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OnyxIn 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 Shotwell1. Goodbye My Friend
2. Deal with the Devil
4. Torn to Pieces
7. Silence & Scars
8. Sick Sense
9. Fly Away
10. Behind Closed Doors
11. Welcome to Reality
12. Flawed$19.99Vinyl LP - Sealed Buy Now
Vol. 3 - Life And Times Of S. CarterVol. 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
15. Hova Song (Outro)
16. Jigga My Nigga (hidden bonus track)
17. Girl's Best Friend (hidden bonus track)$29.99Vinyl LP Reissue - 2 LPs Sealed Buy Now
The Violent Sleep Of ReasonPressed On Grey / Black Splatter
Limited To 1000 Copies
The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.
"There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.
For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."
The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.
"Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."
But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."
Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."
At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"
A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."
Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.
"No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."
As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."
But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH
"He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."
So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?
"In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."
Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.1. Clockworks
2. Born In Dissonance
4. By The Ton
5. Violent Sleep Of Reason
6. Ivory Tower
9. Our Rage Won't Die
10. Into Decay$27.99Colored Vinyl LP - 2 LPs Sealed Buy Now
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.
- 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.
This title is not eligible for discount.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$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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.$929.00MM and MC Phono Stage Buy Now
Fear Not For ManFear 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)$19.99Vinyl LP - Sealed Buy Now
FrogtownAnthony 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
3. Your Footprints
4. Occhi di Bambola
5. Silver and Flint
6. Our Affair
7. The Cares of a Family Man
10. The Geranium
11. Shabby Bird
12. I Saw It Through The Skylight
13. Downtown Abbey$40.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
At NewportLimited 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 sideSide A:
Cecil Taylor Quartet:
1. Johnny Come Lately
2. Nona's Blues
3. Tune 2
Gigi Gryce-Donald Byrd:
3. Love For Sale$32.99Clear Vinyl LP - Sealed Buy Now
This Year's Best DisasterAvailable 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 Aquarian1. 3am New York City
2. Sans Sympathie
3. Cut You In
4. Second Telling Of A First Degree
6. Set It Off
7. The Poison And Pen
9. Add Suicide To The List Of Things You Failed At
10. You're Perfect, No Really$15.99Vinyl LP - Sealed Buy Now
The BelieverLimited Edition of 500 on Audiophile Clear Vinyl
This album of music recorded in 1958 by John Coltrane when he was beginning to come into his own is appropriately titled. There can be no doubt-even in the minds of those who do not much care for his kind of jazz-that Trane is a believer. He had to be, to go his own way as uncompromisingly as he has done. And his faith in his own way did bear fruit. Limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).
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 limited to 500 copies
- 25 minutes maximum per side1. The Believer
2. Nakatini Serenade
3. Do I Love You Because You're Beautiful$27.99Clear Vinyl LP - Sealed Buy Now
The Smile SessionsWith 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
1. Our Prayer
3. Heroes and Villains
4. Do You Like Worms (Roll Plymouth Rock)
5. I'm In Great Shape
7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
8. Cabin Essence
2. Look (Song for Children)
3. Child Is Father Of the Man
4. Surf's Up
1. I Wanna Be Around / Workshop
4. Wind Chimes
5. The Elements: Fire (Mrs. O'Leary's Cow)
6. Love to Say Dada
7. Good Vibrations
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)$34.99Vinyl LP - 2 LPs Sealed Buy Now
Schubert: Symphonies Nos. 8 & 3Carlos 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
- Menuetto. Vivace
- Presto vivace$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Eight And A HalfJustin 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
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$17.99Vinyl LP - Sealed Buy Now
Get BackIt'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
5. Sell Your Soul
6. North Hollywood Microwaves
8. New Teenage Mutilation
10. The Last Dance$17.99Vinyl LP - Sealed Buy Now
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
7. Nervous System
8. Wait in Line
9. Eyes Peeled
10. Kicking a Can of Worms$19.99Vinyl LP - Sealed Buy Now
Uptown Saturday Night (Out Of Stock)Hot off the success of Jay-Z's Reasonable Doubt, producer extraordinaire Ski was on fire when he flipped Dynasty's Adventures In The Land of Music for Camp Lo's breakout 1996 smash single Luchini. The same year saw Camp Lo opening shows for De La Soul during their Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had cosigned for the group's reputation and would appear on some of the tracks (in addition to Trugoy from De La), there became a huge buzz around their debut album Uptown Saturday Night. The album struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late '90s must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye's 1976 classic I Want You. Remastered from the original tapes and pressed on loud double vinyl. Includes 18 X 24 poster illustrated by artist Dr. Revolt.1. Krystal Karrington
2. Luchini aka This Is It
3. Park Joint
4. B-Side To Hollywood feat. Trugoy The Dove of De La Soul
5. Killin' Em Softly
7. Black Connection
8. Swing feat. Ish aka Butterfly of Digable Planets
9. Rockin' It aka Spanish Harlem
10. Say Word featuring Jungle Brown
11. Negro League featuring Bones and Karachi R.A.W.
12. Nicky Barnes aka It's Alright feat. Jungle Brown
13. Black Nostaljack Aka Come On
14. Coolie High
15. Sparkle (Mr. Midnight Mix)$24.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
The Cars (Out Of Stock)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$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Die Healing (Out Of Stock)"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
6. Return Of The Zombie
7. In The Asylum
8. Just Another Notch$21.99Vinyl LP Reissue - Sealed Temporarily out of stock
Tapestry (Out Of Stock)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
6. Way Over Yonder
7. You've Got a Friend
8. Where You Lead
9. Will You Love Me Tomorrow?
10. Smackwater Jack
12. (You Make Me Feel Like) A Natural Woman$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock