classic Whisper Not, taken from a concert during that return engagement).
The album opens with the stark musings of The Orb, taken from Hersch's autobiographical music-theater piece My Coma Dreams. A love letter to Hersch's longtime partner, AIDS activist Scott Morgan, The Orb is the final dream depicted in the show, and in this solo rendition becomes a nakedly heartfelt outpouring of raw but tender emotion. The mood then takes a turn for the playful and swinging on Whisper Not, a longtime staple of Hersch's repertoire that here becomes a vibrant, virtuoso marathon of thematic exploration.
The piece also serves as an ideal mirror to the album's other composition from the pen of a jazz icon, Thelonious Monk's Eronel. Hersch has long been recognized as one of the premier interpreters of the Monk songbook, but despite including one of the iconic composer's pieces in every one of his sets for most of his career, Hersch had never tackled this particular tune, co-written by pianist Sadik Hakim. Monk's original stride-inflected lines come in for a dizzying array of variations in Hersch's endlessly imaginative take.
The music of Brazil has also been a constant in Hersch's career, in particular the music of Antonio Carlos Jobim, the subject of one of the pianist's earlier solo efforts, 2009's Fred Hersch Plays Jobim. Picture in Black and White is a new addition to that repertoire, majestically transformed from a bossa nova feel to a crystalline hybrid with Chopin's last nocturne. On the other side of Through the Forest in the album's symmetrical structure comes Hersch's own classical-flavored Plainsong, a spare, lyrical piece composed in the bucolic setting of the MacDowell Colony, the inspirational artists' retreat in rural New Hampshire.
Open Book ends on a meaningful ellipsis, Billy Joel's moving And So It Goes. In title alone it's an apt conclusion, suggesting an embrace of life as lived and hinting at its open-ended continuation. The full lyrics, which Hersch has performed in duo settings with singers including frequent collaborator Kate McGarry, remain unspoken here but obviously deeply felt in every note. I connect with the sentiment of the words, Hersch says, and it felt like a good benediction to the whole album.1. The Orb
2. Whisper Not
4. Through The Forest
7. And So It Goes$18.99Vinyl LP - Sealed Buy Now
The Road RunnersAfter the Kings Verses album flips your wig and sends you stumbling out of the garage, the haunted fuzz and ghostly Farfisa of the Road Runners - the second half of Fresno's devastating one-two punch - will turn what's left of your brains to Malt-O-Meal. Results of secret marketing surveys assure us that this unreleased gem is running neck-and-neck with the Watchband, the Standells and the Music Machine in the '66 Punk Hall Of Fame Marathon.1. Nighttime Love
3. I Got To Get Away
4. Little Miss Love
5. I'll Make It Up To You
6. Tell Her You Love Her
7. Sleepy Friend
8. 2120 South Michigan Avenue (Live)
9. Goodbye (Live)
10. The Train Kept A Rollin' (Live)
11. I'll Make It Up To You (Live)
12. Don't Let Me Be Misunderstood (Live)
13. Baby Please Don't Go (Live)
14. Don't Bring Me Down (Live)$24.99Vinyl LP - Sealed Buy Now
A Show Of Hands200 Gram Vinyl
Remastered At Abbey Road Studios Using The Direct To Metal Mastering Audiophile Copper Plating Process, All From Original Analogue Masters
A Show of Hands is a live album by the Canadian rock band Rush, released in 1989. The opening track intro features the theme song from the Three Stooges, Three Blind Mice, a song the band used to open many of their concerts during the '80s. The album reached No. 21 in Billboard, going gold, with the singles including Closer to the Heart and 12 promos of Mission and Marathon.1. Intro
2. The Big Money
5. Turn The Page
6. Manhattan Project Mission
7. Distant Early Warning
8. Mystic Rhythms
9. Witch Hunt (Part III Of Fear)
10. The Rhythm Method (Drum Solo)
11. Force Ten
12. Time Stand Still
13. Red Sector A
14. Closer To The Heart$38.99200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Deep NightA raw cry from the dark night of one man's soul. Cloistered away from the popular culture of 1982,
rural Illinois priest Tony Trosley painted a pastoral refraction of early 1970s Laurel Canyon watercolors with this stand-alone set of songs. Openhearted and naively psychedelic, Deep Night was recorded during a single pre-dawn marathon, and mixed live-to-tape in an isolated chapel.
Cobbled together out of local players to help fill out this ethereal soundscape, Trosley's band brought an earnest but bluntly unsophisticated backdrop to his phaser-drenched 12-string guitar. The Sixth Station-named for a grim New Testament tableau in which Veronica washes the tortured face of Jesus-managed to avoid overtly Christian themes in favor of a mystical Humanism that resonates timelessly, and to any sort of listener. This Deep Night is as profound and eerie as the images conjured by its title.1. I See
2. Ways You've Never Known
3. Scar Of Love
4. Over And Over
5. Make A Way For Me
6. Before The Snowfall
7. Deep Night
9. Remember The Pilgrim$22.99Vinyl LP - Sealed Buy Now