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Mind GamesMind Games is the fourth studio album by John Lennon. It was recorded at Record Plant Studios in New York in summer 1973. The album was released in the US 29 October 1973 and the UK 16 November 1973.1. Mind Games [Remastered 2010]
2. Tight A$ [Remastered 2010]
3. Aisumasen (I'm Sorry) [Remastered 2010]
4. One Day (At A Time) [Remastered 2010]
5. Bring On The Lucie (Freda Peeple) [Remastered 2010]
6. Nutopian International Anthem [Remastered 2010]
7. Intuition [Remastered 2010]
8. Out The Blue [Remastered 2010]
9. Only People [Remastered 2010]
10. I Know (I Know) [Remastered 2010]
11. You Are Here [Remastered 2010]
12. Meat City [Remastered 2010]$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lennon (Box Set)
180 Gram Vinyl Box Set
Remastered From Original Analogue Masters
With Faithfully Replicated Original Album Art
John Lennon's eight solo studio albums, remastered from their original analogue masters, have been newly cut to vinyl from 96k digital files for Lennon, a new 9LP boxed collection on heavyweight, 180-gram vinyl with faithfully replicated original album art. Released by Capitol, the collection's albums are all out-of-print worldwide on vinyl, with the exception of previous LP remasters of Imagine and Rock 'n' Roll which are in print in the United States. Lennon is the first complete collection of John Lennon's solo studio albums to be released on vinyl.
The albums were remastered from John Lennon's original mixes in 2010 by Yoko Ono and a team of engineers led by Allan Rouse at Abbey Road Studios in London and by George Marino at Avatar Studios in New York. The new vinyl masters were cut by Sean Magee at Abbey Road Studios and the LPs have been manufactured for the world by Optimal Media in Germany.
Each of the Lennon collection's LPs is an authentic reproduction of its U.K. original, in its sound and visual presentation. In keeping with the original album artwork, Imagine contains reproductions of its two postcards, poster and inner bag, Some Time In New York City includes reproductions of its original postcard and inner sleeve, Walls and Bridges includes its sleeve with two fold-over flaps, an eight-page booklet and inner sleeve, and Mind Games, Double Fantasy and Milk and Honey also include reproductions of their original inner sleeves.
John Lennon is one of the world's most celebrated songwriters and performers of all time. Lennon has been posthumously honored with a Lifetime Achievement GRAMMY® Award and two special BRIT Awards for Outstanding Contribution to Music, and he has been inducted into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2008, Rolling Stone ranked him in the Top 5 of the magazine's 100 Greatest Singers Of All Time list.John Lennon/Plastic Ono Band (1970)
2. Hold On
3. I Found Out
4. Working Class Hero
8. Well Well Well
9. Look At Me
11. My Mummy's Dead
2. Crippled Inside
3. Jealous Guy
4. It's So Hard
5. I Don't Wanna Be A Soldier Mama I Don't Wanna Die
6. Gimme Some Truth
7. Oh My Love
8. How Do You Sleep?
10. Oh Yoko!
Some Time In New York City (2 LP) (1972)
1. Woman Is the Nigger of the World
2. Sisters, O Sisters
3. Attica State
4. Born In a Prison
5. New York City
6. Sunday Bloody Sunday
7. The Luck Of the Irish
8. John Sinclair
10. We're All Water
11. Cold Turkey (live)
12. Don't Worry Kyoko (live)
13. Well (Baby Please Don't Go) (live)
14. Jamrag (live)
15. Scumbag (live)
16. Au (live)
Mind Games (1973)
1. Mind Games
2. Tight A$
3. Aisumasen (I'm Sorry)
4. One Day (At a Time)
5. Bring On the Lucie (Freda Peeple)
6. Nutopian International Anthem
8. Out The Blue
9. Only People
10. I Know (I Know)
11. You Are Here
12. Meat City
Walls and Bridges (1974)
1. Going Down On Love
2. Whatever Gets You Thru The Night
3. Old Dirt Road
4. What You Got
5. Bless You
7. #9 Dream
8. Surprise Surprise (Sweet Bird of Paradox)
9. Steel and Glass
10. Beef Jerky
11. Nobody Loves You (When You're Down and Out)
12. Ya Ya
Rock 'n' Roll (1975)
2. Stand By Me
3. Medley: Rip It Up/Ready Teddy
4. You Cant Catch Me
5. Ain't That A Shame
6. Do You Want To Dance
7. Sweet Little Sixteen
8. Slippin' And Slidin'
9. Peggy Sue
10. Medley: Bring It On Home To Me/Send Me Some Lovin'
11. Bony Moronie
12. Ya Ya
13. Just Because
Double Fantasy (1980)
1. (Just Like) Starting Over
2. Kiss Kiss Kiss
3. Cleanup Time
4. Give Me Something
5. I'm Losing You
6. I'm Moving On
7. Beautiful Boy (Darling Boy)
8. Watching the Wheels
9. Yes I'm Your Angel
11. Beautiful Boys
12. Dear Yoko
13. Every Man Has A Woman Who Loves Him
14. Hard Times Are Over
Milk and Honey (1984)
1. I'm Stepping Out
2. Sleepless Night
3. I Don't Wanna Face It
4. Don't Be Scared
5. Nobody Told Me
7. Borrowed Time
8. Your Hands
9. (Forgive Me) My Little Flower Princess
10. Let Me Count The Ways
11. Grow Old With Me
12. You're The One$199.99180 Gram Audiophile Virgin Vinyl LP Box Set - 9 LPs Sealed Buy Now
$29.99$18.99Save $11.00 (37%)
Computer Games (On Sale)Computer Games is the debut solo album by funk musician George Clinton. Conceived in the aftermath of a period marked by financial and personal struggles for Clinton, Computer Games restored his popularity. The single Loopzilla hit the Top 20 R&B charts, followed by Atomic Dog which reached #1. Continuing with its Respect The Classics campaign UMe will be reissuing this classic back on vinyl with a limited edition 3D cover that's mind blowing!
This title is not eligible for further discount.1. Get Dressed
2. Man's Best Friend / Loopzilla
3. Pot Sharing Tots
4. Computer Games
5. Atomic Dog
6. Free Alterations
7. One Fun At A Time$29.99 $18.99 Save $11.00 (37%)Vinyl LP - Sealed Buy Now
Ender's Game SoundtrackENDER'S GAME Original Motion Picture Soundtrack
Music Composed by Steve Jablonsky (The Transformers Trilogy, Pain & Gain, Battleship)
In the near future, a hostile alien race called the Formics have attacked Earth. If not for the legendary heroics of International Fleet Commander Mazer
Rackham (Ben Kingsley), all would have been lost. In preparation for the next attack, the highly esteemed Colonel Hyrum Graff (Harrison Ford) and the
International Military are training only the best young minds to find the future Mazer. Ender Wiggin (Asa Butterfield), a shy but strategically brilliant boy, is
recruited to join the elite. Arriving at Battle School, Ender quickly and easily masters increasingly difficult challenges and simulations, distinguishing
himself and winning respect amongst his peers. Ender is soon ordained by Graff as the military's next great hope, resulting in his promotion to Command
School. Once there, he's trained by Mazer Rackham himself to lead his fellow soldiers into an epic battle that will determine the future of Earth and save
the human race.
Composer Steve Jablonsky, veteran of the Transformers franchise, creates the all-new musical world of Ender's Game.1. Ender's War
2. Stay Down
3. Battle School
4. Move It Launchies
5. The Battle Room
6. Mind Game Part 1
7. Salamander Battle
8. Mind Game Part 2
9. Dragon Army
10. Dragons Win
12. Ender Quits
13. Mazer Rackham
14. Enemy Planet
15. Command School
16. Graduation Day
17. Final Test
18. Game Over
19. The Way We Win Matters
20. Ender's Promise
21. Commander$19.99Vinyl LP - Sealed Buy Now
The Cosmic GameLP reissue of classic Thievery Corporation album which has scanned 175k RTD.
The Cosmic Game, finds the duo of Rob Garza and Eric Hilton in their most expansive mood yet, as their latest sonic exploration blurs the boundaries
between rock, breaks, future-bossa, dub, psychedelia and other mind-altering sounds. Features outstanding collaborations with rock luminaries Perry
Farrell, The Flaming Lips, and David Byrne as well as Thievery's always diverse cast of dancehall MC's, smokey-voiced chanteuses, and Brazilian
percussionists.1. Marching the Hate Machines (Into the Sun) featuring Wayne Coyne
2. Warning Shots featuring Sleepy Wonder and Gunjan
3. The Revolution Solution featuring Perry Farrell
4. The Cosmic Game
5. Satyam Shivam Sundaram featuring Gunjan
6. Amerimacka featuring Notch
7. Ambicion Eterna (Eternal Ambition) featuring Verny
8. Pela Janela (Through the Window) featuring Gigi Re
9. Sol Tapado (The Covered Sun) featuring Patrick de
10. The Heart's a Lonely Hunter featuring David Byrne
11. Holographic Universe featuring Gunjan
12. Doors of Perception featuring Gunjan
13. Wires and Watchtowers featuring Sista Pat
14. The Supreme Illusion featuring Gunjan
15. The Time We Lost Out Way featuring Loulou
16. A Gentle Dissolve$24.99Vinyl LP - 2 LPs Sealed Buy Now
Auto MusicWhat better place to create the ultimate driving album than Los Angeles, where Brian Reitzell lives and works? You might not immediately recognise his name, but you'll certainly have stumbled across at least one corner of his massive portfolio, whether as the drummer in Redd Kross and with French electronica artists Air, or as one of Hollywood's most sought-after music supervisors and composers. That's his day job: Brian is the guy who gets to choose the music you hear in TV series and movies -- the last year alone, he's worked on Sofia Coppola's The Bling Ring, NBC's TV series Hannibal, Starz TV series Boss (starring Kelsey Grammer) and Ubisoft's mind blowing new video game Watch Dogs. Brian has turned the job into a creative practice (he thinks of himself as a 'music conceptualist'), not only using his impeccable music taste to select more eclectic and adventurous cuts than you normally hear on screen, but also commissioning and producing new music from some of rock and pop's most reticent geniuses. For Sofia Coppola's Lost In Translation, he persuaded My Bloody Valentine's Kevin Shields out of obscurity, and he also secretly commissioned new music from the reclusive former singer of Talk Talk, Mark Hollis -- a snippet of which was used on the Starz series Boss.1. Last Summer
2. Ozu Choral
5. Auto Music 1
9. Auto Music 2$21.99Vinyl LP - Sealed Buy Now
Familiar TouchIt's been almost three years since DIANA released their critically-acclaimed LP, Perpetual Surrender. Now, the wait for new material has come to an end with the upcoming release of their second album Familiar Touch. The band have also shared the album's opening track, 'Confession' - a sharply focused example of their statement of intent, and which follows on from the previously shared 'Slipping Away'.
Having initially conceived Perpetual Surrender as a one-off recording project, Kieran Adams (drums, drum machines, synths), Carmen Elle (guitars, vocals) and Destroyer touring band member Joseph Shabason (synths, samplers, saxophone) regrouped after a period of time that Elle describes as "learning how to be a band." Bigger, fuller and far more open and expansive, Familiar Touch takes all of Perpetual Surrender's gorgeous qualities and pushes the songs to the forefront, upping DIANA's game tremendously.
'Miharu' is the perfect example of this: recalling the best mid-80's alt-pop, it mixes the lush soul signature of Flyte Time Productions (Jimmy Jam & Terry Lewis) while delivering a massive pop chorus that liquefies into their modern production nous. "I really love the silky rub between Carmen's demure approach and Gary's [Beals, additional vocals] vibrant punctuations," Adams explains, his description also perfectly encapsulating 'Moment of Silence' - another sophisticated pop track with what Adams describes as having "a very smooth top layer" and synths that give the impression of "stretching time - being stretched thin in those moments." 'Confession' also builds upon those Jam & Lewis rhythms, with Adams describing it as sounding like the pair "if they worked with Annie Lennox."
Where Perpetual Surrender was the unexpected success of a group of friends experimenting with different sounds, Familiar Touch is the sound of them taking those experiences and maximising themselves as a proper band. "There was a much different studio flow - we started working on things close to a year before we recorded them," says Adams. "Last time, we were obscuring what it was that we were doing - with washed out or distorted vocals, for example. With this album - particularly with the vocals - we conceptualised everything a lot more in advance and really committed to certain sounds and feelings. We tried to fight the instinct of trying to distort it."
One thing that's clear this time around is how much more confidence DIANA have in themselves as musicians. The trio decamped to Adams' then-apartment, where the pressures of a second album and the time constraints of a regular studio were relieved. Renting their own gear, they made makeshift vocal booths of out of clothes cupboards and Star Wars sleeping bags (or "weird, fucked up musty vocal caves" as Shabason describes them). Upon listening to the record, it's hard to believe Familiar Touch was made in such a compact environment. With its emboldened production, it sits pleasingly alongside their personal influences and seminal recordings such as Prefab Sprout's Steve McQueen or Yellow Magic Orchestra's Naughty Boys.
Mixed by Chris Coady (TV on the Radio, Beach House, Grizzly Bear) and mastered by Heba Kadry, Familiar Touch is also lent a skilled hand by Thom Gill (guitars, keys, piano), Bram Gielen (bass), Vince Spilchuk (trumpet), and vocalists Robin Dann, Alanna Stuart of Bonjay and aforementioned Gary Beals - runner-up on the first season of Canadian Idol. By having the space and time to work with their new ideas on their own terms, this time around, DIANA have crafted an album that sounds unabashedly vibrant and distinctly 2016.1. Confession
2. What You Get
3. Slipping Away
4. Moment of Silence
5. The Coward
9. These Words
10. Take it Over$19.99Vinyl LP - Sealed Buy Now
RatworldBack in the good old of days of 1990, Color Dream games released Menace Beach for the then popular NES games console from Nintendo. Imagine skateboarding through a side-scrolling 8-bit world filled with balloons, clowns and disgruntled dockworkers in search of your cute pixilated girlfriend Bunny. It's from this slightly surreal, esoteric world that this Leeds indie rock revolving cast of local luminaries, headed by Ryan Needham and Liza Violet, draw their name. It's reference acts as the perfect backdrop to their 90s American underground and pre-Brit Pop indie; colourful, energetic, pop and always surprising. After the success of their EP 'Lowtalker' in early 2014, British indie label favourites Memphis Industries snapped MB up again, but this time with the band's debut album in mind. It comes in the shape of 'Ratworld', a thirteen song assault and journey through a psyche tinged wonderland, documenting moving away and waving goodbye to the fractured rubble of an unhappy lifestyle. On the title, Ryan says "We''ve created our own grubby little Ratworld to inhabit. Everything is better when it's a bit grubby and broken". It''s that dreamy sensation of taking comfort in chaos, looking around at the perfect mess you've created and feeling deeply content as it''s yours and no one else's.1. Come On Give Up
3. Drop Outs
5. Blue Eye
6. Dig It Up
7. Tennis Court
9. Tastes Like Medicine
10. Pick Out The Pieces
11. Infinite Donut
12. Fortune Teller$18.99Vinyl LP - Sealed Buy Now
The Long OKnown best for his work in Tasmanian freak-rock outfit The Native Cats, long-time Australian poet and sometimes stand up comedian Peter Escott has recently put to tape a magnificent solo opus, The Long O. Featuring no other performers and limited to the only instruments Escott knows how to play - piano, synth, melodica, and a solitary, awkwardly self-taught guitar chord - The Long O is as haunting as it is direct, with Escott's voice lending a reserved gravity to the often soaring arrangements.
The minimal instrumentation allows Escott's long-confirmed songwriting strengths to come to the fore. He avoids arpeggiating and endless layering in favour of weighty chords and open spaces, whether in the mournful stride of piano-driven lead single "My Heaven, My Rules" or the blissful dream-pop of "Mealymouth". A thread of rough-hewn experimentation runs through the album too: "The Bell" closes the album with a melodica solo played in front of a washing machine, both heavily distorted to devastating effect.
Escott's lyrics, already so vital to the appeal of the Native Cats, are even more focused and prominent here, as he trades his usual bold declarations and paranoid power games for a far more reflective and revealing lyrical mode. In "O", a three-part home recording inspired by the paralysing indecision of trying to complete and arrange the album, he wonders if all art can simply be reduced to "a list of decisions", explores the notion of artistic immortality via the history of drum sampling, and accepts the impossibility of writing to please anybody but oneself. It's The Long O in a nutshell: pieces of an ordinary life, and a wandering mind, and a well-honed instinct for deceptively small sounds.1. A16 (Sure Thing)
2. My Heaven, My Rules
3. Every Afternoon Is Holy
4. No One
7. Ship Of Theseus
8. My Arm Is True
9. I Believe In Devil World
11. Kid 88 Moves On
12. Desmond's Songs
13. The Bell$32.99Vinyl LP - Sealed Buy Now
I Don't Like Shit, I Don't Go Outside: An Album By Earl SweatshirtI Don't Like Shit, I Don't Go Outside: An Album by Earl Sweatshirt is the second studio album by American rapper Earl Sweatshirt.
On his first studio album, 2013's Doris, the most mysterious member of L.A. shock-rap gremlins Odd Future proved himself by exploring real-life alienation. On his excellent second LP, Earl Sweatshirt keeps deepening his game - spooling out dense, mordant rhymes over zombifically blunted tracks as he somehow sucks you into his sunless reality. It's amazing that music so claustrophobic can be this engrossing.
As always, Sweatshirt is most compelling when he's going toe to toe with his own demons. I spent the day drinking and missing my grandmother, he raps on Huey, perfectly summing up the music's desolate vibe. Mantra opens with some maniac grandstanding (With a cleaver and a .30 and some twisted weed/I pick one and let the crimson leak), then slides into a downhearted breakup song. Grief is a harrowing shut-in snapshot: I just want my time and my mind intact/When they both gone, you can't buy 'em back. At just 10 songs in a half-hour, I Don't Like Shit is surprisingly concise - even if it's sometimes dark and paranoid enough to make There's a Riot Goin' On sound like the Three's Company theme. And who needs more? Even a half-hour with Earl is enough to leave you with a lifetime of creepy memories.1. Huey
3 . Faucet
5. Off Top
6. Grown Ups
7. AM // Radio
10. Wool$19.99Vinyl LP - Sealed Buy Now
Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)Box Set Features 13 x 7" Singles On Colored Vinyl
Includes Booklet Featuring Previously Unpublished Photos
Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.
He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.
All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.
From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.
Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.
His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.
As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.
Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.
Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.
In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.
Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.
In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.
But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.
Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.
Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.Disc 1 - Blue Colored Vinyl
(a) I Can Hear Music - Larry Lurex (1973)
(b) Goin' Back - Larry Lurex
Disc 2 - Orange Colored Vinyl
(a) Love Kills (1984)
Disc 3 - Yellow Colored Vinyl
(a) I Was Born To Love You (1985)
(b) Stop All The Fighting
Disc 4 - Red Colored Vinyl
(a) Made In Heaven [Single Remix] (1985)
(b) She Blows Hot And Cold
Disc 5 - White Colored Vinyl
(a) Living On My Own [Single Edit] (1985)
(b) My Love Is Dangerous
Disc 6 - Red Colored Vinyl
(a) Love Me Like There's No Tomorrow (1985)
(b) Let's Turn It On
Disc 7 - Cyan Colored Vinyl
(a) Time (1986)
(b) Time [Instrumental]
Disc 8 - Orange Colored Vinyl
(a) The Great Pretender (1987)
(b) Exercises In Free Love [Freddie's Vocal]
Disc 9 - Clear Colored Vinyl
(a) Barcelona [Single Version] (1987)
(b) Exercises In Free Love [Montserrat's Vocal]
Disc 10 - Gold Colored Vinyl
(a) The Golden Boy [Single Edit] (1988)
(b) The Fallen Priest [B-Side Edit]
Disc 11 - Green Colored Vinyl
(a) How Can I Go On [Single Version] (1989)
(b) Overture Piccante
Disc 12 - Neon Pink Colored Vinyl
(a) In My Defence (1992)
(b) Love Kills [Wolf Euro Mix]
Disc 13 - Yellow Colored Vinyl
(a) Living On My Own [No More Brothers Radio Mix] (1993)
(b) Living On My Own [Julian Raymond Album Mix]$139.997 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
Pacific Rim Soundtrack180 Gram Audiophile Vinyl
Featuring Tom Morello (Rage Against The Machine, Audioslave) On Four Tracks
Includes 6-Page Insert
PVC Protective Sleeve
Pacific Rim is a 2013 American science fiction monster film directed by Guillermo del Toro, and starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Burn Gorman, Robert Kazinsky, Max Martini, and Ron Perlman.
The film is set in the future, when Earth is at war with the Kaiju, colossal monsters which have emerged from an interdimensional portal on the bottom of the Pacific Ocean. To combat the monsters, humanity unites to create the Jaegers, gigantic humanoid mechas each controlled by at least two pilots, whose minds are joined by a neural bridge. Focusing on the war's later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori as part of a last-ditch effort to defeat the Kaiju. The movie was highly successful in many territories, earning more than $411 million.
The film's score was composed by Ramin Djawadi, with guest musicians Tom Morello (Rage Against The Machine, Audioslave) and Priscilla Ahn. Ramin Djawadi is best known for his scores for the movies Warcraft, Iron Man, Prison Break and for HBO's hit series Game of Thrones.LP 1
1. Pacific Rim (feat. Tom Morello)
2. Gipsy Danger
3. Canceling The Apocalypse
4. Just A Memory
5. 2500 Tons Of Awesome
6. The Shatterdome
7. Mako (feat. Priscilla Ahn)
8. Call Me Newt
9. Jaeger Tech (feat. Tom Morello)
10. To Fight Monsters We Created Monsters
11. Better Than New
1. We Are The Resistance
2. Double Event
3. Striker Eureka
4. Physical Compatibility
5. Category 5
7. Go Big Or Go Extinct (feat. Tom Morello)
8. Hannibal Chau
9. For My Family
10. No Pulse (feat. Tom Morello)
11. Kaiju Groupie
12. Deep Beneath The Pacific
13. The Breach
14. We Need A New Weapon$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
HollyThink music ain't what it used to be? Then you haven't heard Nick Waterhouse. His jumped-up take on 1950's rhythm 'n' blues is the real deal."
A timeless talent for spirited rock and rhythms that anyone can appreciate.
He draws from the classic sound of '50's American pop with a distinctive
voice of his own, shouting and growling with infectious vigor."
Waterhouse is definitely a star."
- LA TIMES
The music sounds like a party in full swing, each instrument playing exactly what is needed."
- CHICAGO TRIBUNE
Between the chattering keys, bomping saxes, gorgeous guitar tones and
the bandleader's voice-which slides effortlessly from cool quaver to feral
howl - the end result is undeniable."
Nick Waterhouse's art springs from a simple idea: everybody wants to be sombody else. One of his heroes, Van Morrison, got his start covering Bobby
Bland, whose own musical idol was Nat "King" Cole. In Waterhouse's view,
emulation is a journey; you never truly succeed, but as the singer, guitarist and songwriter puts it, "You become something on the way there."
Nick was born in 1986 and grew up in Huntington Beach, known predominantly for
UFC, commercial surf culture, and tanning salons. He established his musical sensibilities in the middle of the burgeoning southern California Psych-Garage scene (Burger
records, Ty Segall, McHugh's Distillery studio) while retaining his unique perspective
on the spirit of American Rhythm & Blues and Rock & Roll.
Waterhouse started performing as a teenager. "It was really motivated by fear," he
recalls. "I'm kind of an introvert, so it was an uncomfortable situation. It was a way
to force a crisis." The young artist experienced an exhilaration he'd never felt before,
and hasn't found anywhere else since. "It's a feeling of heightened awareness that goes
beyond pleasure," Waterhouse explains. "It has something to do with seeing ahead in
time and behind in time all at once. You don't just get the immediate reward; you get
the potential that rewards you the same way."
Waterhouse explored the idea of potential on his breakthrough single, "Some Place," a
beautifully lean, propulsive track recorded at all-analog studio the Distillery and self
released in 2010 on his own Pres label. "Well, there's someplace that I'd rather be,"
Waterhouse sang in a fierce yet plaintive register. "And it's something that's been on my
mind almost constantly."
These days, Waterhouse is a successful recording artist, with one well-received LP and
and several high-profile tours and collaborations to his name. But his latest work still
embodies the struggle of his early forays. During "This Is a Game," Waterhouse sets up
a snarly, post-surf guitar solo with a succinct statement of a cynical outlook: "This is a
game / Please remember my words / And don't get upset when you don't get what you
think you deserve." And on the gothic-soul strut "Let It Come Down," he meditates on
the inevitability of pain. "If there's gonna be rain tonight," he sings in a stoic croon.
"Let it come down."
It's clear from this material that Waterhouse is in the midst of his own becoming. He
isn't the type to let ecstasy take over, like Van Morrison, or to drawl away in a consummately laid-back register, like Mose Allison. In the tension between his wry lyrics and
crisp arrangements, you hear the expression of a worldly skeptic who's also-when it
comes to his art-a sanctified believer. Whoever it was that Nick Waterhouse wanted to
be matters less now; these days, he just sounds like himself.1. High Tiding
2. This Is A Game
3. It no. 3
4. Let It Come Down
5. Sleepin' Pills
7. Dead Room
8. Well It's Fine
9. Ain't There Something Money Can't Buy
10. Hands On The Clock$18.99Vinyl LP - Sealed Buy Now
The MountainThe Heartless Bastards' story starts in Dayton, Ohio, where Erika Wennerstrom found the name on a multiple choice video trivia game at a bar. As a songwriting teenager during a time when GBV and Brainiac were packing local bars and three of the Breeders were still in town, Wennerstrom used to sneak into clubs to check out the scene. I would just see those people, my music heroes, hanging out at the bar like everyone else, she remembers. I could see myself in them. It gave me inspiration to do my own thing. After doing the usual business of playing local shows, the trio set out the following year on a regional tour. One of the first gigs of the trip took them to a bar in Akron, where Black Keys' drummer Patrick Carney just happened to be one of only a handful of people in the audience. This chance encounter led Wennerstrom and the Heartless Bastards to Fat Possum Records, with whom they released their debut, Stairs and Elevators, in early 2005.
The band moved on with critical praise in their back pocket, including a four-and-a-half star review from Rolling Stone, which took note that, when Wennerstrom opens her throat on Stairs and Elevators she sounds like shes wailing on the shoulders of giants; her sad and angry vocals channeling all the swagger and spit of a young Robert Plant. All This Time, was released during the summer of 2006, it received even more widespread critical acclaim than Stairs and Elevators. The Bastards played hundreds of shows to support the record. They played huge festivals and toured with Wilco and Lucinda Williams. Wennerstroms songs appeared often on TV shows and in films, this would be measured by most as a huge success. Though in Wennerstroms mind her sound and band were still evolving, and she knew it was time for a change.
In true ascetic discipline, she moved to Austin, Texas in 2007 for a change of inspirational scenery and a new recording project. With the help of producer Mike McCarthy (Spoon, Trail of Dead), she assembled a group of musicians with whom she gave the songs life and uncovered yet another layer of herself and the Heartless Bastards. The two new Bastards arent Texas ringers, but fellow Dayton brethren Dave Colvin on drums, and Jesse Ebaugh on bass, who actually played on the original demo that hooked Fat Possum. The album, entitled The Mountain, delivers the powerful howl that fans expect from the Heartless Bastards, but also weaves in adventure with mandolins, banjos, strings and Erikas transcendent voice.1. The Mountain
2. Be So Happy
3. Early in the Morning
4. Hold Your Head High
5. Out At Sea
6. Nothing Seems the Same
7. Wide Awake
8. So Quiet
9. Had To Go
10. Witchy Poo
11. Sway$16.99180 Gram Audiophile Virgin Vinyl LP + 7 - Sealed Buy Now
Pure McCartney (Box Set)Pure McCartney, a new compilation of his solo, Wings and Fireman work, celebrates that fact, showcasing 67 highlights from one of the most-revered catalogues in music - from 'McCartney' in 1970, his debut solo album, right through to 'Hope For The Future', his 2014 track taken from 'Destiny', the most-anticipated video game of the last decade. Not only is 'Pure McCartney' a monumental mix tape of some of popular music's most memorable moments from 1970 to the present day, it also features curios for the super fans and some of Paul's personal favourites-all handpicked by the man himself.
Me and my team came up with the idea of putting together a collection of my recordings with nothing else in mind other than having something fun to listen to, Paul says of this project.
Maybe it's to be enjoyed on a long car journey or an evening at home or at a party with friends? So we got our heads together and came up with these diverse playlists from various periods of my long and winding career."
As a songwriter Paul has never stood still, dipping his toe in countless genres and styles. 'Pure McCartney' is testament to that fact. From the song writing master class of 'Maybe I'm Amazed' and adventurous, three-songs-in-one of 'Band On The Run' to the irresistible groove of 'Say Say Say' and ahead-of-its-time electronica of 'Temporary Secretary', described by NME when compiling a list of the greatest ever songs as not so much ahead of its time, but out of it altogether", 'Pure McCartney' charts the unstoppable adventures of McCartney's unique and eclectic song writing talents and shines a light on his post-Beatles artistic achievements.
The word 'career' is a bit misleading because to me it has been more like a musical adventure than a proper job, says Paul, reflecting on the 'Pure McCartney' tracklisting. It pleases me, and often amazes me, that I've been involved in the writing and recording of so many songs, each of them so different from the others.
Paul's unparalleled career has seen his music break global chart records, win countless awards, fill stadiums around the world and become the soundtrack to millions of people's lives across generations.LP 1
1. Maybe I'm Amazed
2. Heart Of The Country
4. Warm And Beautiful
5. Listen To What The Man Said
6. Dear Boy
7. Silly Love Songs
8. The Song We Were Singing
9. Uncle Albert / Admiral Halsey
10. Another Day
1. Mull of Kintyre
2. Sing The Changes
3. Jenny Wren
4. Mrs Vandebilt
5. Save Us
6. Let 'Em In
7. Let Me Roll It
8. Ebony and Ivory
9. Nineteen Hundred and Eighty Five
1. Band on the Run
2. Arrow Through Me
3. My Love
4. Live and Let Die
5. Too Much Rain
6. Say Say Say [2015 Remix]
7. My Valentine
8. Goodnight Tonight
9. The World Tonight
10. Pipes of Peace
1. Dance Tonight
2. Here Today
4. Great Day
5. Coming Up
6. No More Lonvely Nights
7. Too Many People
8. Only Mama Knows
9. With a Little Luck
10. Hope For The Future
11. Junk$69.99Vinyl LP Box Set - 4 LPs Sealed Buy Now
OlogyThe push-and-pull that drives Gallant's music is like a pendulum swinging back and forth between genres and influences. His combination of muscular vocal acrobatics and sonic unpredictability has attracted universal tastemaker praise and a growing fan base. Complex championed the Los Angeles-based singer and songwriter as The R&B game changer, LA Times claimed, Precise writing of Frank Ocean, big vocal runs of Sam Smith, and NME predicted, the voice that will redefine R&B, while Entertainment Weekly, The Fader, Billboard, and more have shown support. Sir Elton John summed it up best saying, Gallant is gonna be huge.
Gallant has been on this pursuit since junior high. Growing up in Columbia, MD, he began tinkering on his computer and making songs after school inspired by everything from nineties R&B to classic jazz and blues. Rather than write in a journal, the music collated his feelings and emotions. He'd rarely share it with friends though. While attending NYU, he enrolled in summer school, so he could graduate early. Post-graduation and countless hours of meticulous practice later, he was finally ready to share his songs to the world at large.
His first online release If It Hurts would establish him in the blogosphere, while 2014's Zebra EP landed him on Spotify's viral charts and at the top of HypeM. Signing to Mind of a Genius in 2015 and relocating to L.A., he dove into creating what would become Ology with co-producers such as Stint. The first single Weight In Gold enjoyed its world premiere on Zane Lowe's Beats 1 Radio show as the introductory entry in the coveted World's First segment. In less than six months, it accumulated over 6.5 million Spotify streams.
As Gallant continues on his search, he leaves a message on the path. If people can hear I'm not doing this to feed any ego or serve someone else, that's all I want, he leaves off. I'm trying to create a photo album I can look back on to see where I've overcome challenges. I'm using music as a means of self-discovery. If my songs help somebody do the same thing or realize art can help us improve ourselves, I'd be honored.LP 1
2. Talking to Myself
5. Bone + Tissue
6. Oh, Universe
7. Weight in Gold
2. Open Up
3. Skipping Stones (feat. JhenÉ Aiko)
6. Weight in Gold (Brasstracks Remix)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Chief (Awaiting Repress)Eric Church is on a mission. You might expect someone coming off of their first two Top Ten country singles and an ACM Award for 'Top New Solo Vocalist' to lock down the formula and go for more of the same, but with third album, Chief, Church is trying something bolder and using the opportunity provided by his success to push his music even further. The lead single Homeboy is perhaps the bravest track on Chief. It is a provocative appeal from one brother to another to get back on track and make peace with his family.
I have a theory that all of us only get a small window of time to make records when people will really listen and care, he says. Its up to us to move the needle. People like Waylon and Cash or Garth and Strait, they all changed the direction of the music a little bit.
The desire to capture the intensity of his live show on record is indicated right in the title of the new album. Chief was my grandfathers nickname, and it has become my nickname on the road, Church reveals. When its show time, I put on the sunglasses and the hat, and thats how people know its game time. This album was made from a live place; we recorded it with the live show in mind, so it just seemed right to make that the title.
If there is one thing country music needs more of, its the attitude that is driving Eric Church, the approach behind every song on Chief, the fearlessness that lets an artist swing for the fences and try to leave a mark on history. There were safer choices I could have made for sure, but I just cant feel that helps anybody, he says. If you have any respect for the music, youll use each chance you get to try to be one of the ones who moves the flag.1. Creepin'
2. Drink In My Hand
3. Keep On
4. Like Jesus Does
5. Hungover & Hard Up
7. Country Music Jesus
8. Jack Daniels
10. I'm Getting Stoned
11. Over When It's Over$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Psychic Temple IIIt may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.
Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.
"I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.
"It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."
Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."
Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.
Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.
Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."
Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.
Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."
Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.1. Seventh House
2. The Starry King Hears Laughter
3. Solo In Place
4. Bird In The Garden
5. 'Til I Die
6. She Is The Golden World
7. Steppin' Out
8. All I Want Is Time
9. Sofa No. 2
10. NO TSURAI
11. Hyacinth Thrash Quarter$19.99Vinyl LP - Sealed Buy Now
WARB-NON-3335xThe Black Keys
El CaminoReviewing The Black Keys' 2010 Top Ten breakthrough album Brothers, Rolling Stone called the duo a two-man combo with a big-band mind. That description seems downright prophetic now. With the hard-rocking El Camino, The Black Keys' fourth Nonesuch release, guitarist-singer Dan Auerbach and drummer Patrick Carney conjure up an exhilarating, stadium-sized sound in collaboration with producer and friend Danger Mouse. El Camino boasts a no-nonsense brilliance: The pace is fast, the mood is upbeat, the choruses unfailingly addictive made for shouting along, preferably in a large, sweaty crowd.
A band already at the top of its game has gotten even better. And The Black Keys have done pretty damn well so far this year, with three 2011 Grammy awards for Brothers under their belt, an MTV Video Music Award for Tighten Up, more than 850,000 copies of Brothers sold in the U.S., and upwards of a million units worldwide, plus innumerable licensing placements in film, TV, and commercials. El Camino features one stand-out track after another, such as first single Lonely Boy, Gold on the Ceiling, and the surprising, acoustic-guitar-driven, tempo-shifting Little Black Submarines.
This record is more straight ahead rock and roll raw, driving, and back to basics, says Auerbach. As Carney has put it, The Black Keys respect the past while being in the present, and that formula has made them sound like nothing less than the future of rock and roll. While the largely self-produced Brothers, recorded at the famed Muscle Shoals Studio in Alabama, had a more soul and blues-oriented sound, El Camino often recalls the blitzkrieg-paced British-style rock of the 1960s and 70s, post-Beatles and pre-punk: artists like T-Rex, The Sweet, and Gary Glitter, along with the heavier swing of such bands as Led Zeppelin and Black Sabbath.
The references are there, but the sound is very much contemporary and utterly their own, equally informed by The Black Keys' passion for hip hop and R&B and bolstered by the atmospheric production approach of Danger Mouse (a.k.a. Brian Burton), who was behind the boards for 2008's Attack & Release and collaborated with them on the funky Tighten Up for Brothers. As Auerbach notes, Brian understands all the different kinds of music we're into. He's got really great ideas about melody and song structure. For him it's all about the song. Also rejoining them is consistently innovative mixing engineer Tchad Blake, who Auerbach calls a genius with audio, a complete wizard.
El Camino arrives just in time to serve as the ideal holiday gift for The Black Keys' rapidly growing fan base. It came together quickly in an unfettered burst of creativity by the hard-charging pair. They recorded these 11 tracks between tour dates for Brothers at Auerbach's new Easy Eye Studio in Nashville, where he and Carney have now relocated after years of working in their native Akron, Ohio. The duo plans to embark on a six week European Tour at the start of the New Year, with U.S. dates to follow shortly thereafter-including several arenas.
In a time of global austerity, The Black Keys work simply and efficiently, with a minimum of tools and a wealth of ideas, to produce the richest, fattest, coolest music around. Upon the release of Brothers last year, Britain's Uncut magazine called them one of the best rock'n'roll bands on the planet, and El Camino, confirms that.1. Lonely Boy
2. Dead And Gone
3. Gold On The Ceiling
4. Little Black Submarines
5. Money Maker
6. Run Right Back
8. Hell Of A Season
9. Stop Stop
10. Nova Baby
11. Mind Eraser$24.99Vinyl LP + CD - Sealed Buy Now
Something ElseAfter achieving his highest-charting release with 2011's All 6's And 7's (#4 Billboard), Strange Music general Tech N9ne tackles the most ambitious album of his career with Something Else. The Kansas City emcee kept fans busy in 2012 with the release of three consecutive Top 3 rap EP releases - KLUSTERFUK, E.B.A.H., and Boiling Point.
With demand at a fever pitch, Tech N9ne aims to give listeners an untouched piece of his life while cementing his place among rap's elite.
The beats sound nothing like anything you've ever heard me on, say Tech. The features that I'm going for are something you would never imagine. All I can say about it now is that it's a very human album. What I mean by that is that it's contradictory. On one song I say, 'The saint is ours', like we're in the saint's corner and then I have another song called 'I'm Not A Saint'. It's so beautiful because the King, the Clown, and the G are still present on this album.
There are no apologies in what I'm saying. I don't mind that it contradicts itself because that's what people do. The album is everywhere. It feels like it's Hell, Purgatory and Heaven all over again. I'm telling stories that I've never told - that I was afraid to tell on some songs. It's super personal and I've got a big chip on my shoulder again. It's always been there, but it's getting bigger having to prove to fans and critics that we ain't going nowhere.
Album Features: Kendrick Lamar, The Doors, B.O.B., Wiz Kalifah, Cee Lo Green, Serge (System Of The Down), Game, Danny Brown, Big K.R.I.T., Krizz Kaliko, Mayday and others.1. News with Mark Alford (skit)
2. Straight Out the Gate (feat. Serj Tankian & Krizz Kaliko)
3. B.I.T.C.H. (feat. T-Pain)
4. With the BS (feat. Red Cafe, Trae Tha Truth & Big Scoob)
5. Love 2 Dislike Me (feat. Tyler Lyon & Liz Suwandi)
6. Fortune Force Field
7. I'm Not A Sain
8. Fragile (feat. Kendrick Lamar, ¡Mayday! & Kendall Morgan)
9. Priorities (feat. Game & Angel Davenport)
10. News with Mark Alford (skit)
12. So Dope (They Wanna) (feat. Wrekonize, Snow That Product & Twisted Insane)
13. See Me (feat. Wiz Khalifa & B.o.B.)
14. My Haiku-Burn The World (feat. Krizz Kalifo)
15. That's My Kid (feat. CeeLo Green, Big K.R.I.T. & Kutt Calhoun)
16. Meant To Happen (feat. Scoop Deville)
17. News with Mark Alford 3 (skit)
19. R.I.P. Ray (skit)
20. Strange 2013 (feat. The Doors)
21. SMB$24.99Vinyl LP - 2 LPs Sealed Buy Now
Purple Snow: Forecasting The Minneapolis SoundIn the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of
musicians working feverishly through the late '70s and early '80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met electricity, with sexed-up results
sent shockingly across the pop heavens like
Purple Snow: Forecasting the Minneapolis Sound-the Numero Group's breathlessly anticipated 50th mainline release-chronicles the scene's first steps, false starts, and follow-throughs, sourcing the life's work of known quantities and shadowy
figures alike. In the beginning, there was Purple Haze, whose billing as Haze on two obscure
albums left the color purple to their city's incipient sound. PepÉ Willie's 94 East project
gave local prodigy Prince Rogers Nelson an early chance to row along with the crew. From
there, the story courses past Jimmy Jam Harris' extroverted Philly throwback Mind & Matter
collective, to Terry Lewis and Flyte Tyme, flamboyant precursor to Morris Day's The Time.
Unearthing basement demos by Prince's childhood sidekick/departed bassist AndrÉ Cymone,
plus deep cuts from legend-about-town Alexander O'Neal, Numero 050 gathers relentlessly
as the sprawling, nonfiction prequel to Purple Rain's cultural takeover.
Surpassing 30,000 words, our hardbound, full-color book companion to Purple Snow: Forecasting the Minneapolis Sound is a gorgeous, exhaustively detailed, and insight-rich guided tour across two hours of music and a decade of North Star history. Inside, dozens of supporting characters and combos seed clouds for the meteoric rise of a genre formerly known mostly as Prince's-not to mention unheard product from his top collaborators
and fiercest competitors. In game-changing sound and image-rich splendor, Purple Snow: Forecasting
the Minneapolis Sound clears a crowded stage, ushering in unsung Twin Cities future-funk talent, to bask for a spotlit moment, out of that persistent violet shadow, and to shine.1. 94 EAST If You See Me
2. AURA Taste of Love
3. HERMAN JONES I Love You
4. ORVILLE SHANNON Oh Lover
5. MIND & MATTER I'm Under Your Spell
6. HAZE Waiting for the Moment
7. PROPHETS OF PEACE Get It On
8. COHESION Expense
9. MIND & MATTER Sunshine Lady
10. THE LEWIS CONNECTION Higher
11. FLYTE TYME It's The Things That You Do
12. HERMAN JONES Ladie
13. MICHAEL DIXON & J.O.Y. You're All I Need
14. MUSIC, LOVE & FUNK Stone Lover
15. COHESION Cohesion
16. HAZE I Do Love My Lady
17. THE LEWIS CONNECTION Got to Be Something Here
18. WALTER LEWIS & THE BLUE STARS I Have Love at Home
19. FLYTE TYME I've Got You On My Mind
20. QUIET STORM Can You Deal With It
21. STEVEN Quick
22. THE STYLLE BAND If You Love Me
23. THE GIRLS I've Got My Eyes On You
24. SUE ANN CARWELL Should I Or Should I Not?
25. RONNIE ROBBINS Contagious
26. ALEXANDER O'NEAL Borrowed Time
27. ORVILLE SHANNON One Life to Live
28. ANDRÉ CYMONE Somebody Said
29. WALTER LEWIS & THE BLUE STARS Do It Baby Do It
30. ROCKIE ROBBINS Together
31. MIND & MATTER No One Else Can Do It To Me Baby
32. ALEXANDER O'NEAL Do You Dare$84.99Vinyl LP + Book - 4 LPs Sealed Buy Now
MelbourneIt's the original rock n' roll fantasy: to be genius, aloof, deserving. To be instantaneously swept from the wings of obscurity into the arms of acclaim. Well, that's what I've heard at least.
But who does this really happen to? Most successful musicians will tell you it's not enough to make brilliant music. You've got to work it constantly, clawing and hustling to get people to the next show, to finance the next record. How pedestrian. How droll. Why can't it just happen?
No, it would seem there are no rock n' roll fairytales anymore. Or are there?
Ladies and gentlemen, meet Jackson Scott, indie's newest prince charming. At the tender age of 20, Scott is already receiving more attention for his forthcoming debut, Melbourne than many musicians get in a lifetime.
When an artist blows up this quickly it's hard to hear their music from an unbiased position. Questions unfailingly arise: What's the deal? Is he really that f-in' good? Did Daddy pay the promo man (remember The Strokes)? Is this guy for real?
So, before we go on, let me just say, this record is good. Like, really good. Like, "I'm kinda freaked out that a kid who's been making music for a year did this by himself on a 4-track" good.
So, let's ignore the hype for a while.
First, the strength of Scott's songwriting is undeniable. Yea, there are some instrumentals here... but overall these songs stick with you. They have power, and with most of them clocking in at around the two minute mark, you won't get bored. Lyrically, Scott both flirts with and repudiates the kind of adolescent moodiness associated with the mopey 90's. Conversely, his musings also betray a connection to the well-fed and perpetually distracted iPhone generation.
Melbourne also offers plenty of rewards in its production. Scott has the hissy, tape, psych-pop thing down. He's experimental where he needs to be and hooky where it counts. These homespun recordings sound like early Ty Segall as produced by The Elephant 6 Recording Co. While Scott acknowledges Segall as an influence, he claims ignorance of the famed recording collective. That said, his misanthropic use of sped-up vocals suggests otherwise.
Melbourne opens with "Only Eternal", a wash of ambient guitar. This brooding intro slyly transitions into "Evie", with its sludgy, driving rhythm, Twilight Zone guitar hooks, and wavering harmonies. Peppy and short, "Sandy" is a druggy acoustic-pop highlight.
"That Awful Sound" is the song that gained Scott so much attention in the first place. Nothing if not a solid single, its strummed acoustics, booming rhythm, and pseudo-Chipmunk vocals are impossible to hear without thinking of Elephant 6. It's not surprising that the crew at Pitchfork (no doubt approaching middle age and feeling a little nostalgic) picked this track to be "the song". This kind of thing ruled all hell in 1998. If not the best track on the record, it is at least the most classifiable, and by extension the most marketable.
"Any Way"... is the high-water mark for Scott's pitch-shifted vocals. It's the kind of song Jackson Scott really sells. It's quick, melody driven, and vaguely flippant. With its toy marimba solo, it also exposes the childlike undercurrent running throughout this record.
"Together Forever" is one of my favorite songs on Melbourne. If you listen closely you can hear the famous background vocals from "Where is My Mind?" at the beginning. To me this is Jackson Scott playing it straight. His voice sounds like a real person and his noisy guitar swells are just as mind-bending as anything coming out of the current psych-revival.
"In The Sun" is reminiscent of the late Scott Miller's more stripped-down moments with Game Theory. The song's chorus reminds us of how much an inspiration Kurt Cobain is to Scott.
Notwithstanding the strength, charisma, and raw talent exhibited on Melbourne, it feels like Jackson Scott has skipped a few levels. Although Cinderella sometimes does well in sports and American Idol, Jackson Scott is going for something much weightier, much deeper. Dare we call it, legitimacy?
-Jacob Sides1. Only Eternal
3. Never Ever
5. That Awful Sound
7. Wish Upon
8. Any Way
9. Together Forever
10. In the Sun
11. Doctor Mad
12. Sweet Nothing$16.99Vinyl LP - Sealed Buy Now
Magnolia Electric Co
10th Anniversay Deluxe Edition
Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
Previously Available In Japan.
Includes Rare Photos From The Era In Which It Was Recorded
The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
it's hard to look them right in the eyes. But you should.
With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country
While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
different place. Now something's got to change.
This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
Ohia rig barreling through Peoria Lunch Box Blues.
Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
Songs: Ohia has recorded to date.LP 1
1. Farewell Transmission
2. I've Been Riding With The Ghost
3. Just Be Simple
4. Almost Was Good Enough
5. The Old Black Hen
6. Peoria Lunch Box Blues
7. John Henry Split My Heart
8. Hold On Magnolia
9. The Big Game Is Every Night (Bonus Track)
10. Whip Poor Will (Bonus Track)
1. Farewell Transmission (Demo)
2. I've Been Riding With The Ghost (Demo)
3. Just Be Simple (Demo)
4. The Old Black Hen (Demo)
5. Peoria Lunch Box Blues (Demo)
6. John Henry Split My Heart (Demo)
7. Hold On Magnolia (Demo)
8. The Big Game Is Every Night (Demo)
9. Whip Poor Will (Demo)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Audioengine A2+ Speakers (Satin Black)
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
A2+ is the gateway drug for computer audio.
- Steve Guttenberg, CNET
Premium Powered Desktop Speaker System
The award-winning Audioengine 2 powered desktop speakers just got better. With a built-in digital-to-analog converter (DAC), the Audioengine 2+ allows you to send high-quality digital audio direct from your computer's USB port.
- Excellent sound with elegant simplicity and a new standard for computer audio
- Versatile connections, including USB digital audio and subwoofer output
- Designed for your desktop but also sounds great across the room
Upgrade your Audio
The Audioengine 2+ is the new standard for computer audio and these small, but high-performance speakers are the perfect upgrade for your computer. Everyone knows the difference between custom-built, small batch products and the disappointment of mass-produced and over-marketed products. The A2+ was designed and hand-built with the goal of exceeding expectations of both value and performance.
The Audioengine 2+ is about one-third the size of our flagship Audioengine 5+ powered speakers and an ideal size for your desktop or smaller room. We used the same custom tweeters as in the Audioengine 5+, matched them with compact Kevlar woofers, then added high-performance amplifiers with high-quality connectors. All this great engineering is wrapped in wood cabinets with a hand-polished finish to create a premium quality desktop multimedia speaker system that puts all those sad plastic computer speakers to shame!
Smaller Speakers, Still Big Bass
To say that the bass on the Audioengine 2+ is substantial for their size may be an understatement, but you should be the judge. The bass was teased from the A2+ with some clever acoustic and electrical design without using any digital signal processing or fake bass boost circuits. Wood remains a preferred speaker enclosure material for its stiffness at higher volume levels and the cabinet focuses just the right amount of low end from the tuned front port slots.
Versatile and Efficient
The A2+ was designed for your desktop but their superb soundstage and imaging also makes them the perfect choice for across the room. Well-suited for all your music, movies and games, the A2+ sounds great with or without a subwoofer. Using a similar analog design as the Audioengine 5+, the A2+ power amplifiers are built inside the left speaker providing a very efficient system. An auto-standby idle mode is also included to conserve power when you're not playing music.
The A2+ features analog amplifiers that are built into the left speaker, while the right speaker is passive so setup is simple. Just plug the left speaker into AC power and connect the included speaker wire from left to right. We've included minijack, RCA, and USB inputs for easy connection to your computer or iDevice and other cables you may need are included. There is no software or plug-ins to install and A2+ works with any computer or music player. The A2+ also has a variable RCA output for connecting a subwoofer, upgraded connectors, improved accessory cables, and a redesigned power supply.
Minding the Gap
The Audioengine 2+ sets a new level of audio and aesthetic quality for Powered Multimedia Speakers and further closes the gap between computer speakers and home audio. Even if you're not an audio enthusiast, we guarantee you will still hear a difference!$249.00Audioengine A2+ Powered Speakers (Satin Black) Buy Now