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Time SpentLimited Edition Red Vinyl
Punk/hardcore band from Minneapolis,, intricate guitar lines weave in and out of heavy breakdowns, lightning fast drumming, and Gilbert's powerful singing voice holds it all together. Recorded by Jay Maas (Defeater, Title Fight, Counterparts). Nationwide tour in support of release. First single, Wistern premiered at Substream Magazine as part of a full marketing campaign.1. Safesound
5. Dry Eyes
6. Growing Pains
8. Try Hard
12. I've Been Places
13. Guilty Gone$15.99Colored Vinyl LP - Sealed Buy Now
Part Time LoveThere were so many competent records coming out of Memphis that any burgeoning greatness can only be detected by a careful listening. Ann Peebles deserves that kind of extra care.
Her style is so subtle and economical that the fi ner qualities of her talents might be passed
over as being merely competent. This would be a crime because little Ann has so very much
Ann stresses the melody (rather than rhythm for its own sake). This is not to say she can't
sing funky; she can and does very effectively. It just means Ann shines extra brightly on the
slower bluesy numbers. For example "Give Me Some Credit" is such a moving lament, filtering faint traces of early Smokey Robinson and the album's two most tender cuts, "I Still Love
You" and "Steal Away" are the places where Ann Peebles makes such a great impression.
These are the kinds of song that become "personal" classics.
Ann sings seven up-tempo numbers on which she illustrates her tight, full-bodied voice and
shows why she's presently way up on R & B charts all over the country. Her renditions of "It's
Your Thing," "Part Time Love," and "Make Me Yours" are unfettered delights.
Ann Peebles goes past the apparent and into the sublime. She stands beyond the predictably
competent. And you know that's where it's at.1. Part Time Love
2. I'll Get Along
3. I Still Love You
4. Make Me Yours
5. It's Your Thing
6. Generation Gap Between Us
7. Crazy About You Baby
8. Give Me Some Credit
9. Steal Away
10. Solid Foundation$17.99Vinyl LP - Sealed Buy Now
Part One (Mono)Sourced From The Master Tapes
Original Mono Mixes
Initially Released 1967
Includes Printed Inner Sleeve With Rare Master Reel Photos
Formed in Los Angeles in 1965, The West Coast Pop Art Experimental Band were considered by many to be the West Coast's answer to the Velvet Underground. The group created California psych/rock music that was both fragile and dreamy.
Part One was originally released in 1967 on Frank Sinatra's Reprise Records. Though they didn't achieve the fame or notoriety of other bands from the area, they have nonetheless achieved a cult status among collectors and people curious about a rich, albeit short-lived musical genre known as WestCoast Psychedelia.
First time reissued in mono, from the original master tapes.
This title is not eligible for discount.1. Shifting Sands
2. I Won't Hurt You
4. Help, I'm A Rock
5. Will You Walk With Me
6. Transparent Day
8. Here's Where You Belong
9. If You Want This Love
10. 'Scuse Me, Miss Rose
11. High Coin$27.99Vinyl LP Mono - Sealed Buy Now
Saturday Night Part 2Depending on whom you ask, Jack 'Oblivian' Yarber is either a rock legend or an absolute unknown. This dichotomy is well-understood by Memphis musicians, as underground fame for all its rewards, has, with a few exceptions, been the ceiling for local acts for decades. And no one knows this dichotomy better than Yarber, who may be Memphis' most influential active rock musician.
The list of noteworthy bands Yarber has been a member of over the years is massive and includes Johnny Vomit & the Dry Heaves, new wavers the End, '68 Comeback, Knaughty Knights, and Tav Falco's Panther Burns. Two of Yarber's former bands, the Compulsiver Gamblers and the Oblivians, have seen their reputation and following swell in the decade since their demise, especially the Oblivians, whose international fan base borders on rabid.
In the years since, Yarber has toured and released a string of successful solo albums under the Jack O & the Tennessee Tearjerkers moniker. Originally conceived in 2000 as a partnership with former Impala and current Bo-Keys bassist Scott Bomar, the band quickly morphed into Yarber's solo incarnation after Bomar became too occupied with film scoring and production work. The band has had a revolving door for side players ever since, at different times including current River City Tanlines John Bonds and Terrance Bishop, Neighborhood Texture Jam guitarist John Whittemore, the Reigning Sound's Greg Roberson, Bluff City Backslider Adam Woodard, and a host of other recognizable local musicians.
Depending on whom you ask, Jack 'Oblivian' Yarber is either a rock legend or an absolute unknown. This dichotomy is well-understood by Memphis musicians, as underground fame for all its rewards, has, with a few exceptions, been the ceiling for local acts for decades. And no one knows this dichotomy better than Yarber, who may be Memphis' most influential active rock musician.
The list of noteworthy bands Yarber has been a member of over the years is massive and includes Johnny Vomit & the Dry Heaves, new wavers the End, '68 Comeback, Knaughty Knights, and Tav Falco's Panther Burns. Two of Yarber's former bands, the Compulsiver Gamblers and the Oblivians, have seen their reputation and following swell in the decade since their demise, especially the Oblivians, whose international fan base borders on rabid.
In the years since, Yarber has toured and released a string of successful solo albums under the Jack O & the Tennessee Tearjerkers moniker. Originally conceived in 2000 as a partnership with former Impala and current Bo-Keys bassist Scott Bomar, the band quickly morphed into Yarber's solo incarnation after Bomar became too occupied with film scoring and production work. The band has had a revolving door for side players ever since, at different times including current River City Tanlines John Bonds and Terrance Bishop, Neighborhood Texture Jam guitarist John Whittemore, the Reigning Sound's Greg Roberson, Bluff City Backslider Adam Woodard, and a host of other recognizable local musicians.1. Mad Lover - Part II
2. Put Your Love On Me
4. Milkshake Baby
5. Make Your Mind Up - Part II
6. Against The Mall - Part II$16.99Vinyl LP - Sealed Buy Now
Time Takes Time
First Time 180 Gram Audiophile Vinyl First Time Vinyl In North America
Impeccably Mastered By Joe Reagoso At Friday Music & Capitol Records
Manufactured On Limited Edition Translucent Green Vinyl At R.T.I.
First Time Gatefold Cover
Often considered one of his finest albums since the classic Ringo Lp from 1973, Time Takes Time would become one of the Ringo Starr's most loved works and one of the finer rock recordings of 1992. Featuring the hit single Weight Of The World, Time Takes Time would be the centerpiece of this Beatle's highly successful All Starr Band tour later that year and beyond.
Whenever the legendary Ringo Starr makes a record, there's always a little help from his superstar friends like producers Jeff Lynne, Don Was, Peter Asher and the late Phil Ramone, who all contributed their studio expertise into making Time Takes Time the stellar work that it is.
Along with musicians the caliber of The Beach Boys' Brian Wilson, the late great Harry Nilsson, Steely Dan's Jeff Baxter, and alternate rockers Jellyfish, Time Takes Time would soon become one of the more important albums of the year. While the hit single Weight Of The World became a Ringo Starr fan favorite immediately upon its release, more classics abounded as the rockin' Jeff Lynne produced classic Don't Go Where The Road Don't Go truly shines.
More heartfelt classics like All In The Name Of Love and the magical Don't Know A Thing About Love (penned by Heartbreaker Stan Lynch), as well as The Posie's Golden Blunders truly made this a wonderful listen from start to finish. As CD's were the format of choice in 1992, this fine recording was only released for a short time only in most parts of the world until now ..
Friday Music is very honored to announce the first time North American vinyl release of the Ringo Starr classic Time Takes Time. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood, CA, this amazing Lp also receives a first time 180 Gram Audiophile Translucent Green Vinyl release. Pressed at R.T.I., for a limited time, this super fine Ringo Starr album will also be housed in a first time gatefold cover which includes rare photos and lyrics not seen in years.1. Weight Of The World
2. Don't Know A Thing About Love
3. Don't Go Where The Road Don't Go
4. Golden Blunders
5. All In The Name Of Love
6. After All These Years
7. I Don't Believe You
9. In A Heart Beat
10. What Goes Around$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
No More Shall We PartNo More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.
- Thom Jurek (All Music)1. As I Sat Sadly by Her Side
2. And No More Shall We Part
4. Love Letter
5. Fifteen Feet of Pure White Snow
6. God Is in the House
7. Oh My Lord
8. Sweetheart Come
9. The Sorrowful Wife
10. We Came Along This Road
11. Gates to the Garden
12. Darker with the Day$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Party TimeParty Time was originally released in 2009 as part of the deluxe Joy Box which celebrated Phish's return to the studio since regrouping after a 5 year hiatus from touring. The release contains several song debuts (Party Time, Alaska) and a few older songs (Liquid Time, Let Me Lie) culled from the band's extensive archives. The 2-LP 180g vinyl release was originally released during the band's summer 2011 festival, Super Ball IX, via the JEMP Record Store.1. Party Time
3. Windy City
4. In A Misty Glade
6. Only A Dream
7. The Birdwatcher
8. Let Me Lie
9. If I Told You
10. Splinters of Hail
11. Can't Come Back
13. Liquid Time$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hold TimeHold Time is an eloquent and startlingly beautiful album. While past critics have compared him to everyone from John Fahey to Tom Waits to his old friend Howe Gelb, with Hold Time it's clear that M. Ward, with his brilliant guitar playing and innate sense of melody, is one of those rare and special talents who defy comparisons and compartmentalization. Over the past few years, Ward has found an ever-increasing and dedicated audience; his last three albums, Transfiguration of Vincent, Transistor Radio and Post-War, have struck a singular chord among music fans. His deft guitar picking, bar room piano, and voice like drizzled honey make him a huge favorite of music critics and the focus of public praise from such disparate talents as Norah Jones and Oasis' Noel Gallagher, the former taking him on a global tour as her sole support act. In 2008, he was also part of the duo known as She & Him, a project he began with Zooey Deschanel. The duo's debut album, Volume One, was produced by M. Ward and has enjoyed international success. Like a true American treasure, M. Ward cuts his own groove while music fans continue to fall under his whispered spell.1. For Beginners
2. Never Had Nobody Like You
4. Hold Time
5. Rave On
6. To Save Me
7. One Hundred Million Years
8. Stars Of Leo
9. Fisher Of Men
10. Oh Lonesome Me
12. Blake's View
14. Outro$19.99Vinyl LP - Sealed Buy Now
Party TimePart of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom
Deep groove label pressings, tip-on jackets on thick cardboard stock
At the time he recorded this album in 1957, Arnett Cobb was in the process of rebounding from a serious automobile accident that broke both his legs. Cobb's indomitable spirit shines through in these tracks, whether he is calmly preaching on When My Dream Boat Comes Home, grooving down the Lonesome Road, or roaring through the song that is almost as closely associated with him as it is with Illinois Jacquet - Flying Home.
There are plenty of good blues, too, and pianist Ray Bryant's eloquence in this idiom is well exposed. Ray Barretto's conga adds another flavor to the rhythm section, especially on Cocktails for Two. With Ray Bryant, Wendell Marshall, Arthur Taylor and Ray Barretto.
This title is not eligible for discount.1. When My Dreamboat Comes Home
2. Lonesome Road
3. Blues in the Closet
4. Party Time
5. Flying Home
6. The Slow Poke
7. Cocktails for Two$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Metropolis Part 2: Scenes From A MemoryMetropolis Pt. 2: Scenes From A Memory is the fifth studio album by American progressive Metal/Rock band Dream Theater. Originally released in 1999, it was recorded at BearTracks Studios in New York, where the band had previously recorded their second studio album Images And Words and the EP A Change of Seasons.
The album is the sequel to Metropolis-Part I: The Miracle And The Sleeper, a song previously featured on the band's 1992 album Images and Words [MOVLP780]. It was the first album to feature Jordan Rudess on keyboards.
In 2012, Metropolis Pt. 2: Scenes From A Memory was voted as the number one all-time progressive Rock album in a poll conducted by Rolling Stone, beating Rush's 2112 and Close to the Edge by Yes.LP1
1. Scene One: Regression
2. Scene Two: I. Overture 1928
II. Strange Deja Vu
3. Scene Three: I. Through My Words
II. Fatal Tragedy
4. Scene Four: Beyond This Life
5. Scene Five: Through Her Eyes
1. Scene Six: Home
2. Scene Seven: I. The Dance Of Eternity
II. One Last Time
3. Scene Eight: The Spirit Carries On
4. Scene Nine: Finally Free$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Rock 'N Soul Part 1 (Awaiting Repress)Rock 'N Soul Part I On Numbered Limited Edition 180 Gram LP From Mobile Fidelity
The Definitive Hall and Oates Greatest-Hits Compilation: Rock 'n Soul Part I Loaded With Nine Top 10 Singles, Including Kiss On My List and Private Eyes
Mastered From the Original Master Tapes and Pressed On 180 Gram LP At RTI
All The Signature Songs From The 1970s And 80s Are Here, From Sara Smile And She's Gone To Maneater
Other compilations have longer track lists and go farther back into their career, but no Hall and Oates greatest-hits collection surpasses Rock 'n Soul Part I. Originally released at the height of the duo's career in fall 1983, the 12-song set functions as a time machine back into an era when Daryl Hall and John Oates dominated the charts with songs that have long since become standards. While a majority of the anthology draws from the group's trio of mammoth RCA albums spanning 1980 through 1982, it also includes the pair's only three Top 10 smashes from the 1970s: Sara Smile, She's Gone, and the chart-topping Rich Girl. One-stop shopping for the absolute best of Hall and Oates doesn't come any easier.
Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's analog reissue presents nine Top 10 Hall and Oates singles with awe-inspiring detail and palpable realism. Lifelike tones grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing claims enhanced intimacy and balance. The collective harmonies sound sharper, the dynamics richer, and the soundstages wider and deeper. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard devices, Hall and Oates wisely merge the period's savvy styles with tried-and-true soulful instrumentation.
Indeed, with one listen to this definitive-sounding version of Rock 'n Soul Part I, and you'll understand why the duo's music not only ruled radio and record stores in the Reagan era but also continues to be referenced by influential artists today. You already likely know every song - or nearly every one of them - here by heart. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks with #1 singles such as Kiss On My List and Private Eyes, the collaborators simultaneously crossed over into multiple markets and eradicated boundaries.
All the trademarks - swinging verse structures, call-and-response choruses, stick-in-your-head bridges, sleek keyboard layers, doo-wop fills, and, in some places, reggae-nodding accents or cool saxophone lines to stir up the mood and atmosphere - that make the duo's music irresistible pulse throughout Rock 'n Soul Part I. Eight of the singles included here cracked the Top 5. They remain prototype intersections of blue-eyed soul, edge new wave, and dance, blueprints for pop mastery that catapulted Hall and Oates to becoming the most successful duo in rock history.
Hear the Rock and Roll Hall of Fame inductees' standard-setting equilibrium between polish, melody, muscle, and craft on their signature hits like never before.
This title is not eligible for discount.1. Say It Ain't So
2. Sara Smile
3. She's Gone
4. Rich Girl
5. Kiss On My List
6. You Make My Dreams
7. Private Eyes
8. Adult Education
9. I Can't Go For That (No Can Do)
11. One on One
12. Wait for Me$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
New Slaves Part II: Essence Implosion! EPZs New Slaves Part II: Essence Implosion! EP on Limited Edition 12 LP + Digital Download With Bonus Tracks
Zs album New Slaves Part II: Essence Implosion! serves as a companion (or sequel) to New Slaves, their acclaimed double album from the spring of 2010 and features a series of focused and diverse remixes of that material by such luminaries as Thee Majesty (Genesis Breyer P-Orridge and Bryin Dall), JG Thirlwell (Foetus), Cex, Gabe Andruzzi (The Rapture), Zebrablood (Excepter), Weasel Walter (Flying Luttenbachers), and Ecstatic Sunshine. It is fascinating to hear these wholly individual talents pontificate about what the music of Zs is to them through their own sounds.
Zs also insinuate themselves in to the mix contributing the opening track MMW IV: Essence Implosion!, a side long epic which uses the aforementioned remixes as a sound palette from which to compose. On it they have furthered the band's kalaedoscopic membership principle that has long centered around the vision of tenor/saxist Sam Hillmer. For this recording he is joined by no-wave hero Weasel Walter, WFMU's Marty McSorely (to put the mix in the remix at the tables), and long-time Zs drummer Ian Antonio. The track also sees the return of founding Zs member, and Extra Life pioneer, Charlie Looker.
On New Slaves Part II: Essence Implosion! Zs' continue to embrace the studio as instrument, including not just the faculties of a studio in their process, but outside remixers and producers as well, demonstrating the ultimately collaborative nature of their approach to music. It is both the perfect accompaniment to New Slaves and a definitive musical statement in its own right. Zs have managed to craft a work that both reflects on (and even interacts with) their past, while also looking forward to its future through new collaborations.1. MMW IV: Essence Implosion!
2. Concert Black (Thee Majesty Remix)
3. Acres (Cex Vs. Remix)
4. New Slaves (JG Thirlwell Remix)$16.99Vinyl 12 LP - Sealed Buy Now
Time On My HandsRemastered and Reissued As Part of the Blue Note 75th Anniversary Vinyl Reissue Campaign
A Blue Note essential, Time On My Hands by jazz guitarist, John Scofield, is part of the Blue Note 75 anniversary
vinyl reissue campaign.1. Wabash III
2. Since You Asked
3. So Sue Me
4. Let's Say We Did
5. Flower Power
6. Stranger To The Light
7. Nocturnal Mission
8. Farmacology$19.99Vinyl LP Reissue - Sealed Buy Now
Time For Tyner
Part Of The Blue Note 75 Anniversary Vinyl Reissue Campaign
Time for Tyner finds pianist McCoy Tyner with vibraphonist Bobby Hutcherson, bassist Herbie Lewis, and drummer Freddie Waits. Tyner and Hutcherson blend together quite well on the first three tracks from the original program (all Tyner originals), and both display expertise at coming up with inventive ideas over modal vamps. The other three selections are veteran standards. I Didn't Know What Time It Was is taken by the full quartet, Hutcherson sits out on Surrey with the Fringe on Top, and a rhapsodic I've Grown Accustomed to Your Face is a piano solo. A fine all-round showcase for McCoy Tyner in the late '60s.
- Scott Yanow (All Music)1. African Village
2. Little Madimba
3. May Street
4. I Didn't Know What Time It Was
5. The Surrey with the Fringe on Top
6. I've Grown Accustomed to Her Face$19.99Vinyl LP Reissue - Sealed Buy Now
Time To Go HomeChastity belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the twelfth man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city's diy community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they're back and the tab is settled, the lights are out, the birds are making noise even though the sun isn't really up yet: it's time to go home, their second long-player and first for hardly art. In the outside world, they realized something crucial: they didn't have to play party songs now that their audience didn't consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn't be anyone else's, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; shapiro's world spins around her on on the floor, grounded by Grimm and Truscott's most commanding playing committed to tape. They pay tribute to writer Sheila Heti on drone and John Carpenter with the thing, and deliver a parallel-universe stoner anthem influenced by electrelane with joke. recorded by JosÉ Díaz Rohena at the unknown, a desecrated church and former sail factory in anacortes, and mixed with a cathedral's worth of reverb by Matthew Simms (guitarist for legendary british post-punks and one-time tourmates Wire), time to go home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.1. Drone
3. Why Try
4. Cool Slut
5. On the Floor
6. The Thing
10. Time To Go Home$15.99Vinyl LP - Sealed Buy Now
Parting GlancesIn 2010 Nicole Schneit aka Air Waves released Dungeon Dots, an album Aquarius Records called pretty much perfect pop music. For her new album Parting Glances, Schneit enlisted friends from Brooklyn's music community to contribute to the record, including members of Woods, Crystal Stilts, Ava Luna, and Hospitality. Additionally, Jana Hunter of Lower Dens contributes vocals to two songs. The album's title comes from the 1986 film Parting Glances in which Steve Buscemi portrays a gay man navigating the difficulties of being in a relationship in Reagan-era New York. More than just identifying with the story, Schneit is interested in the in the lasting effect of the parting glances we share with strangers in our everyday encounters. She explains You see all sorts of physical and emotional traits on the train. From people puking, making out, screaming, crying, laughing, dancing, grooming, etc. We encounter each other in the thick of our complex lives by simply looking at each other all the time. These glances are mundane and fleeting but also powerfully intimate. The lingering impact of those brief moments seeps into the details and imagery she delivers with energizing hooks and a disarming lack of pretense on Parting Glances.1. Horse Race
6. Milky Way
7. Touch of Light
9. Sweet Talk
11. 1000 Degrees
12. Tik Tok$18.99Vinyl LP - Sealed Buy Now
Time Of The Last PersecutionOriginally released in 1976 this is Serge Gainbourg's second concept record, after the stone classic Histoire De Melody Nelson, and probably second only in quality to that record in his deep, storied catalog. Translating to The Man With The Cabbage Head, L' Homme A Tete De Chou is a brutal story of lust and obsession in which, over the course of the album, the narrator falls in love with a black shampoo girl (Marilou), beats her to death with a fire extinguisher and ends up in a psychiatric hospital. Featuring lush orchestration and a variety of influences, from reggae to rock to funk to country, L' Homme A Tete De Chou is a crucial part of the musical history of one of France's most famous, and certainly most controversial, stars.1. Omega Day
2. Don't Let My Marigolds Die
3. I Hear You Calling
4. Dust Filled Room
5. Til The Christ Come Back
6. Release Is In The Eye
7. Laughing Man
8. Inside The Keepers Pantry
9. Tell It Like It Is
10. Plan D
11. Pictures Of Adolf Again
12. Time Of The Last Persecution
13. Come A Day
14. Let All The Other Teddies Know$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-EPI-2814xEvery Time I Die
From Parts Unknown
LP Contains CD Of Full Album
Buffalo's magnificently brutal metallic punk ensemble Every Time I Die is set to
unleash From Parts Unknown. The new album was produced by hard
music legend Kurt Ballou, guitarist of Converge, who has helmed recent buzz albums from Kvelertak, Nails, and High On Fire, and offers an unrelenting onslaught
of ingeniously composed and furiously executed cathartic hardcore. This is the
band's highly anticipated follow up to 2012's raging masterwork Ex Lives. From
the syncopated chaos of the opening salvo "The Great Secret" to the melodic mosh
of "Old Light" - as close as ETID have ever come to a radio-friendly unit shifter -
From Parts Unknown sees Every Time I Die pushing the limits of their own sound.1. The Great Secret
2. Pelican Of The Desert
3. Decayin' With The Boys
5. If There Is Room To Move, Things Move
9. Old Light
10. All Structures Are Unstable
11. El Dorado
12. Idiot$19.99Vinyl LP + CD - Sealed Buy Now
All Ears, All Eyes, All The Time
180 Gram, Coke-Bottle Colored Vinyl
First Time On Vinyl, Limited To 500
Stones, Hendrix, and Tom Petty to legendary indie-rockers like Weezer, the Pixies, Dinosaur Jr.. Pavement, Superchunk, and Spoon to even left-of-center rap acts like A Tribe Called Quest, it's a record that ventures far beyond the clich'd constraints of the emo pigeonhole in which Piebald are so often mistakenly placed (note the jaunty piano romp Part Of Your Body Is Made Out Of Rock, the dream-rock sea-shanty All Senses Lost, or the twee, Shins-like powerpop of Giving Cup). Says Travis of Piebald's all-encompassing musical styles, We don't really feel we're an emo band; we're really more just like hippies that use distortion! Most of the time we're put in a category with emo bands, but we don't really hear the real connection. So we don't like that we're called that ' but then again, we don't really like that any band is called that.
Although All Ears was produced by Paul Q. Kolderie (Cave-In, Dinosaur Jr., fireHOSE, Hole, Pixies, Radiohead), Piebald were admittedly still worried about whether they could top their previous landmark effort, We Are The Only Friends We Have. You always want to like your new record more and feel that it's better than your last one, otherwise you wouldn't want to put it out, says Travis. But Paul was really excited about the new songs, and all the people at the studio were excited, and it felt like we were on the right track, even though we didn't know for sure. And in the end, I think we at least did comparably musically. You still get what you need from a Piebald record. It's different, but you still get sufficiently rocked.1. The Benefits Of Ice Cream
2. Present Tense
3. Human Taste Test
4. The Jealous Guy Blues
5. All Senses Interlude
6. Haven't Tried It
7. Giving Cup
8. Par Of Your Body Is Made Out Of Rock
9. The Song That Launched A Thousand Ships
10. Put Your Slippers On Instead
11. Get Old Or Die Young
12. New Boston Interlude
13. All Senses Lost
14. The Six Eighter
15. All Sense Is Lost Postitude$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Right Place Wrong Time (Pure Pleasure)This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had »no charisma«. This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of Rainy Night in Georgia by Tony Joe White.
- Otis Rush (vocal, guitar)
- Doug Killmer, John Kahn (bass)
- Hart McNee (alto saxophone)
- John Wilmeth (trumpet)
- Ron Stallings (tenor saxophone)
- Fred Burton (guitar)
- Mark Naftalin (piano)
- Ira Kamin (organ)
- Bob Jones (drums)
Recording: February 1971 at Wally Heider's Studio, San Francisco
Production: Nick Gravenites and Otis Rush
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.1. Tore Up
2. Right Place, Wrong Time
3. Easy Go
4. Three Times A Fool
5. Rainy Night In Georgia
6. Natural Ball
7. I Wonder Why
8. Your Turn To Cry
9. Lonely Man
10. Take A Look Behind$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
What A Time To Be AliveAfter the shocking, and for many, demoralizing result of the 2016 election,
"I didn't buy the silver lining some were promoting that 'well, at least art and music will
be great now!'," says Superchunk co-founder and frontman Mac McCaughan.
"Obviously, any sane person would gladly trade four to eight years of terrible music for not
having our country dismantled to satisfy the whims of a vengeful child and his enablers."
That said, good music and art still have a lot to say, and the urgency of
current events gave Mac, Laura, Jim, and Jon the momentum to make
something new sooner than later. "It would be strange to be in a band, at least our
band, and make a record that completely ignored the surrounding circumstances that we
live in and that our kids are going to grow up in." Enter What a Time to Be Alive,
recorded and mixed by Beau Sorenson. It's a record, says Mac, "about a pretty
dire and depressing situation but hopefully not a record that is dire and depressing to listen
Indeed, like so much of Superchunk's music in the band's nearly three
decades together, the songs on What a Time to Be Alive meet rage and anxiety
head-on with the catharsis and exhilaration of loud punk fire and vulnerable
pop energy. Like 2013's I Hate Music, which focused on death, loss, and the
role of music in an aging life, the new record brings spirit to the frontlines of
pain-it's as defiant as it is despairing, as much a call to arms as a throwing up
The record features more guest backing vocalists than any previous
Superchunk album, including Sabrina Ellis (A Giant Dog, Sweet Spirit), Katie
Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Skylar
Gudasz, and David Bazan. "Part of that was wanting a feeling of community," says
Mac. "I think that's important to not be completely bummed out about everything all the
Despite the album's driving force, it would be a mistake to call the album
political, which suggests it has anything to do with parties, policy, or anything
that can be broken down into a rational difference of opinion. "We're not trying
to offer policy solutions in the confines of a three-minute song," says Mac. "It's about 'how
do you live / not go crazy' in the current climate when it seems like every day there's a new
outrage being perpetrated."1. What a Time to Be Alive
2. Lost My Brain
3. Break the Glass
4. Bad Choices
5. Dead Photographers
7. I Got Cut
8. Reagan Youth
9. Cloud of Hate
10. All for You
1. Black Thread$17.99Vinyl LP - Sealed Buy Now
Parts Of Speech (Awaiting Repress)From its first track, Dessa's new full-length Parts of Speech announces itself as something different. The Doomtree veteran and inveterate wordsmith - having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop - jettisons all genre expectations on "The Man I Knew" and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.
From this moment on Dessa - oft-described as "Mos Def plus Dorothy Parker" for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin - proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.
"I wanted to investigate the idea that a cohesive record isn't always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme."
Track two kicks off a stunning hat-trick of the record's standout numbers. "Call Off Your Ghost" is an admittedly haunting dirge on the "struggle for grace in the wake of a long relationship." An arena-sized chorus tucked into a melancholy lullaby, "Ghost" has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.
Dessa then puts her fists up for "Warsaw." The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee's confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like "I sleep with both eyes open, standing up," daring you to blink first.
"Skeleton Key" contains Parts of Speech's mission statement: "I haven't met a locked door yet." An ode to female self-reliance that doesn't waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.
"This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too - we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."
While the album is born of Dessa's artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree - eventually going on to help manage the group's business affairs as they launched their own label - and members Lazerbeak and Paper Tiger lend their production to several tracks.
The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track "It's Only Me."1. The Man I Knew
2. Call Off Your Ghost
4. Skeleton Key
5. Dear Marie
6. I'm Going Down
7. Fighting Fish
8. The Lamb
11. It's Only Me
12. Sound the Bells$19.99Vinyl LP - LP Sealed AWAITING REPRESS Buy Now
The Best Of TimesFounded in Astoria, Queens in 1983 Murphy's Law are huge part of the New York
and American hardcore legacy. Their albums, such as the self entitled, "Murphy's
Law" and the 1989 follow up "Back With A Bong" helped creating the sound of
New York Hardcore back then, as well as what it stands for today. In 2008 their
legacy even lead to the use of the song "A Day In A Life" (from the band's debut) in
the Liberty City Hardcore radio station on the Rockstar video game "Grand Theft
Auto IV". Murphy's Law never abandoned the Hardcore scene or their fans. During
the extensive career Jimmy Gestapo stayed true his scene earning him & the band
the name of one of NYHC's all time favorites.1. Intro
2. The Best Of Times
3. Big Spliff
4. Freak Town
6. Did You Play War?
7. Ebony And Ivory
8. Harder Than Who
9. Car Song
10. Beer Bath
11. Sock It To Me Santa
13. Burnt Toast
14. Hemp For Victory$15.99Vinyl LP - Sealed Buy Now
Between The Times And The TidesBetween The Times And The Tides is the first proper, song-oriented studio album from Sonic Youth guitarist Lee Ranaldo. Recorded with longstanding Sonic Youth producer John Agnello, the album is a shimmering and melodic tapestry of rock sounds.
Ranaldos trademark alternate-tuning guitar work is at the forefront here, but it is amplified by brilliant leadwork from Wilcos Nels Cline on every track. The all-star lineup also includes Sonic Youths Steve Shelley on drums, Alan Licht on guitar, and John Medeski on keyboards. There are also cameos from original Sonic Youth drummer Bob Bert and producer and instrumentalist Jim ORourke.
Between The Times and The Tides is equal parts smart, confident and loose in a manner that recalls some of Matador's favorite rock n' roll projects yet sounds like a fantastic new band that was apparently being assembled right under our noses. With lyrics plumbing Ranaldos childhood and adolescence, its a fascinatingly approachable song collection from one of rocks greatest guitarists. Includes MP3 coupon.1. Waiting On A Dream
2. Off The Wall
3. Xtina As I Knew Her
5. Hammer Blows
6. Fire Island (phases)
7. Lost (plane t Nice)
10. Tomorrow Never Comes$17.99Vinyl LP - Sealed Buy Now