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Our Time In Eden'
Our Time In EdenOur Time in Eden is a studio album by the folk rock band 10,000 Maniacs. It was originally released in 1992 on Elektra Records. The release is the band's fifth studio album, and its last studio album with the original lead singer, Natalie Merchant. The album included her future replacement Mary Ramsey on viola on such tracks as Stockton Gala Days, Jezebel and How You've Grown. Singles released from the album were These Are Days, Candy Everybody Wants and Few and Far Between.1. Noah's Dove
2. These Are Days
4. Few and Far Between
5. Stockton Gala Days
6. Gold Rush Brides
8. How You've Grown
9. Candy Everybody Wants
11. Circle Dream
12. If You Intend
13. I'm Not the Man$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Paradise is There: The New Tigerlily Recordings (Awaiting Repress)Natalie Merchant's career began when, as a college student, she joined the seminal alternative rock band 10,000 Maniacs. Serving as lead vocalist, lyricist, and sometime pianist, Merchant released five critically acclaimed studio albums with the band, including the platinum-selling In My Tribe (1987), Blind Man's Zoo (1989), Our Time in Eden (1992), and MTV Unplugged (1993). Merchant left the group in 1993, after 12 years, to record her first solo album. Tigerlily (1995) was certified five-times platinum, and was followed by the platinum Ophelia (1998), Natalie Merchant Live (1999), and Motherland (2001).
In 2010, Merchant returned with a thematic double album entitled Leave Your Sleep, her debut for Nonesuch Records. A meditation on childhood and mothering, the anthology comprised 19th and 20th century American and British classic children's poetry by the likes of Robert Louis Stevenson, Christina Rossetti, Robert Graves, Edward Lear, and E.E. Cummings that Merchant had set to music. The result was praised by critics on both sides of the Atlantic, with The Wall Street Journal calling it an ideal fit between poetic and musical forms, and the Independent, a hugely ambitious and beautifully realized double album.1. San Andreas Fault
2. Beloved Wife
5. The Letter
6. Where I Go
7. I May Know the Word
8. Seven Years
9. Cowboy Romance
11. Wonder$26.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Includes All Elektra-Era Cover-songs, Many Unreleased On Vinyl
Includes Many Out Of Print And Rare Tracks
Sourced From The Original Masters With Lacquers Cut At Sam Phillips Recording Studio
Pressed On 180g Colored Vinyl At Record Industry In The Netherlands
Each 2 LP Set Comes Numbered And Strictly Limited
American indie-pop band Luna originally formed in 1991 by singer/guitarist Dean Wareham
after the breakup of Galaxie 500. After Wareham quit Galaxie 500 he signed a demo deal
with Elektra Records, then recruited Justin Harwood from the Chills and Stanley Demeski of
the Feelies, and this line up recorded their debut, Lunapark. After the album's release, Sean
Eden was recruited on guitar and the four piece recorded a number of cover versions that
would become the Slide EP and then toured the U.S. This began the band's association with
successfully recording and playing cover songs.
In 1993, the band supported the reformed Velvet Underground on their European tour, after which they recorded their second album.
Bewitched was recorded in NY, released in '94 and included Velvet Underground guitarist
Sterling Morrison on two tracks. In 1995, the band went into Sorcerer Sound Studio with
producer Pat McCarthy to record their third album, Penthouse. The album featured Television
guitarist Tom Verlaine on the tracks, "Moon Palace," and "23 Minutes in Brussels." The
album was released to critical acclaim, with Rolling Stone declaring it one of the essential
albums of the '90s. The album featured a cover of Serge Gainsbourg's "Bonnie and Clyde"
as a hidden track and featured Dean in a duet with Laetitia Sadier of Stereolab. "Bonnie and
Clyde" was released as a single in the UK and named Melody Maker single of the week. Pup
Tent followed in '97.
In 1999, the band recorded The Days Of Our Nights for Elektra, but the
label declined the album and dropped the band over commercial concerns. The record was
eventually released on Jericho in the U.S. and prior to the album's release, Justin Harwood
left to be replaced by Britta Phillips. After releasing Luna Live in 2001, Romantica in 2002
and Rendezvous in 2004 with their new line-up, the band announced their final tour at the
time, disbanding after a show at the Bowery Ballroom in February of 2005. Dean Wareham
and Britta Phillips continued as the duo Dean & Britta. In 2014, Dean announced that Luna
would reunite for a tour of Spain in 2015, to be followed by US dates.
In 2017 they recorded
two new releases, a new covers LP called A Sentimental Journey and a 6-song instrumental
EP, A Place Of Greater Safety.
This brand new ROG collection of Elektra-era cover songs includes rare and out of print tracks
that have never been released or collected on full length vinyl. With new packaging design by
Frank Olinsky and updated audio fidelity, it's a dream come true for Luna collectors.LP 1
1. Bonnie and Clyde (Clyde Barrow version)
2. Indian Summer
3. Ride Into the Sun
4. That's What You Always Say
5. In The Flesh
6. Dream Baby Dream
7. Season Of The Witch
8. Thank You For Sending Me An Angel
9. No Regrets
1. Outdoor Miner
2. Happy New Year
3. Everybody's Talking
4. Fly Into The Mystery
5. La PoupÉe Qui Fait Non
6. Bonnie & Clyde (Bonnie Parker Version)
7. Jealous Guy
8. Neon Lights
9. Sweet Child O' Mine
10. Only Women Bleed
11. Dance With Me$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Drunk Is The New Sober/Stupid Is The New DumbDrunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"
"I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.
Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.
"A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"
In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.
The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.
Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."
At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.
Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.
Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."1. Untitled
2. I Like It
3. Untitled II
4. I'm a Monkey
6. Be a Friend
7. Whatcha Tryin to Do
8. Rocket Girls
10. Run Away Anna
11. History's Grave
12. Sweet Sweet Sanity
14. Who Left You Here
15. The Future
16. Untitled III
17. Peace in Your Life
18. Our Little Part of the World
19. Untitled IV
20. Gates of Eden
21. Visions of Light
22. Seven Deadly Sins
23. So Deep the Night$24.99Vinyl LP - 2 LPs Sealed Buy Now