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Medicine For The People

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  • My Name Is Bear My Name Is Bear Quick View

    $24.99
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    My Name Is Bear

    In news that will delight his loyal fans and followers, acclaimed artist Nahko of Medicine for the People has announced the release of his debut solo album, My Name Is Bear, which is set for release via Side One Dummy Records.


    Spanning his formative years as an emerging artist traveling through the wild landscapes of Alaska, Hawaii, and Louisiana, My Name Is Bear is a collection of deeply personal songs that tell the tales of Nahko's awakening as an artist and his most revealing work yet.


    "'My Name Is Bear' is actually the prequel to Medicine For The People. It's where this all began, before this chapter even started. I felt like I needed to retrace my steps before I could move forward," Nahko explains.


    "I've been waiting for years on these songs, for the time to be right to release them. It's now."

    1. Dragonfly
    2. The Vow (Interlude)
    3. Be Here Now

    4. Goodnight, Sun

    5. Too Much Kerouac (Interlude)
    6. Kirby, Joe

    7. Susanna

    8. Bearly Thoughts (Interlude)
    9. Sing Him of My Revelations

    10. Hamakua

    11. Call Him by His Name
    12. Early February

    13. Stoned on a Stone (Interlude)
    14. Creation's Daughter

    15. Alice

    16. Die Like Dinoz
    Nahko
    $24.99
    Vinyl LP - Sealed Buy Now
  • Beneath Medicine Tree Beneath Medicine Tree Quick View

    $35.99
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    Beneath Medicine Tree

    180-Gram Clear With White Smoke Vinyl


    Limited To 1500 Copies


    Mastered For Vinyl From 24 Bit Sources And Lacquers Created By Stan Ricker


    Matte With Spot UV Gatefold Jacket


    8-Page Booklet With Vellum Overlay


    Beneath Medicine Tree is the first full-length album from Copeland. Beneath Medicine Tree features a heavy medical theme. Aaron Marsh admits that the lyrics in this album were inspired by the hospitalization of his girlfriend and the death of his grandmother.

    Marsh cites that, With Beneath Medicine Tree, I wanted to make a record that moves people, while with In Motion, I wanted to make a record that makes people move.

    LP1
    1. Brightest
    2. Testing The Strong Ones
    3. Priceless (For Eleanor)
    4. Take Care
    5. When Paula Sparks


    LP2
    1. California
    2. She Changes Your Mind
    3. There Cannot Be A Close Second
    4. Coffee
    5. Walking Downtown
    6. When Finally Set Free

    Copeland
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • HOKA HOKA Quick View

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    HOKA

    Pressed On 2x Translucent Orange Crush Colored Vinyl


    A limited vinyl version of 2014 album from Oregon-born singer/songwriter Nahko, who is of Puerto Rican, Native American (Apache), and Filipino descent, with his band Nahkko And Medicine for the People. Vinyl is standard weight, translucent orange crush double LP in gatefold jacket with matte finish.

    LP 1
    1. Hoka
    2. Directions (feat. Joseph)
    3. It Is Written
    4. All Can Be Done
    5. San Quentin
    6. We Shall Overcome
    7. Two Wolves
    8. Great Spirit
    9. We Are On Time
    10. Love Letters To God


    LP 2
    1. Heart Forward
    2. Tus Pies (Your Feet)
    3. Backbone
    4. Ku Kia'i Mauna (feat. Hawane & Pua Case)
    5. Build A Bridge
    6. Make A Change (feat. Zella Day)
    7. Compass (feat. Luka Lesson)
    8. Runner
    9. The Wolves Have Returned (feat. Tevor Hall, Xavier Rudd, Leah Song & Jospeh)
    10. The Only Planet That Has Love Songs (feat. Josh Fox)

    Nahko & Medicine For The People
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • 50 Years Of Blonde On Blonde (Live) 50 Years Of Blonde On Blonde (Live) Quick View

    $33.99
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    50 Years Of Blonde On Blonde (Live)

    The 14-track album, 50 Years of Blonde on Blonde, was recorded LIVE at the CMA Theater located inside the historic Country Music Hall of Fame and Museum located in Nashville, TN in May 2016. Mixed by GRAMMY Award-winning Ted Hutt and Ryan Mall.


    Fifty years is a long time for a place like Nashville, Tennessee. Time rolls on slowly around here like flotsam and jetsam in the muddy Cumberland River. But certain things have accelerated the pace of our city. And certain people have sent the hands of the clock spinning. Bob Dylan is the greatest of these time-bending, paradigm-shifting Nashville cats, says Ketch Secor, the primary vocalist of the Old Crow Medicine Show.


    By deciding to record his newly found rock n roll voice in 1966 Nashville, Bob swung the gates of Country music wide open; so wide, in fact, that 50 years later there was still enough of a crack left for Old Crow Medicine Show to sneak its banjos and fiddles through the gates with string band swagger.

    LP 1
    1. Rainy Day Women #12 & 35 (Live)
    2. Pledging My Time (Live)
    3. Visions of Johanna (Live)
    4. One of Us Must Know (Sooner or Later) (Live)
    5. I Want You (Live)
    6. Stuck Inside of Mobile with the Memphis Blues Again (Live)
    7. Leopard-Skin Pill-Box Hat (Live)
    8. Just Like a Woman (Live)


    LP 2
    1. Most Likely You Go Your Way and I'll Go Mine (Live)
    2. Temporary Like Achilles (Live)
    3. Absolutely Sweet Marie (Live)
    4. 4th Time Around (Live)
    5. Obviously 5 Believers (Live)
    6. Sad Eyed Lady of the Lowlands (Live)

    Old Crow Medicine Show
    $33.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • In Spite Of Ourselves In Spite Of Ourselves Quick View

    $19.99
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    In Spite Of Ourselves

    Pressed On 180 Gram Vinyl


    Gatefold Matte Inner Sleeve


    Two time Grammy-award winner, John Prine, is a singer songwriter who, from his eponymously titled first LP release in 1971, has continued to write and perform songs that have become central to our American musical heritage. Classics like, 'Angel from Montgomery', 'Sam Stone,' 'Paradise,' and 'Hello in There' speak to the everyday experience of ordinary people with a simple honesty, and an extraordinary ability to get right through to the heart of the listener.


    Long considered a "songwriter's songwriter," John Prine is a rare talent whose writing is greatly admired by his peers. Performers who have recorded from his extensive catalog, include Johnny Cash, Bonnie Raitt, the Everly Brothers, John Denver, Kris Kristofferson, Carly Simon, Ben Harper, Joan Baez, George Strait, Old Crow Medicine Show, Norah Jones, Bette Midler, Miranda Lambert and many others.


    With his career spanning more than 40 years Prine continues to perform at sold out shows all over the US, Canada, and Europe. Among the many awards and accolades John has received in recent times include is his 2003 induction into the Nashville Songwriters Hall of Fame, an Americana Lifetime Achievement Award for songwriting and was honored at the Library of Congress by US Poet Laureate Ted Kooser. Prine has become for many, not just a well loved and appreciated songwriter, but a bonafide American treasure.

    1. (We're Not) The Jet Set - (ft. Iris DeMent)
    2. So Sad (To Watch Good Love Go Bad) - (ft. Connie Smith)
    3. Wedding Bells / Let's Turn Back The Years - (ft. Lucinda Williams)
    4. When Two Worlds Collide - (ft. Trisha Yearwood)
    5. Milwaukee Here I Come - (ft. Melba Montgomery)
    6. I Know One - (ft. Emmylou Harris)
    7. It's A Cheating Situation - (ft. Dolores Keane)
    8. Back Street Affair - (ft. Patty Loveless)
    9. Loose Talk - (ft. Connie Smith)
    10. Let's Invite Them Over - (ft. Iris DeMent)
    11. 'Til A Tear Becomes A Rose - (ft. Fiona Prine)
    12. In A Town This Size - (ft. Dolores Keane)
    13. We Could - (ft. Iris DeMent)
    14. We Must Have Been Out of Our Minds - (ft. Melba Montgomery)
    15. In Spite of Ourselves - (ft. Iris DeMent)
    16. Dear John (I Sent Your Saddle Home)
    John Prine
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Talkin' To (Discontinued) A Talkin' To (Discontinued) Quick View

    $13.99
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    A Talkin' To (Discontinued)

    Orange Colored Vinyl


    New signing for Gravity, Prizehog are a 3-piece band from San Francisco that started in 2006. People talk about cavemen beating wooly mammoth's in slow motion, this band actually does it, without bragging. Prizehog have played shows and festivals with Jello Biafra & the Guantanamo School of Medicine, Phil Manley (Trans Am), Mammatus (Holy Mountain Records), Moira Scar, Polar Bears, Rabbits, San Witches, Genesis Climber and many more. Limited hand-silkscreened covers with orange vinyl.

    1. Luck, The Bailing Haymaker
    2. Best in a vile
    3. Mountaintop Removal
    Prizehog
    $13.99
    Colored Vinyl LP - Sealed Buy Now
  • Stage Fright Stage Fright Quick View

    $34.99
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    Stage Fright

    180 Gram Numbered, Limited Edition


    1970 Set an Organic, Iconic Rock Landmark - In Special Textured Finish Gatefold Jacket


    Record Shivers With Raw Emotions, Dark Confessionals, and Intense Singing


    Half-Speed Mastered from the Original Analog Tapes: Transcendent Sound


    A sharp stylistic and thematic detour away from its first two albums, the Band's Stage Fright is a compelling snapshot of a group coping with massive success and internal changes. Recorded in 1970 at the Woodstock Playhouse, the set shivers with raw emotions, dark confessionals, and intense singing. Largely devoid of the quintet's trademark all-for-one harmony vocals, Stage Fright is an utterly distinctive piece of the Band's catalog-and a historic landmark that's a necessary part of any music collection.


    "When Stage Fright came about, all I was doing was feeling my way along. But, where everybody was in a huddle on both Big Pink and The Band, with Stage Fright it didn't feel like we were all connected in the same kind of way. In this period of experimentation in life, in music, in drugs, people kept wanting to stretch and reach and go somewhere and try things and, in the course of that, some real alienation can take place as well. When these things are chemically induced, you can feel an incredible shutdown of communication." -guitarist Robbie Robertson, as told to Rob Bowman


    Such splintered camaraderie and personal demons appear in now-famous songs such as the title track, "The Shape I'm In," and "The W.S. Walcott Medicine Show." The music is rife with palpable tension, and as a credit to the Band's unique sound, absolutely singular. It's impossible to think of any other group playing these tunes. Robertson's balladic ode to his daughter, "All La Glory," featuring a gorgeous vocal turn from Levon Helm, provides a sunny contrast to the darker compositions.


    Circumstances behind the recording sessions also reflected the mood. While the Band had intended to capture the album in one take in front of a small crowd at the theater, the town residents vetoed the idea due to concerns over being inundated by too many visitors. Consequently, the Band played to an audience of no one, sometimes with the curtains closed and other times, with them open. Todd Rundgren, who engineered the album, couldn't even see what was going on-he was sitting in a canvas prop tent that became the control room, behind the theater.


    As always, Mobile Fidelity half-speed mastered this numbered limited-edition 180g LP from the original master tapes for a superior sonic experience. This analog edition of Stage Fright bursts with supreme tonal clarity and an airiness that brings the genius of Rundgren's preservation of high frequencies to complete realization. Even the fine textures of the hand drums on the stunning "Daniel and the Sacred Harp" come to light with microscopic detail. Perfectly blended, MoFi's Stage Fright takes its place as the most balanced and punchy record in the Band's oeuvre.


    Stage Fright is part of Mobile Fidelity's effort to present the Band's timeless music in the highest fidelity possible.


    This title is not eligible for discount.

    1. Strawberry Wine
    2. Sleeping
    3. Time to Kill

    4. Just Another Whistle Stop
    5. All La Glory
    6. The Shape I'm In
    7. The W.S. Walcott Medicine Show
    8. Daniel and the Sacred Harp
    9. Stage Fright

    10. The Rumor
    The Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Parker Millsap Parker Millsap Quick View

    $18.99
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    Parker Millsap

    You can't get much more small-town America than growing up in an Oklahoma burg with a population of less than 6,000. But it's to singer/songwriter Parker Millsap's credit that he doesn't let that, or his upbringing in a Pentecostal household, get in the way of writing detailed, personality-driven story songs; ones that tell larger truths of the human condition without coming off as preachy or disparaging. That, combined with the 20 year old's weathered vocals and knack for combining folk, blues and country into melodies that feel lived in yet not familiar, makes this an early contender for one of the most notable debuts from a new artist this year.


    It's that diversity which lets him appeal to a variety of audiences, opening concerts for acts as varied as Jimmy Lafave, Jimmie Vaughan and the Old Crow Medicine Show. His approach is sometimes brooding yet never sterile. Tales of a twisted religious killer ("Old Time Religion"), the loser looking for his future in a lottery ticket ("Yosemite") and the man ready to take his wife and leave his small town for good ("Disappear") are relatable since the personalities are probably not far removed from ones we have encountered, or at least read about.


    Everything is written in a first person narrative as if we are living their thoughts and providing a window into these protagonist's souls. It's particularly effective with the Okie leaving for a better political and physical environment on the Delta blues slide guitar and harmonica driven "Land of the Red Man." The slow blues of "Forgive Me" inserts us inside the mind of a self-confessed sinner who understands his darkest impulses prevent him from interacting with normal people. Horns provide mournful accompaniment making the song a cousin to Randy Newman's "Guilty," impressive company, especially for someone just in his twenties.


    Like the best of his peers, Millsap lets his music and lyrics do the talking, keeping the production sparse, not stark, and creating a terrific, even audacious first effort. Millsap's subtle style allows the listener to discover the emotional vortex of his often confused characters, helping us identify with their motives without casting judgment.

    - Hal Horowitz (American Songwriter)

    1. Old Time Religion
    2. Truck Stop Gospel
    3. Forgive Me
    4. The Villian
    5. Disappear
    6. Quite Contrary
    7. At The Bar
    8. When I Leave
    9. Yosemite
    10. Land of the Red Man
    Parker Millsap
    $18.99
    Vinyl LP - Sealed Buy Now
  • Sundown Heaven Town (Deluxe) Sundown Heaven Town (Deluxe) Quick View

    $24.99
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    Sundown Heaven Town (Deluxe)

    McGraw takes us back to that place with Sundown Heaven Town, his thirteenth studio album (and second release for Big Machine Records).


    I picture a little town, like the one I grew up in, he says of the album's picturesque title. It's late in the afternoon. Sunset. Maybe some kids are playing baseball, and their family members are in the stands. You're at the point where the working week has given way to the weekend. That's my idea of sundown in heaven town.


    Sundown Heaven Town pays tribute to those two decades, putting a new stamp on all of the sounds the revved-up country rockers, the nostalgic ballads, the down-home numbers that have made McGraw one of the best-selling country artists of the modern era.


    From the banjo riff that kicks off the opening track, Overrated, to the digital percussion that pushes Lookin' for that Girl into pop-influence territory, Sundown Heaven Town mixes the old with the new, the rustic with the modern, the organic with the electric. It's a country record, in other words... with all the twists and turns we've come to expect from someone who's been at the top of the genre since 1994.


    This album is very encompassing of everything that I've done in my career, McGraw explains. It's a good microcosm of what my 20 years in music has been. You can hear parts of my career throughout all these songs, as well as the future and where my music is headed.


    Sundown Heaven Town also shines a light on the family, friends, and collaborators who've played roles in McGraw's career. His first cousin, Catherine Dunn, joins him on Diamonds Rings and Old Barstools, a classic-sounding country ballad about love on the rocks. His wife of 18 years, Faith Hill, lends her award-winning vocals to Meanwhile Back at Mama's, which doubles as the album's first chart-topper. Longtime friend Kid Rock makes an appearance, too, raising a rootsy ruckus on the bonus track Lincoln Continentals and Cadillacs.


    I love being able to collaborate with great people, he says. To be in a place in your career where you can call up somebody like Keith Urban or Kid Rock and ask them to play or sing on a song with you, and they do it... How cool is that?


    Several months before the album's release, McGraw launched the Sundown Heaven Town 2014 Tour, giving the singer a chance to perform some of the album's songs long before they hit stores. After spending countless summers on the road McGraw knew that his new songs deserved to be heard not only on the radio, or in a pair of fans' earbuds, but on stage. After all, there's an immediacy to Sundown's faster tunes, an anthemic vibe that owes just as much to the amphitheater as the honky tonk.


    A family man and devoted husband, McGraw also shines a light on his softer side with tracks like Words are Medicine and Portland, Maine. He recorded his vocal parts for the latter song in just 10 minutes. The result is a wounded, wistful ballad, driven forward not by a drumbeat, but an acoustic guitar. McGraw may look larger than life while standing onstage... but when he sings about heartache, he sounds just as vulnerable as the rest of us. Maybe that's why he considers Portland, Maine one of the album's best songs, a difficult distinction to make on a record that spawned three hit singles before the album's release.


    From start to finish, Sundown Heaven Town tips its cowboy hat to the traditions of country music, then tosses a some new ingredients into the mix. The result is a melting pot of everything Tim McGraw does best. It's a country album for 2014, anchored by a fondness for the genre and the desire to push it into uncharted territory. More than anything else, it's proof that artists can sound contemporary without chasing after current trends. After all, trends don't last but songs do. Especially songs like these.

    1. Overrated
    2. City Lights
    3. Shotgun Rider
    4. Dust
    5. Diamond Rings and Old Barstools with Catherine Dunn
    6. Words Are Medicine
    7. Sick Of Me
    8. Meanwhile Back At Mama's feat. Faith Hill

    9. Keep On Truckin'
    10. Last Turn Home

    11. Portland, Maine
    12. Lookin' For That Girl
    13. Still On The Line (No Ghost Ending)
    14. Lincoln Continentals and Cadillacs duet with Kid Rock
    15. Kids Today
    16. I'm Feelin' You
    17. The View
    18. Black Jacket
    Tim McGraw
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) Hurry Up, We're Dreaming (Colored Vinyl) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
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    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
    x

    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Indoor Living Indoor Living Quick View

    $21.99
    Buy Now
    x

    Indoor Living

    With a lot of Superchunk products, it's easy to think there's a simple message because
    the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
    shout-sung tag lines that beg for an audience to croon along-"Let's burn last
    Sunday"-are just the overarching structure of a record that moons over details:
    "Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
    twisting apart ("The arc of lights / above your head / is not to be believed").
    "Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
    search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
    space is mine / Yeah I hardly have the right to sing about it."


    Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
    can write a break-up record, anyone can color in a broken heart all black. It takes a
    more sophisticated eye to find the light and perfect moments that happen even when
    we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
    for mercy comes across like an in-joke ("We both know that I've got bad knees") in
    "Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
    fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
    ("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
    Popular Music," the record's angriest slice of heartache, has a protagonist that can't
    quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
    me to use," but "making mosaics of scenes from the parts of my life that you left me
    to lose."


    Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
    knowing you won't is hard. Adulthood is about forsaking the black and white
    resolutions of youth for a more complicated, and resonant, resilience: From "Burn
    Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
    break / Well, they just bend." In music and with people, maturity happens when the
    sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
    Indoor Living shows that you don't have to lose a single joule of energy in becoming a
    little more self-reflective. You just have to be willing to take it all in.


    Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
    wanted it to be. Though of course-of course!-I've listened to the record on and
    off in the intervening time, I had forgotten how familiar this record is to me. I had
    forgotten I knew all the words to every song, could anticipate every hesitant drop in
    rhythm and wavering chorus. This record was the soundtrack of being 25 and because
    of that, it does remind me of a really specific time; but that time is not so much the
    late '90s as the turning point between adolescence and adulthood, which happens later
    and later to me every year.


    -Ana Marie Cox, 2013

    1. Unbelievable Things
    2. Burn Last Sunday
    3. Marquee
    4. Watery Hands
    5. Nu Bruises
    6. Every Single Instinct
    7. Song for Marion Brown
    8. The Popular Music
    9. Under Our Feet
    10. European Medicine
    11. Martinis on the Roof
    Superchunk
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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