- Lowest Price
- Highest Price
Campfire II: SimplicityRend Collective goes back to its roots to bring simplicity and authenticity in worship, with their new album, Campfire II: Simplicity. As a follow-up to their hugely successful Campfire album, they capture openness and vulnerability with their own unique brand of worship songs with a community of friends.1. This Little Light Of Mine
2. Free As A Bird
3. Live Alive
4. Oceans (Where Feet May FaiI)
5. Every Giant Will Fall
6. My Lighthouse
7. Whatever Comes
8. Joy Of The Lord
9. Your Royal Blood
11. More Than Conquerors
12. You Will Never Run$19.99Vinyl LP - Sealed Buy Now
Goodnight Tender (Discontinued)Amy Ray has gone country, and her scenic-route detour was not as out of the way as some fans might think. The singer-songwriter, best known as half of the Grammy-winning Indigo Girls folk-rock duo, has produced a solo album, Goodnight Tender, which is country music in the purest -- and purist - sense of the word. Recorded last spring at Echo Mountain Studio in Asheville, N.C., this collection of 11 originals by Ray, along with a cover penned by Heather McEntire, is scheduled for release January 21, 2014 from Ray's Decatur-based company, Daemon Records. Hank Williams Sr. famously summed up country music as "three chords and the truth," and Goodnight Tender offers the kind of stripped-down melodies; honest, hat-in-hand emotions; and keening pedal steel and old-time strings that once emanated from tear-stained, honky-tonk jukeboxes. In her take on the early Nashville Sound, she sings movingly about dogs, pills, Duane Allman, and heartache. For decades, Ray has performed with Emily Saliers in the Indigo Girls, and their ongoing success derives, in part, from intricate, ethereal harmonies, from the interplay of their distinct voices and sensibilities. Ray also has turned up the volume in her solo career as an ax-slinging rocker, producing six albums with punk edges and defiant, powerhouse vocals. In both capacities, she integrates the personal with the political, the dynamics of relationships with principles of progressive social justice. Goodnight Tender marks a dramatic departure from those formats and themes, though her vocals, even when snarled at high decibels, always convey a rending ache that serves folk, punk, country, or any refrain tinged with pain. Ray convened artists she trusts with fiddle, banjo, dobro, pedal steel, guitar, mandolin, bass, and drums, and then arranged their microphone placement like an old-school sound engineer to create an authentic, vintage sound, gently imposing Strum And Twang on her Sturm Und Drang. "I love to scream and growl, but I also love the soft, sweet singing of artists like George Jones," Ray says, "so I slowed the tempo, got into a lower register, and let the songs and the musicians around me dictate a different direction. I was tempted to slip a political song in here, but I wanted this album free of anything that defines identity in any way." What she strove for instead was the rush of pure feeling. "I didn't want the laborious arrangement process - I wanted recordings I didn't have to mess with too much," she says. "So these songs are more visceral than intellectual, with a strong, wistful sense of setting that enables you to sense the creek and the dirt as well as the unrequited love. I wanted a record that sounds good and feels right when you're driving down a rural road." Ray enjoys plenty of opportunities to road-test these songs on her secluded, wooded property in north Georgia, where banjos and bluegrass still echo throughout the mountains. "At some point, those sounds are bound to seep into your life," she says. Inspired by her neighbors, Ray, who is a vegetarian, penned "Hunter's Prayer" for this album. "One night this huge buck appeared in the fog - his antlers still hadn't shed their fuzz -- and stopped and looked at me in this long moment, in the way animals have of seeming to see right into you," she recalls. "I thought of the Native activists I know, and the hunters who know how to treat the land and are much more connected to the chain of life than some of us are. So I wrote 'Hunter's Prayer,' initially as a folk song, then as a barroom sing-along, and then it went into another place. It's about not only wanting a good dog and a good love, but also wanting to find your bearings in life." Hank Williams Sr. would tip his Stetson hat in approval.1. Hunter's Prayer
2. Oyster and Pearl
3. The Gig That Matters
4. Time Zone
6. Duane Allman
7. More Pills
8. Broken Record
9. Goodnight Tender
10. My Dog
11. Let the Spirit
12. When You Come for Me$14.99Vinyl LP - Sealed Buy Now
If You Wait
"Longing, loving, leaving: Those are the boundaries of the impeccable
pop universe that London Grammar has built for itself."
- The New York Times
"A stylish debut that demonstrates both their immense
talent and impressive instincts."
THE NEXT BIG THING. Such a label serves at once as a curse and a blessing, for messianic crowns come studded with thorns, and chalices emblazoned with this inscription are often tainted with poison. Custodians of the title can implode under the weight of expectation, or fail to bottle further the magic of that first hit single.
Not so for English art-rock trio London Grammar. Hannah Reid, Dot Major and Dan Rothman have been careful to avoid the dangers of over-exposure in the nine months since first single "Hey Now" seared itself into the collective consciousness of the blogosphere, instead releasing work after work of gradually escalating beauty from the safety of the shadows.
That was until Disclosure dropped their album Settle, at which point London Grammar vocalist Hannah Reid came to wider attention on sweeping album closer "Help Me Lose My Mind," where her spine-tingling soulful singing combined with the wash of swooning synths and downbeat 80's percussion. It will come as no surprise to fans of this track to learn that Reid's magnificent vocals are integral to London Grammar's sound, serving as the perfect accompaniment to the band's discreet production and minimalist instrumentation.
The same words will be used ceaselessly to describe Reid's vocals in coming weeks - "haunting", "brooding", "ethereal". Yet none of these terms adequately conveys the way her voice melts and evolves to suit the temperament and melody of each song on If You Wait, flowing like molten gold on "Interlude", or acquiring the varied textures of a vast swathe of satin and silk on "Nightcall". Her vocal is always underscored by an enduring brittle beauty and an underlying otherworldliness, as if she honed her craft singing amidst the forests of Lothlórien, or some far-flung corner of Westeros.
Though her voice may be otherworldly, the thematic concerns of the album are very much rooted in this world - youth's timeless preoccupation with finding not only love but the nature of ourselves. These soundscapes and the lyrics that populate them are characterised by broken hearts, fractured dreams and people falling in and out of love. Perhaps the most telling lyric of all is on "Wasting My Young Years", with the heart-breaking concession of "I've heard it takes some time to get it right".
The album's first single and opening track "Hey Now" has lost none of its grandeur and remains as devastatingly beautiful as it did when released at the tail-end of 2012. It's the main track on If You Wait that justifies the comparisons with The XX - especially in terms of how the band forges the space and atmosphere from reverb-tinged percussion and Rothman's discreet, almost-spectral guitars. "Wasting My Young Years" further showcases how perfectly the band balance the interplay between Reid's vocal and the twinkling keys and subtle instrumentation that floats around it, allowing it to drive the song and dictate proceedings but never once to feel overbearing.
Latest single "Strong" mirrors the intricately weaved threadwork of sounds and elaborately crafted sense of space showcased on the opening track, but utilises a more hypnotic vocal from Reid that manages to sound simultaneously heart-rending and inspiring. Elsewhere "Interlude" is as refined a paean to love and devotion as you will hear all year, matching dual melancholic piano lines and subtly building percussion to Reid's sublime wistful singing.
There is not a single weak track, but amongst the many highlights is a spellbinding cover of French house artist Kavinsky's "Nightcall". There's a particularly gorgeous moment around the two-minute-thirty-second mark when the instrumentation is peeled away and, for a few seconds, you think the song will end - before Reid's dazzling vocal is re-introduced amidst a haze of swirling keys. It's nothing short of transcendent. Also, the flawless sequencing leads to an album that begs you to drink in its beauty by listening to it from beginning to end.
This is an enthralling, stunning, deeply emotive album that perfectly marries understated electronica to sublime vocals and melodies. In a year dominated by titanic LPs, London Grammar have not only made the most perfectly formed debut album of the year - they've made one of the best LPs, period. [A-]
- Benji Taylor (Pretty Much Amazing)1. Hey Now
2. Stay Awake
4.Wasting My Young Years
8. Metal & Dust
9. Interlude (Live)
11. If You Wait
13. High Life*
14. Strong (US Radio Edit)*
*US Bonus Track$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Boss TenorPart of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom
Deep groove label pressings, tip-on jackets on thick cardboard stock
For nearly a quarter-century, beginning in 1950, tenor saxophonist Gene Ammons (1925-1974) was among the brightest stars in the Prestige Records firmament. Whether leading, or partaking in, one of Prestige's jam sessions, immersing himself in the organ-dominated blues and gospel grooves that in the 1950s came to be called "soul jazz," or digging deep for heart-rending ballads, Ammons was multiply masterful. And in 1960, leading a quintet featuring the impeccable pianist Tommy Flanagan, plus Ray Barretto's piquant congas, he produced the insuperable Boss Tenor.
From the blues that drips from "Hittin' the Jug" and "Blue Ammons" to the infectious medium bounce of the standards "Close Your Eyes" and "Canadian Sunset," and from the sophisticated swing of "Stompin' at the Savoy" to the finger-poppin' bop of "Confirmation" and the after-hours balladry of "My Romance," Boss Tenor has something for everyone claiming to be a fan of modern jazz.
This title is not eligible for discount.1. Hittin' The Jug
2. Close Your Eyes
3. My Romance
4. Canadian Sunset
5. Blue Ammons
7. Savoy$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now