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  • Vol. 3 - Life And Times Of S. Carter Vol. 3 - Life And Times Of S. Carter Quick View

    $29.99
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    Vol. 3 - Life And Times Of S. Carter

    Vol. 3 Life and Times of S. Carter is the fourth studio album from Jay-Z.. It exhibits a return to the street-oriented sound of his first album, Reasonable Doubt. Production for the album was handled by several big name hip hop producers, including Swizz Beatz, Timbaland, K-Rob, DJ Premier, Rockwilder, DJ Clue and Irv Gotti.


    In celebration of Def Jam's 30th Anniversary, UMe will be reissuing this classic album back on vinyl for the first time in years.

    1. Hova Song (Intro)
    2. So Ghetto
    3. Do It Again (Put Ya Hands Up) (featuring Beanie Sigel & Amil)

    4. Dope Man (featuring Serena Altschul)

    5. Things That U Do (featuring Mariah Carey)
    6. It's Hot (Some Like It Hot)

    7. Snoopy Track (featuring Juvenile)
    8. S. Carter (featuring Amil)
    9. Pop 4 Roc (featuring Beanie Sigel, Memphis Bleek & Amil)
    10. Watch Me (featuring Dr. Dre)
    11. Big Pimpin' (featuring UGK)

    12. There's Been a Murder

    13. Come and Get Me
    14. NYMP
    15. Hova Song (Outro)

    16. Jigga My Nigga (hidden bonus track)

    17. Girl's Best Friend (hidden bonus track)
    Jay-Z
    $29.99
    Vinyl LP Reissue - 2 LPs Sealed Buy Now
  • Onyx Onyx Quick View

    $19.99
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    Onyx

    In the twelve years since their inception, Michigan's Pop Evil have undergone their fair share of changes. Members, style, labels, you name it and there is a decent change the group has made some kind of tweak in the last decade. This is not a complaint, however, as every new evolution of the group has made them a tighter, more focus band. Since 2010s War Of Angels the group has again undergone changes, including the addition of drummer Chachi Riot and guitarist Nick Fuelling, as well as their decision to not use acoustic guitars, and once again the mitten state's greatest rock band has come out better for their efforts.


    The idea of overcoming your demons and that which holds you back from being who you want to be or doing what you desire may sound like an overly-present theme on the album, but it never feels so familiar that it becomes tired. Instead, each track on Onyx feels like an anthem in its own right, targeting those with various doubts about themselves and the world around them. Pop Evil harness tap into the fear of the unknown that lies within each of us in our own unique ways and offer up twelve tracks to motivate and inspire individuals to take their lives into their own hands. Onyx is one of the most cohesive, memorable, and downright fun listening experiences of the year. It's the best album Pop Evil have ever written, and it's littered with moments that indicate there are years of great music still come. I cannot think of a single reason anyone who considers themselves a fan of rock and roll should not buy Onyx. As of May 14, it will officially be an album to beat in 2013, and it could not have come from a more deserving and hard working band.


    Review written by: James Shotwell

    1. Goodbye My Friend
    2. Deal with the Devil
    3. Trenches
    4. Torn to Pieces
    5. Divide
    6. Beautiful
    7. Silence & Scars
    8. Sick Sense
    9. Fly Away
    10. Behind Closed Doors
    11. Welcome to Reality
    12. Flawed
    Pop Evil
    $19.99
    Vinyl LP - Sealed Buy Now
  • Kaleidoscope of Rainbow (Pure Pleasure) Kaleidoscope of Rainbow (Pure Pleasure) Quick View

    $44.99
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    Kaleidoscope of Rainbow (Pure Pleasure)

    This album became infamous for it's supremely original music, but also for it's impeccable engineering by Martin Levan. On the original single LP the sound quality had to be compromised to enable the inclusion of 27 minutes of music per side. Much of the bass and stereo effect was removed.



    Now as a double LP and mastering from the original master analogue tapes all of the 'missing' bass and stereo effect is here for all to savour and enjoy.
    At the time of it's original release in September 1976 it received critical acclaim across the full spectrum of the days music aficionados.



    Listening to it today there is no reason to doubt it's continuing worth as an outstanding work of art and a lasting testament to Neil Ardley who sadly passed away.



    Musicians:



    • Neil Ardley (keyboards)

    • Geoff Castle (keyboards)

    • Ian Carr (trumpbet, fluegel horn)

    • Barbara Thompson (alto saxophone, soprano saxophone, flute)

    • Paul Buckmaster (cello)

    • Ken Shaw (guitar)

    • Roger Sutton (bass)

    • Trevor Tomkins (percussion, vibraphone)

    • Roger Sellers (drums)




    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.



    1.Prologue/Rainbow One (soloist Ian Carr and Brian Smith) 10.26
    2.Rainbow Two (soloist Dave Macrae and Geoff Castle) 7.34
    3.Rainbow Three (soloist Paul Buckmaster) 3.28
    4.Rainbow Four (soloist Barbara Thompson) 6.15
    5.Rainbow Five (soloist Tony Coe) 4.25
    6.Rainbow Six (soloists Ken Shaw and Bob Bertles) 7.39
    7.Rainbow Seven/Epilogue 14.56
    Neil Ardley
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Lehmann Black Cube SE Phono Stage Lehmann Black Cube SE Phono Stage Quick View

    $929.00
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    Lehmann Black Cube SE Phono Stage


    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.


    Since the market introduction in 1995 the Black Cube phono stages by Lehmannaudio have become cult objects for analog oriented music lovers. Countless positive reviews and awards, and an unrivalled customer satisfaction worldwide document this truly exceptional success.


    The device has even be vastly improved in 2006. A special 30 VA toroidal transformer of the PWX power supply is the main reason for the sonic performance achieved with the Black Cube SE. This transformer is not only overdimensioned but even sports a grounded isolation coil between the primary and secondary coil. The results: much more bass authority, a more liquid midrange as well as more openness. These sonic benefits are without any doubt the reasons that more and more music lovers choose the Black Cube SE right from the start.


    No more need for expensive impedance plugs!

    The Lehmannaudio Black Cube SE phono stage is compatible with practically all available cartridges on the market from High Output MM to MC. Apart from the standard switch settings there is one onboard slot plus one hard wire slot that can be fitted with a custom impedances to supply perfect termination even for the most exotic cartridges. No more need for expensive impedance plugs!


    The input stages used in the Black Cube SE can also be found in top notch mixing consoles or in well known professional microphone preamps. The entirely passive RIAA equalization network is realized with high precision foil capacitors. All resistors are of the low noise metal film variety. The switches for gain and load settings have gold plated connectors. Because of the small outer dimensions the Black Cube SE can be placed next to the turntable. This minimizes loss due to cable lengths.


    Lehmannaudio always pays special attention to details: the cable between power supply and audio section is shielded and uses Neutrik connectors with gold plated contacts at the power supply side. The cases of both the power supply and the audio section are made of nonmagnetic material (aluminium) and are equipped with a top cover coated with a special anti-resonance treatment.


    Lehmann Audio
    $929.00
    MM and MC Phono Stage Buy Now
  • Saved Saved Quick View

    $19.99
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    Saved


    The title of Now, Now's first new album in half a decade begs the obvious
    question Saved from what? They certainly didn't seem like a band that
    needed saving after the release of their 2012 LP Threads. When the world
    last heard from Now, Now, they had made their late night TV debut with
    Jimmy Fallon, and landed tours and shows with bands including Fun. and
    Bob Mould, among others. For better or worse, the usual path for any band
    that seems like they're on the cusp of a breakthrough is to strike while the
    iron is hot. That is, to hurry back to the studio to work with a proven producer
    known for having a hand in a few big records. Bands and artists that find
    themselves in this situation are compelled to "go big, or go home," and in
    Now, Now's case they did just that, they went home.


    It might not have been planned that way, but that's where they ended up--
    back in Minneapolis without a clear sense of how to move forward. Despite
    any success or acclamation earned up to that point, self-doubt set in, and
    a crippling writers block entrenched itself further. Weeks became months,
    and months dissolved into years, all while the band's modest but fervent
    fanbase were left to speculate on social media as to what was behind the
    silence. At a particularly low point relates KC, "I felt like I was pursuing the
    wrong dream, that maybe something else would reveal itself to me."


    She felt pressure from both herself and those around her so immense that it
    froze her. "It felt like everyone was mistaking how much I was obsessing
    over the album for not caring about the album, but in reality I was putting too
    much pressure on myself to be able to write. So it felt like everyone was angry
    with me on top of me feeling like I was ruining my career and disappointing
    myself." As a result she reveals, "I had some very difficult conversations with
    myself and with people close to me who were worried about my happiness."


    "I still carry a little bit of guilt for adding to that stress that KC is talking about,"
    reveals Brad. "After a year of people around us asking 'why is the album not
    done, your career is about to just be over,' I as well started to question my
    career choice, to question my talent, and I started buying into this idea that
    KC wasn't working, even though I was right there watching her work. That's
    something I'm embarrassed by and wish I could take back. But through that
    we got stronger as friends and collaborators, and I learned the hard way that
    the only reason we make music is for ourselves."

    1. SGL
    2. MJ
    3. Can't Help Myself
    4. AZ
    5. Window
    6. Holy Water
    7. Yours
    8. Saved
    9. Knowme
    10. Drive
    11. Set It Free
    12. Powder
    Now, Now
    $19.99
    Vinyl LP - Sealed Buy Now
  • Fear Not For Man Fear Not For Man Quick View

    $19.99
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    Fear Not For Man

    Fear Not For Man was one of the first albums to be released by Fela following the sacking of his Kalakuta Republic compound by 1,000 soldiers on 18 February 1977. Fela, along with many other Kalakuta residents, was brutally beaten; his mother, then aged 77, was thrown out of a window, fracturing a leg.


    The army set fire to the compound, destroying six Afrika 70 vehicles, all Fela's master tapes and band equipment, a four-track recording studio, and all the community members' personal belongings. It is doubtful, contrary to some sources, Fear Not For Man was recorded after the attack - doubt which is dispelled by neither the gruesome front sleeve design, showing blood flowing down Fela's face.


    His response came later, on albums such as Unknown Soldier (1979) and Coffin For Head Of State (1980); Fela's practice of no longer performing a song live once he had released it on record is the reason for the two/three year gap between the attack and the release of these albums.

    1. Fear Not For Man
    2. Palm Wine Sound (Instrumental)
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Cars (Awaiting Repress) The Cars (Awaiting Repress) Quick View

    $34.99
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    The Cars (Awaiting Repress)

    Ranked 282/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!


    The Cars Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple


    My Best Friend's Girl, Just What I Needed, You're All I've Got Tonight Among the Tunes on the Hit Parade


    One of the most successful and enjoyable debuts in history, The Cars self-titled album doubles as a greatest-hits collection. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.


    Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orrs low, understated singing and Ocaseks cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accentscountry-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.


    The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Bakers trademark touches with harmony vocals abound.


    And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP allows the musics oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners senses and hold them at bay. Mobile Fidelitys unparalleled pressing epitomizes the sensation of moving in stereo!


    This title is not eligible for discount.

    1. Good Times Roll
    2. My Best Friend's Girl
    3. Just What I Needed
    4. I'm in Touch With Your World

    5. Don't Cha Stop
    6. You're All I've Got Tonight
    7. Bye Bye Love
    8. Moving in Stereo

    9. All Mixed Up
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Frogtown Frogtown Quick View

    $40.99
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    Frogtown

    Anthony Wilson, best known as a jazz guitarist, has released an organic, occasionally 'noir-ish'-sounding album on which he sets up and sings within cinematic musical landscapes, proving himself to be an equally compelling story teller. Frogtown is an area of Los Angeles, whose official name is Elysian Valley. People live there but other than a lush stretch of the L.A. riverbed, there's not much there, which is how the people like it. The same can't be said of this record, which will have you wondering from where came this Anthony Wilson? ... the album's sound and the deftly drawn arrangements (for some reason uncredited) perfectly compliment Wilson's dreamy, rural intentions (producer Joe Harley gets a 'audio consultation' credit). The sound achieves a rare level of transparency, delicacy and three-dimensionality in today's hard-edged audio world. Bernie Grundman cut lacquers from what I assume were high resolution files. I doubt you'll ask yourself 'why buy the vinyl?' after your first listen. - Music = 10/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com.


    Frogtown, a new album of original instrumental and vocal songs, is guitarist Anthony Wilson's widest-ranging work to date, and his debut as a vocalist. Wilson enlisted Grammy-winning producer/bassist Mike Elizondo (Gary Clark Jr., Kimbra, Ry Cooder), a longtime friend and musical colleague, to help him realize this collection of layered and personal sonic stories.


    Featuring a cast of renowned musicians - drummers Jim Keltner and Matt Chamberlain, violinist Petra Haden, and keyboardists Patrick Warren and Josh Nelson - each song on Frogtown evokes a distinct feeling and landscape, and takes the listener someplace new. Virtuosic guitar and ensemble work, well-made songs and detailed arrangements, and intimate vocals are the driving forces of the album.


    An album highlight is the song Your Footprints - written by Wilson with songwriter Dan Wilson (Adele, Taylor Swift, Semisonic) - featuring a special guest appearance from iconic jazz saxophonist Charles Lloyd. The collaboration with Lloyd alludes to Wilson's deep jazz roots, and evokes memories of his father, the late, great composer/bandleader Gerald Wilson. Other songs summon varied musical influences - FM radio of the 1970's, Ry Cooder's diverse body of work, children's rhymes, guitar styles from the 1920's to the present day.


    Frogtown travels into, through, and beyond genres; the album's melodies and lyrics guide the listener through tender and complex emotional landscapes. Anthony Wilson steps confidently into the center of the frame for this musical and personal portrait.

    1. She Won't Look Back
    2. Frogtown
    3. Your Footprints
    4. Occhi di Bambola
    5. Silver and Flint
    6. Our Affair
    7. The Cares of a Family Man
    8. Mopeds
    9. Arcadia
    10. The Geranium
    11. Shabby Bird
    12. I Saw It Through The Skylight
    13. Downtown Abbey
    Anthony Wilson
    $40.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • At Newport At Newport Quick View

    $32.99
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    At Newport

    Import


    Limited Edition of 500 on Audiophile Clear Vinyl


    The afternoon concerts at the Newport Jazz Festivals usually are given over to the presentation of new jazz talent, new groups, foreign born artists, and "new directions!' Taking care of the latter category at the 1957 show were, prominent among several others, the Cecil Taylor Quartet and the Gryce-Byrd Jazz Lab group. It's doubtful that either had ever played before an audience more attentive, more earnest in its desire to understand (...)I believe the overwhelming majority of jazz fans got some message, and came away convinced that these groups merited many more hearings. (from original liner notes)


    About Audiophile Clear Vinyl

    Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the "electrical distortion" often found on records.
    By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback.
    That is the reason why we choose to offer our records in the following manner:


    - Audiophile Clear Vinyl (ACV)


    - 140 gram


    - 25 minutes maximum per side

    Side A:
    Cecil Taylor Quartet:
    1. Johnny Come Lately
    2. Nona's Blues
    3. Tune 2


    Side B:
    Gigi Gryce-Donald Byrd:
    1. Splittin'
    2. Batland
    3. Love For Sale

    Gigi Gryce, Donald Byrd Jazz Laboratory & Cecil Taylor Quartet
    $32.99
    Clear Vinyl LP - Sealed Buy Now
  • Die Healing (Awaiting Repress) Die Healing (Awaiting Repress) Quick View

    $21.99
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    Die Healing (Awaiting Repress)

    "Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!


    Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE


    Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.


    The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.


    The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.


    What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).


    Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.


    It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.


    - joncheetham88 (Metal Archives)

    1. Dark World
    2. One Mind
    3. Let The End Begin
    4. Trail Of Pestilence
    5. Sloth
    6. Return Of The Zombie
    7. In The Asylum
    8. Just Another Notch
    Saint Vitus
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • This Year's Best Disaster This Year's Best Disaster Quick View

    $15.99
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    This Year's Best Disaster

    Available on Vinyl for the First Time in The United States!


    With former members of Garrison, Texas Is The Reason, Thursday, and Milhouse making up the lineup of I Hate Our Freedom, there wasn't a doubt that the band's second release, This Year's Best Disaster, could be anything short of jaw dropping. The disc, which will be the first available vinyl in the States, is a nostalgic collection of post-hardcore from the '90s. Featuring loud, gritty and raw vocals, edgy grooves, sleek riffs and loud drums, "3am New York City" encompasses the attitude of the sleepless city. Seamless quarter glides into "Sans Sympathie," which is a bit mellower than the previous sucker-punching cut, but keeps the release moving. As This Year's Best Disaster continued on, it was nearly impossible to not get excited to see what the next track had to offer. The combined forces of the talented veterans created something that isn't seen too often lately.


    This Year's Best Disaster peaks during the brash "Second Telling Of A First Degree." The number throttles the entire album into overdrive with its nimble and lively instruments, and Joseph Grillo's bold and rugged voice makes its mark on the listener. As much as each cut has its own unique qualities that add to their wow factor, "Letterbomb" lacks the extra oomph that the other pieces on the collection have. Despite the setback, which really doesn't severely impact the disc, I Hate Our Freedom makes a full recovery. Despite each song on This Year's Best Disaster having their own strong points, the final four cuts are some of the most intense on the album. Leaving two of the strongest pieces to close it out, I Hate Our Freedom creates the need to replay the angsty disc all over again.

    - The Aquarian

    1. 3am New York City
    2. Sans Sympathie
    3. Cut You In
    4. Second Telling Of A First Degree
    5. Letterbomb
    6. Set It Off
    7. The Poison And Pen
    8. Goddam
    9. Add Suicide To The List Of Things You Failed At
    10. You're Perfect, No Really
    I Hate Our Freedom
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Smile Sessions Box Set The Smile Sessions Box Set Quick View

    $169.99
    Buy Now
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    The Smile Sessions Box Set

    With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album.


    In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world.


    This expanded, boxed edition of The SMiLE Sessions features the main SMiLE album tracks, plus four CDs of additional audio from the legendary sessions, a double vinyl LP set, and two 7 vinyl singles. The deluxe box also contains a 60-page hardbound book with rare and previously unseen photos and memorabilia from The Beach Boys archive and newly-written essays by Beach Boys Al Jardine, Mike Love, Brian Wilson, and Bruce Johnston, as well as by Beach Boys historian and author Domenic Priore and many other inner-circle participants.


    Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions box set includes an assembled collection of core session tracks. It also delves much deeper into the sessions, adding early song drafts, alternate takes, instrumental and vocals-only mixes, and studio chatter. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions.


    Artwork for all of The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album. With its three-dimensional shadowbox lid, The SMiLE Sessions box set offers a whimsical peek inside the storied SMiLE Shop.


    When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, The Beach Boys SMiLE is quite possibly the most storied album in rock history, Billboard proclaimed the upcoming release an event that pop music fans have been waiting for since the Summer of Love, and The Washington Post called SMiLE the most legendary unreleased album of all time.


    The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose.


    Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE.


    In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics.


    The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album.

    LP 1
    Side 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence


    Side 2
    1. Wonderful
    2. Look (Song for Children)
    3. Child Is Father Of the Man
    4. Surf's Up


    LP 2
    Side 3
    1. I Wanna Be Around / Workshop
    2. Vega-Tables
    3. Holidays
    4. Wind Chimes
    5. The Elements: Fire (Mrs. O'Leary's Cow)
    6. Love to Say Dada
    7. Good Vibrations


    Side 4
    1. You're Welcome (stereo mix)
    2. Vega-Tables (stereo mix)
    3. Wind Chimes (stereo mix)
    4. Cabin Essence (Session highlights and stereo backing track)
    5. Surf's Up (Session Excerpt and Stereo mix)


    Heroes and Villains Smile 7 single:
    Side A: Heroes and Villains Part One
    Side B: Heroes and Villains Part Two


    Vega-Tables 7 single:
    Side A: Vega-Tables
    Side B: Surf's Up


    CD 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence
    9. Wonderful
    10. Look (Song for Children)
    11. Child Is Father Of the Man
    12. Surf's Up
    13. I Wanna Be Around / Workshop
    14. Vega-Tables
    15. Holidays
    16. Wind Chimes
    17. The Elements: Fire (Mrs. O'Leary's Cow)
    18. Love to Say Dada
    19. Good Vibrations
    Bonus Tracks:
    20. You're Welcome
    21. Heroes and Villains (Stereo mix)
    22. Heroes and Villains Sections (Stereo mix)
    23. Vega-Tables Demo
    24. He Gives Speeches
    25. Smile Backing Vocals Montage
    26. Surf's Up 1967 (solo version)
    27. Psycodelic Sounds: Brian Falls Into A Piano


    CD 2 - Session Highlights:
    Our Prayer
    1. Our Prayer Dialog (9/19/66)
    2. Our Prayer (10/14/66)
    Heroes and Villains
    Heroes and Villains Session (10/20/66)
    3. Heroes and Villains: Verse (Master take)
    4. Heroes and Villains: Barnyard (Master take)
    5. Heroes and Villains: I'm In Great Shape (10/27/66)
    6. Heroes and Villains: Intro (Early version - circa 12/66)
    Heroes and Villains Session (1/3/67)
    7. Heroes and Villains: Do A Lot
    8. Heroes and Villains: Back of Tricks
    9. Heroes and Villains: Mission Pak
    10. Heroes and Villains: Bridge To Indians
    11. Heroes and Villains: Part 1 Tag
    12. Heroes and Villains: Pickup To 3rd Verse
    Heroes and Villains (1/27/67)
    13. Heroes and Villains: Children Were Raised
    14. Heroes and Villains: Part 2 (Cantina track)
    15. Heroes and Villains: Whistling Bridge
    16. Heroes and Villains: Cantina
    17. Heroes and Villains: All Day
    18. Heroes and Villains: Verse Edit Experiment
    Heroes and Villains Session (2/15/67)
    19. Heroes and Villains: Prelude to Fade
    20. Heroes and Villains: Piano Theme
    Heroes and Villains Session (2/20/67)
    21. Heroes and Villains: Part 2
    22. Heroes and Villains: Part 2 (Gee)(Master take)
    23. Heroes and Villains: Part 2 Revised
    24. Heroes and Villains: Part 2 Revised (Master take)
    25. Heroes and Villains: Part 3 (Animals)(Master take)
    26. Heroes and Villains: Part 4
    27. Heroes and Villains: Part Two (Master take) (2/27/67)
    28. Heroes and Villains: Fade (2/28/67)
    Heroes and Villains Session (3/1/67)
    29. Heroes and Villains: Verse Remake
    30. Heroes and Villains: Organ Waltz / Intro
    Heroes and Villains Session (6/14/67)
    31. Heroes and Villains: Chorus Vocals
    32. Heroes and Villains: Barbershop
    33. Heroes and Villains: Children Were Raised (Remake)
    34. Heroes and Villains: Children Were Raised (Master take Overdubs Mix 1)
    35. Heroes and Villains: Children Were Raised (Master take A Capella)
    Bonus Tracks:
    36. Heroes and Villains Piano Demo (incorporating I'm In Great Shape and Barnyard) Brian with Van Dyke Parks and Humble Harve Miller, KHJ Radio (11/4/66)
    37. Psycodelic Sounds: Brian Falls Into A Microphone (11/4/66)
    38. Psycodelic Sounds: Moaning Laughing (11/4/66)


    CD 3 - Session Highlights
    Do You Like Worms (Roll Plymouth Rock)
    Do You Like Worms Session (10/18/66)
    1. Do You Like Worms: Part 1
    2. Do You Like Worms: Part 2 (Bicycle Rider)
    3. Do You Like Worms: Part 3
    4. Do You Like Worms: Part 4 (Bicycle Rider)
    5. Do You Like Worms: Bicycle Rider Overdubs (Heroes And Villains Part 2) (1/5/67)
    My Only Sunshine (The Old Master Painter / You Are My Sunshine)
    6. My Only Sunshine: Parts 1 & 2 (11/14/66)
    7. My Only Sunshine: Part 2 (Master Take With Vocal Overdubs) (2/10/67)
    Cabin Essence
    Cabin Essence Session (10/3/66)
    8. Cabin Essence: Verse
    9. Cabin Essence: Chorus
    10. Cabin Essence: Tag
    Wonderful
    11. Wonderful (Version 1) (8/25/66)
    Wonderful (Version 2 Rock With Me, Henry) Session (1/9/67)
    12. Wonderful (Version 2)
    13. Wonderful (Version 2 Tag)
    14. Wonderful (Version 3) (4/10/67?)
    Look (Song For Children)
    15. Look (8/12/66)
    Child Is Father Of The Man
    16. Child Is Father Of The Man (Version 1) (10/7/66)
    17. Child Is Father Of The Man (Version 2) (10/11/66)
    Surf's Up
    18. Surf's Up: 1st Movement (11/4/66)
    19. Surf's Up: Talking Horns (11/7/66)
    20. Surfs Up: Piano Demo (Master Take) (12/15/66)
    I Wanna Be Around / Workshop (Friday Night)
    21. I Wanna Be Around (11/29/66)
    Vega-Tables (Vegetables)
    Vegetables Sessions (4/4/67 4/11/67)
    22. Vegetables: Verse (Master Take Track) (4/4 4/11/67)
    23. Vegetables: Sleep A Lot (Chorus)
    24. Vegetables: Chorus 1 (Master Take)
    25. Vegetables: 2nd Chorus (Master Take Track And Backing Vocals)
    26. Vegetables: Insert (Part 4) (Master Take)


    CD 4
    Session Highlights
    Vega-Tables (Vegetables) (continued)
    1. Vegetables: Fade (4/12/67)
    2. Vegetables: Ballad Insert (4/14/67)
    Holidays
    3. Holidays (9/8/66)
    Wind Chimes
    4. Wind Chimes (Version 1) (8/3/66)
    Wind Chimes (Version 2) Session (10/5/66)
    5. Wind Chimes (Version 2)
    6. Wind Chimes (Version 2 Tag)
    The Elements: Fire (Mrs. O'Leary's Cow)
    7. The Elements (Fire) (11/28/66)
    Love to Say Dada / Cool, Cool Water
    Da Da Session (12/22/66)
    8. Da Da (Taped Piano Strings)
    9. Da Da (Fender Rhodes)
    Love To Say Dada Sessions (5/16/67 - 5/18/67)
    10. Love To Say Dada: Part 1 (5/16/67)
    11. Love To Say Dada: Part 2 (5/17/67)
    12. Love To Say Dada: Part 2 (Master Take) (5/17/67)
    13. Love To Say Dada: Part 2 (Second Day) (5/18/67)
    Cool, Cool Water
    14. Cool, Cool Water (Version 1) (6/7/67)
    15. Cool, Cool Water (Version 2) (10/26/67 & 10/29/67)
    Smile Additional Sessions
    16. You're Welcome (12/15/66)
    17. You're With Me Tonight (6/66/7/67)
    18. Tune X (3/3/673/31/67)
    19. I Don't Know (1/12/67)
    20. Three Blind Mice (10/15/65)
    21. Teeter Totter Love (Jasper Dailey) (1/25/67 & 2/9/67)
    Bonus Tracks:
    22. Psycodelic Sounds - Underwater Chant (11/4/66)
    23. Hal Blaine Vega-Tables Promo Session (11/16/66)
    24. Heroes And Villains: Early Version Outtake Sections (1/67 2/67)


    CD 5
    Session Highlights
    Good Vibrations Sessions
    1. Good Vibrations: Gold Star 2/18/66 (The Pet Sounds Session)
    2. Good Vibrations: Gold Star 4/9/66
    3. Good Vibrations: Western 5/4/66 (First Chorus)
    4. Good Vibrations: Western 5/4/66 (Second Chorus & Fade)
    5. Good Vibrations: Sunset Sound 5/24/66 (Part 1)
    6. Good Vibrations: Sunset Sound 5/24/66 (Parts 2 & 3)
    7. Good Vibrations: Sunset Sound 5/24/66 (Part 4)
    8. Good Vibrations: Western 5/27/66 (Part C)
    9. Good Vibrations: Western 5/27/66 (Chorus)
    10. Good Vibrations: Western 5/27/66 (Fade Sequence)
    11. Good Vibrations (Inspiration): Western 6/2/66 (Part 1)
    12. Good Vibrations (Inspiration): Western 6/2/66 (Part 3)
    13. Good Vibrations (Inspiration): Western 6/2/66 (Part 4)
    14. Good Vibrations: Western 6/16/66 (Part 1)
    15. Good Vibrations: Western 6/16/66 (Part 2 & Verse)
    16. Good Vibrations: Western 6/16/66 (Part 2 Continued)
    17. Good Vibrations: Western 6/18/66 (Part 1)
    18. Good Vibrations: Western 6/18/66 (Part 2)
    19. Good Vibrations (Persuasion): Western 9/1/66
    20. Good Vibrations: Western 9/1/66 (New Bridge)
    21. Good Vibrations: Session Masters
    22. Good Vibrations: Single Version Stereo Track
    23. Good Good Good Vibrations (First Version With Overdubs) 3/66
    24. Good Vibrations: Alternate Edit 8/24/66

    The Beach Boys
    $169.99
    2 7 Vinyl LP + 5 CD - 2 LPs Sealed Buy Now
  • The Smile Sessions The Smile Sessions Quick View

    $34.99
    Buy Now
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    The Smile Sessions

    With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album.


    In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world.


    The SMiLE Sessions double vinyl LP features an approximation of what was intended to be the completed SMiLE album, compiled from The Beach Boys original session masters. Additional session highlights and bonus tracks are also included, including demos and stereo mixes.


    Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions 2LP Set includes an assembled collection of core session tracks. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions.


    Artwork for The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album.


    When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, The Beach Boys SMiLE is quite possibly the most storied album in rock history, Billboard proclaimed the upcoming release an event that pop music fans have been waiting for since the Summer of Love, and The Washington Post called SMiLE the most legendary unreleased album of all time.


    The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose.


    Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE.


    In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics.


    The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album.

    LP 1
    Side 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence


    Side 2
    1. Wonderful
    2. Look (Song for Children)
    3. Child Is Father Of the Man
    4. Surf's Up


    LP 2
    Side 3
    1. I Wanna Be Around / Workshop
    2. Vega-Tables
    3. Holidays
    4. Wind Chimes
    5. The Elements: Fire (Mrs. O'Leary's Cow)
    6. Love to Say Dada
    7. Good Vibrations


    Side 4
    1. You're Welcome (stereo mix)
    2. Vega-Tables (stereo mix)
    3. Wind Chimes (stereo mix)
    4. Cabin Essence (Session highlights and stereo backing track)
    5. Surf's Up (Session Excerpt and Stereo mix)

    The Beach Boys
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Schubert: Symphonies Nos. 8 & 3 Schubert: Symphonies Nos. 8 & 3 Quick View

    $44.99
    Buy Now
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    Schubert: Symphonies Nos. 8 & 3

    Carlos Kleiber conducts the Vienna Philharmonic Orchestra as they play Franz Schubert's 3rd and 8th Symphonies.


    The year 1815 saw a veritable flood of music pour from the pen of the eighteen-year-old Franz Schubert: during that single year he produced no fewer than four operas and operettas, two symphonies, two masses, many sacred and secular choral pieces, sonatas and other works for piano, as well as some 145 lieder, among them the Erlkonig. Schubert wrote all this vast amount of music, which seemed to flow from him effortlessly, in his little room during the evenings. The position of assistant teacher exempted him from military service, and his daily nine hours of school duties did not stem his immense creative urge.


    On the 24th of May, Schubert began the composition of his Third Symphony in D Major, which he finished on the 19th of July. This work, written with undisturbed facility directly in full score, is unproblematic. At that time, Schubert was untroubled by doubts concerning formal construction, or by a sense of the need to solve problems by exploring unknown territory. The last movement in particular, a Presto vivace in which the instruments toss the spritely theme about between them, also bears witness to the growing individuality of its composer, who was rapidly becoming a mature master of his art.


    The secret of the Unfinished symphony has never been completely solved. Schubert wrote the two complete movements in 1822 and began a third movement, but for unknown reasons did not finish it. He evidently considered the two movements a work in their own right, to judge from his dedication of the score to the Steiermarkischer Musikverein. The artistic director of that association kept the score to himself, and it was not untnil 1865 that this symphony received its first performance. The occasion was a triumph, and it became a posthumous act of homage to the composer who had died so young.


    Eduard Hanslick praised this symphony enthusiastically, declaring that it belonged among Schubert's most beautiful instrumental works. The Unfinished is more than that - its place is among the supreme achievements in the world of music.

    1. Symphony No. 8 in B minor, D. 759 Unfinished
    - Allegro moderato
    - Andante con moto
    2. Symphony No. 3 in D major, D. 200
    - Adagio maestoso - Allegro con brio
    - Allegretto
    - Menuetto. Vivace
    - Presto vivace
    Franz Schubert
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Eight And A Half Eight And A Half Quick View

    $17.99
    Buy Now
    x

    Eight And A Half

    Justin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.


    Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.


    However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.


    What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.


    And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.


    O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.


    Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.


    And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."

    1. When I Was Twenty Nine
    2. Scissors
    3. Go Ego
    4. The Turn Around
    5. Took A Train To India
    6. Wait Up
    7. Two Points
    8. Walked Into Diazepene
    9. Oh, My Head
    10. My Forevers
    Eight And A Half
    $17.99
    Vinyl LP - Sealed Buy Now
  • Get Back Get Back Quick View

    $17.99
    Buy Now
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    Get Back

    It's doubtful that Stephen McBean set out to make The Great Rock 'N' Roll Primer when he started conjuring the
    songs that would come to be Pink Mountaintops' Get Back.


    The record's beginnings were reasonably straightforward: McBean had moved to Los Angeles, taken a long hiatus
    from Black Mountain and an even longer one from Pink Mountaintops when he met producer Joe Cardamone, lead
    singer of Icarus Line at Valley Recording Company in Burbank,CA.The two bonded quickly over Flying Nun bands,
    Television Personalities, Roxy Music, Johnny Thunders, and Born Against. Joe was excited to meet someone he
    actually liked. Stephen was excited to work with someone who said Sing it like you would've sung it when you were
    21. Simple enough,right?


    But ask him to set the scene and you'll hear about a motorcycle shop owned by Michael Barragan, former member
    of Los Angeles noise rock band Plexi. You'll hear about an endless supply of rock 'n' roll video documentation for
    last minute inspiration or de-evolution in the living room.Ask who's on the record and you'll get a constellation of
    greats:J Mascis(DinosaurJr &Witch),Rob Barbato (Darker My Love,The Fall & Cass McCombs), Steve Kille (Dead
    Meadow), Daniel Allaire (Brian Jonestown Massacre, Cass McCombs & Darker My Love), Annie Hardy (Giant
    Drag), Jon Wahl(Clawhammer), and Gregg Foreman (Cat Power & Delta 72).Randal Dunn (Sunn O))),Earth, Sun
    City Girls, Boris) mixed Get Back at Avast! Studios (Bikini Kill, Mudhoney, Christ On A Crutch, Soundgarden) in
    Seattle. Howie Weinburg (Nirvana, Beastie Boys, Danzig, Ramones, Slayer) mastered it in Laurel Canyon.


    Ask about the record itself and McBean will tell you about Alleys, curbs, walls, and cigarette stained gig flyers.An
    island on the Pacific coast. Fake British towns. Slayer posters.The beauty of youth.It's about listening to Driver's Seat
    and 'Guns of Brixton' and hotboxing The Duster. And suddenly it becomes clear: when the aliens do touch down
    and they don't know rock 'n'roll, you can play them Get Back start to finish, and that'll be all they need.


    Get Back comes out swinging with Ambulance City, a head-trip of a song with a chugging, insistent, oddly timeless
    guitar riff sitting front and center.The Second Summer of Love needs almost no explanation; it dives into 80s VHS
    saturation and never comes up for air. Sell Your Soul is a deep sigh and a motorcycle ride, a roll in the grass
    lamenting summertime blues with a little grit and a little harmony. And North Hollywood Microwaves is
    downright obscene. But what better way to start Side B than this? You can listen at hushed volumes so your parents
    don't hear, you can crank it in a dorm room, you can smirk to yourself from the safety of rock 'n'roll's old age.You
    start to wonder- why don't all Side Bs start with a song like this one


    The number of platitudes in music hit critical mass years ago, and among those tropes is that annoying, inescapable
    mantra:rock 'n'roll is undefinable.And yeah,sure, that's true. It's different things to different people. It starts with
    guitars, maybe, and ends with a stage-dive, or spit, or feedback. Rock 'n'roll is drugs, is rebellion, is youth, is sex, is
    cosmic. It's wanting more than you have.Rock 'n'roll is butts and cigarette butts.And Pink Mountaintops might not
    be the best-known band ever to make rock 'n' roll, but in Get Back they just might have written its scripture -- an
    exploration and celebration of what, exactly,rock 'n'roll can be.

    1. Ambulance City
    2. The Second Summer of Love
    3. Through All The Worry
    4. Wheels
    5. Sell Your Soul
    6. North Hollywood Microwaves
    7. Sixteen
    8. New Teenage Mutilation
    9. Shakedown
    10. The Last Dance
    Pink Mountaintops
    $17.99
    Vinyl LP - Sealed Buy Now
  • Stand For Something Or Die For Nothing Stand For Something Or Die For Nothing Quick View

    $20.99
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    Stand For Something Or Die For Nothing


    Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.


    "Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."


    Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.


    "The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."


    If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.


    "On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."


    Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.


    "Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."


    While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."


    Amen, brother.

    1. Stand For Something Or Die For Nothing
    2. Other Ones
    3. The Comeback Zone
    4. Angels Calling (feat. Slaine)
    5. These Ain't The Old Days
    6. Working Class Heroes
    7. Lest We Forget
    8. The Round Up
    9. Mary On Believer Street
    10. Never Above You, Never Below You
    11. Torn And Frayed
    Street Dogs
    $20.99
    Vinyl LP - Sealed Buy Now
  • Tapestry (Awaiting Repress) Tapestry (Awaiting Repress) Quick View

    $34.99
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    Tapestry (Awaiting Repress)

    Feel the Earth Move: Mobile Fidelity Gives Listeners the End-All-Be-All Definitive Analog Version of the Long-Time Audiophile Classic


    Analog Reissue True to Producer's Original Intent of Putting Carole King in the Room With You: Experience and Feel Every Organic Nuance, Suggestive Delivery, Intimate Note


    Blockbuster Album Defined Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, Sold More Than 25 Million Copies Worldwide


    Ranked #36 on Rolling Stone's List of the 500 Greatest Albums of All Time


    Carole King's Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you'd bring to the proverbial desert island if you were limited to one choice. Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity's 180g LP. Audiophiles, this is the version that brings Carole King right before your eyes and into your room. This is the edition you need. It's the edition you deserve.


    Faithful to original album producer Lou Adler's vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this numbered limited-edition 180g LP delivers utmost transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. Aware of how many times this iconic work has been re-released, Mobile Fidelity engineers settled for nothing less than the absolute finest sonic presentation possible when mastering Tapestry from the original master tapes.


    The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable LP gives what Rolling Stone deems the 36th Greatest Album of All Time the due it deserves. King's personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.


    Indeed, one reason-apart from the flawless songwriting, earnest deliveries, and eloquent performances-Tapestry endures is because of the naturalness of the production and songs. King's unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there's no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.


    This title is not eligible for discount.

    1. I Feel the Earth Move
    2. So Far Away
    3. Its Too Late
    4. Home Again
    5. Beautiful
    6. Way Over Yonder
    7. You've Got a Friend

    8. Where You Lead
    9. Will You Love Me Tomorrow?
    10. Smackwater Jack
    11. Tapestry
    12. (You Make Me Feel Like) A Natural Woman
    Carole King
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • METZ: II METZ: II Quick View

    $19.99
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    METZ: II

    "I look at it like this," METZ frontman Alex Edkins says. "You
    start a band, just as something to do, because music's what
    makes you tick, the thing you dream about and think about and
    that's it. You never think that you'll be able to do it all the time.
    But then, for some inexplicable reason, people actually listen
    and latch on and the band begins to take on new meaning. All
    of a sudden there are expectations and pressure, real or
    imagined, to change who you are. It was important to us, when
    making this record, not to give in to that pressure."


    What happens when a seemingly irresistible force meets an
    immovable object is a serviceable metaphor for the music
    METZ creates, both live and on record. Now behold II, the
    concussive new full-length from what is arguably North
    America's finest touring rock band. Written and recorded in
    2014, after two years of constant touring behind their rightly
    adored self-titled debut, II is METZ at their most true to
    form-as pure an expression of what they do as can currently
    be committed to tape. The guitars are titanic, the drums
    ill-tempered, the vocals chilling, and the volume worrisome.


    From the exhilarating grind of "Spit You Out" to the blunt-force
    thrills of "Landfill," herein reside 10 songs as uncompromising
    in their ferocity and abrasiveness as any collection this record
    label has had the pleasure of releasing to date. While the
    band's debut was often "clean and clinical," II is what Edkins
    describes as a "much heavier, darker, and sloppier" affair, with
    many of its roughest edges and ugliest tones kept intact. Its
    lyrical matter, Edkins notes, stems from a year of loss and
    doubt, of contemplating our relationships with death and the
    planet. "I consider myself a pretty massive pessimist, but a
    pessimist who knows how lucky he is," he says. "A lot of things
    in everyday life drive me crazy: how we relate to each other;
    how politics, media, technology, money and medication
    influence our lives. This band, in a lot of ways, is an outlet."


    What we're left with is the sound of an already monstrous band
    improving in both subtle and terrifying ways.

    1. Acetate
    2. The Swimmer
    3. Spit You Out
    4. Zzyzx
    5. IOU
    6. Landfill
    7. Nervous System
    8. Wait in Line
    9. Eyes Peeled
    10. Kicking a Can of Worms
    METZ
    $19.99
    Vinyl LP - Sealed Buy Now
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