- Lowest Price
- Highest Price
Return Of The Living Dead'
Smell Of FemaleRed Colored Vinyl
Released in 1983 after a lengthy court battle with IRS Records, Smell of Female originally contained just the first six songs. These, plus out-of-control ad-lib freakouts "Beautiful Gardens" and "She Said" (previously omitted due to legal restrictions) were recorded live at New Yorks famous Peppermint Lounge. There is nothing like the sound of The Cramps, and this set distills that cross of swamp water, moonshine and nitro down to a dangerous and unstable musical substance, captured live like a crazed animal. They rocked like few others could.
Additional bonus track "Surfin Dead" was recorded at A&M Studios in Hollywood and originally appeared on the 1984 soundtrack for Return of the Living Dead-when asked to write a "pop song" for the movie, The Cramps (by then a three-piece) threw into their cauldron a mix of Link Wray, Jan & Dean, Davie Allen, The Righteous Brothers, bongos, Phil Spector and eye of newt.1. Thee Most Exalted Potentate Of Love
2. You Got Good Taste
3. Call of the Wighat
4. Faster Pussycat
5. I Ain't Nuthin' But a Gorehound
6. Psychotic Reaction
7. Beautiful Gardens
8. She Said
9. Surfin' Dead$18.99Colored Vinyl LP - Sealed Buy Now
Dark Star Soundtrack
Limited Edition Vinyl + 7 EP Pressed On ALIEN RED Wax
Limited To 500
Dark Star (Original Motion Picture Soundtrack - Extended & Remastered). Music composed by John Carpenter
WRWTFWW Records is ecstatic to bring back the original motion picture soundtrack for John Carpenter's Dark Star (1974) with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and further).
This limited edition double vinyl combo comes with a 12 and a 7. The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll.
The 7 is red with a yellow label circled in black (in pure beachball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York, Christine, Big Trouble in Little China, They Live ), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings (in the real world *James Clarke's Spring Bossa), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Oh and there is a very secret hidden bonus track too!
It all comes in slick thermostellar triggering packaging with a brand new artwork and invisible hyperdrive electronics - the best way to relive the Dark Star adventure and celebrate John Carpenter's first directorial feature film released in 1974 and co-written by (and starring!) all around legend Dan O'Bannon (Alien, Lifeforce, The Return of the Living Dead). Let there be light!
- The most comprehensive vinyl edition of the original motion picture soundtrack for John Carpenter's first feature film, Dark Star (1974). - For the fans of John Carpenter, sci-fi movie soundtracks, electronic experimentations, and strange vinyl releases. Also, for surfers. - Includes the sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings, for the first time ever on a John Carpenter-related release.LP:
1. Music, Sound Effects and Dialogue Excerpts Part 1 (Remastered)
2. Music, Sound Effects and Dialogue Excerpts Part 2 (Remastered)
1. Martin Segundo and the Scintilla Strings - When Twilight Falls on NGC 891
2. Alan Howarth - Doolittle's Solo (Remake)
3. Loop #1
4. Loop #2
5. Dominik Hauser - Benson Arizona (Remake)
6. Very secret hidden bonus track
7. Loop #3
8. Loop #4$37.99Vinyl LP + 7 - Sealed Buy Now
HealFrom the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent
teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old,
believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle
healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst
parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria,
confusion and clarity.It is deeply personal and unwittingly anthemic.
Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the
personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage
was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted so I'd gone on tour, I was
gone about two years!I didn't take time to think about failure, but I knew I was going deeper and deeper I was thinking,
I have this life, but it's not my life,I haven't done it right "
When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times
invigorating.Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional
rock and electronic currents,that have now come to the fore.HEAL is a bold new beginning,with a thrilling full-tilt sound
that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense
Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton.
Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve
Clements,who provides HEAL's thunderous ,sinewy drive. Songs such as 'Shut In','Plymouth' and'Woke Up To The Light'
have a classic construction and mood,recalling '70s power-pop/ballads and the yearning ache of Big Star'slate, great Chris
Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired
dynamic to its stretching point, especially on'For Me',which expertly bridges the album's twin decades of influences.And
if 'Goshen '97'recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the
album's smoldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as
comfort no matter how bad things get.
Which brings usto another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec.
26, 2013.Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck,
and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me
much more than Irealized at the time."Fearing delays, Showalter didn't let Congelton know about it,so the mixing session
went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction,"
Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at
that exact moment,somewhere between almost dying and being absolutely fearless."
HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill.
Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance.
Finally, he and Strand Of Oaks have much to celebrate.1. Goshen '97
3. Same Emotions
4. Shut In
5. Woke Up To The Light
8. Mirage Year
9. For Me
10. Wait For Love$17.99Vinyl LP - Sealed Buy Now
Now We Can See (Awaiting Repress)Though not a concept record and not a sequel, Now We Can See picks up right where The Thermals left off, at the end of their last LP, 2006's The Body, The Blood, The Machine, where they were either obliterated by nuclear war, or walked the earth as the last living souls, until they dropped dead of quite unnatural causes. Either way, the story continues. The Thermals imagine death by drowning, in attempts to de-evolve (When I Died, At The Bottom of the Sea), death by psychosis (We Were Sick, I Called Out Your Name), and death by French exit (You Dissolve). But as much death as there is on this record, it won't get you down! These songs are really about life. After all, The Thermals are only fictionally deceased.
The Thermals have returned to what they do best, writing undeniably catchy punk tunes. - Spin1. When I Died
2. We Were Sick
3. I Let It Go
4. Now We Can Wee
5. At The Bottom of the Sea
6. When We Were Alive
7. I Called Out Your Name
8. When I Was Afraid
9. Liquid In, Liquid Out
10. How We Fade
11. You Dissolve$14.99Vinyl LP -Sealed AWAITING REPRESS Buy Now
Jericho SirensAfter a 14-year hiatus from the studio, Hot Snakes have
triumphantly kicked down the door back into our lives with their
new album, Jericho Sirens. And amid the mania of non-stop
political rhetoric, doom-and-gloom prognostications and
omnipresent technology, it's not a moment too soon.
Hot Snakes formed in 2000, after the release of their first
record, Automatic Midnight. They were John Reis, Jason
Kourkounis, Rick Froberg and Gar Wood. The band's sound
represented a return to the unrealized past of its members. This
time, their musics would be direct, undraped and rock 'n' roll
while still maintaining the dense and turbulent character of the
members' previous work. That year, Hot Snakes found their live
sound and established themselves as primo, down-stroke
warlords. They followed with a pair of great albums - 2002's
Suicide Invoice, with drummer Jason Kourkounis, and 2004's
Audit in Progress, with Mario Rubalcaba on drums - that
broadened the band's sound while pleasing many a fan.
However, the band eventually spiraled downward into a mid-life
punk crisis, and by 2005 they had stopped performing.
BUT! 2011 saw the return of Hot Snakes, with a string of festival
shows. Both drummers performed with the band on the songs
which they recorded, and the group discussed writing new
material. After an additional 6 years of discussions, Hot Snakes
returned to the studio in 2017 to commence recording, and the
results are, finally, revealed in Jericho Sirens.
Musically, Jericho Sirens incorporates the most extreme fringes
of the Hot Snakes sound (the vein-bulging, 78-second "Why
Don't It Sink In?" the pounding downstrokes of "Having
Another?"), while staying true to longstanding influences such as
the Wipers, Dead Moon and Suicide on propulsive tracks such as
"Six Wave Hold-Down," one of the first written for the project
during a New Year's Eve 2017 session in Philadelphia. Other
moments like the choruses of "Jericho Sirens" and "Psychoactive"
nod to classic-rock titans such as AC/DC and Ozzy
Osbourne, with Froberg admitting, "I'm as much a hesher as I
am anything else, that's for sure." For Reis, reactivating his
creative partnership with Froberg was one of the most rewarding
aspects of the process: "Our perspectives are similar. Our tastes
are similar. We work really well together. And what more is there
to say? Rick totally outdid himself on this record, vocally and
Jericho Sirens was recorded in short bursts over the past year in
Philadelphia and San Diego, with assistance from longtime
bassist Gar Wood. Kourkounis and Rubalcaba, both of whom
drummed on prior Hot Snakes releases but never on the same
one, contributed throughout.1. I Need a Doctor
2. Candid Cameras
3. Why Don't It Sink In?
4. Six Wave Hold-Down
5. Jericho Sirens
6. Death Camp Fantasy
7. Having Another?
8. Death Doula
10. Death of a Sportsman$22.99Vinyl LP - Sealed Buy Now
Music from the Mountain Provinces"Our journals and recording equipment were ultimately
confiscated and stolen by the MNLF rebels. We escaped
with a single cassette, the clothes on our back, and our
lives." -David Blair Stiffler
In 1988, David Blair Stiffler risked life and limb to document
under-recorded cultural groups living lives of extreme isolation in
the mountainous Philippine regions of Nueva Ecija, Aurora, and
Luzon. These are the fruits of that expedition.
In the grand tradition of ethnographic recordings that made up the
majority of Folkways' vast and significant catalog comes Music from
the Mountain Provinces. By the mid-1980s, David Blair Stiffler was
already a most-decorated recordist, with eight Folkways LPs under
his belt. These are among the most obscure documents in the entire
Folkways catalog (and that's quite a distinctive accomplishment,
given the illustrious company in that discography.) His focus
heretofore had largely been Central and South America, capturing
sounds from largely-hidden rain forest civilizations, including the
Palicour, Miskito, Arawak, Warrau, Cuna, Choco, and Pipil tribal
and cultural groups. He would match this flair for the unknown
and undocumented in his expedition to the Philippines. Although
the works of Jose Maceda and Nicole Revel heavily documented
much of the Philippines' countryside inhabitants with a thorough
and sober effort protracted over the decades. Stiffler brought his
own panache into the equation, capturing gorgeous and revelatory
moments from some of the archipelago's least visited regions. Even
without the harrowing tale of himself and his crew being taken
hostage, contained within is a rare aural experience. These masters,
originally intended for release on Folkways, were shelved when
Stiffler returned home to news of Folkways founder Moses Asch's
death. After the tragic event of last winter's disastrous and deadly
Typhoon Haiyan (or Yolanda), these documents are even more
priceless.1. Kulintang-Badjao or Yakan Gong
2. Kalinga-Bamboo Zither I
3. Kalinga-Rice Winnowing Song
4. Kalinga-Bamboo Zither II
6. Kalinga-Bamboo Zither III
7. NPA-Nose Flute
8. Dumagat-Throat Singing
9. Kalinga-Group Singing with Gongs
10. Ilingot-Plucked Bamboo Zither
12. MNLF-Whistling$21.99Vinyl LP - Sealed Buy Now
Betty's Self-Rising Southern Blends Vol. 3Chris Robinson Brotherhood's acclaimed live album series, 'Betty's Blends,' returns with 'Volume 3: Self-Rising, Southern Blends.' Recorded and mixed live from the soundboard by legendary Grateful Dead archivist and recording engineer Betty Cantor Jackson, this latest edition captures the CRB on a Southern swing through Atlanta, Raleigh and Charleston in November 2015.
The 3-LP/2-CD set includes original staple CRB material like Clear Blue Sky, Roan County Banjo and "Oak Apple Day," but focuses on the band's sprawling selection of cover material ranging from Allen Toussaint's "Get Out Of My Life Woman" to the Leiber/Stoller classic "I'm A Hog For You," Bob Dylan's "She Belongs To Me" to the Slim Harpo rarity "The Music's Hot." It also marks the first release in the series with current CRB drummer, Tony Leone. In Robinson's own words, "With Betty, we trust her sonic sensibilities and give her the space and freedom to do what the woman does, and what she does is beautiful and unique. It's the stuff rock n' roll dreams and recordings are made of. Viva la Betty!"1. I Ain't Hiding
2. Got Love If You Want It
3. Clear Blue Sky
4. The Music's Hot
5. Roan County Banjo
6. I'm A Hog For You
7. Oak Apple Day
8. Get Out Of My Life Woman
9. Honeysuckle Interlude
11. Tales Of Thunder Teeth
12. Girl I Love
13. She Belongs To Me$69.99Vinyl LP + 2 CD - 3 LPs Sealed Buy Now
Music For Listening To Music To180-Gram White Vinyl
Produced By Ryan Adams At His Pax-Am Studios
"Lovely melody counterbalanced by rough guitars and
lightning-quick solos." - SPIN
After the punky heft and wildness of 2014's Hour of the Dawn,
an LP that thrashed against expectation, La Sera returns with
a set of songs that double down on the power of wry lyrics,
glorious guitar, driving backbeat, and the occasional pump
Ryan Adams joins to produce the fruit of their union, La Sera's
first live-recorded analog album, featuring 10 tunes about
good love, bad love, dead men, and confused kids.
As a testament to the chemistry that happened in that
space, Music For Listening to Music To spawned another
fruitful relationship: Adams and Wisenbaker hit it off and
decided to start their own band. Instead they wound up
recording a bunch of Taylor Swift covers, which became
the 1989 album.1. High Notes
2. A Thousand Ways
3. One True Love
4. Begins to Rain
5. Take My Heart
6. I Need an Angel
7. Time To Go
8. Shadow of Your Love
10. Too Little Too Late$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Angel Dust (Deluxe)180 Gram Heavyweight Vinyl With Gatefold Sleeves
Features A 2nd LP With A Selection Of Rarities
As Faith No More prepares to unleash its first new album in nearly 20 years, Rhino Records celebrates the back-to-back classic albums that helped establish the band's vital and visceral musical legacy with Deluxe Editions of THE REAL THING and ANGEL DUST.
Each album will be offered as a double LP, 180gm heavyweight black vinyl format of each album, featuring the original album and a selection of the rarities related to each. The release date of the vinyl formats is planned for August.
Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The group's commercial breakthrough came in 1989 with the release of THE REAL THING. It was the band's third album, but the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals). The album was incredibly diverse, yet every song was linked by the band's own developing style. It peaked at #11 on the charts and was certified platinum, spawning the singles, "From Out Of Nowhere" and "Falling To Pieces," as well as "Epic," which was ubiquitous on radio and MTV.
After extensive touring, the band returned in 1992 with ANGEL DUST. It climbed to #10 on the U.S. album charts and would later be recognized as one of the most influential releases of the era. The album swings between extremes-aggressive and disturbing, but also beautiful and soothing-showing off every facet of the band's quirky eloquence on such diverse tracks as "Midlife Crisis," "Jizzlobber," "R.V." and "Small Victory."
Among the nine tracks featured on the bonus disc is a mix of "Midlife Crisis" by the band's longtime producer Matt Wallace, a trio of live recordings from a concert in Munich, Germany, as well as covers of the Dead Kennedys' "Let's Lynch The Landlord" and the band's unforgettable take on the Commodores' "Easy."LP1 (as per 1992 1LP version)
1. Land Of Sunshine
3. Midlife Crisis
5. Everything's Ruined
8. Be Aggressive
9. A Small Victory
11. Smaller And Smaller
2. Midnight Cowboy
3. Crack Hitler
4. Midlife Crisis (The Scream Mix) Remixed by Matt Wallace
5. The World Is Yours (Angel Dust outtake)
6. As The Worm Turns (Mike Patton vocal / Japan bonus track)
7. Das Schutzenfest (German version)
8. Let's Lynch The Landlord (B-Side)
9. Be Aggressive (Live in Munich 9th November 1992)
10. Kindergarten (Live in Munich 9th November 1992)
11. We Care A Lot (Live in Munich 9th November 1992)$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The RecognitionsWhile many couples can trace the real-time rise and fall of their
relationship back to social media feeds and harried phone calls,
Aleksa Palladino and Devon Church have channeled the highs
and lows of their storybook courtship into something else
entirely: the explosive, discomforting confessionals of
Exitmusic. The mercurial project started the year they got
married (2004) and all-but-imploded during their recent divorce,
but not before the duo wrapped its most fully realized collection
of beautifully damaged music yet titled The Recognitions.
It wasn't easy, though, for the band has always had to balance
its writing and recording sessions with Palladino's career as an
actress in such acclaimed television shows as Halt and Catch
Fire, The Sopranos, Boardwalk Empire, Storytelling and Before
the Devil Knows You're Dead.
Our relationship finally cracked when Aleksa took a break from
recording to work on a film in Iowa, explains Church. It takes
place on a lake so deep, indigenous people believed it had no
bottom, and was a portal to the spirit world. When Aleksa
returned from shooting, I could tell immediately something
major had shifted. She described an experience of standing up
in a boat on the lake and seeing her reflection in the water, and
having the realization that we had only been living on the
surface of life-that there were fathomless depths to be
explored if we were able to set each other free.
That feeling makes itself known right from the very beginning of
The Recognitions, as Crawl abruptly shifts from a sinister-butsubdued
intro-think: Beach House re-scoring Suspiria-to a
full-on exorcism, a fearless, fang-baring fight for one's life that
leaves a trail of blood, sweat, and tears behind. Things slow
down slightly amid the quivering strings, bold shuffleboard
beats, and minor-key melodies of Iowa, but there's no
denying what a wildly expressive diary entry this album is by its
end. That goes for everything from the bittersweet piano
balladry of The Distance to the queasy rhythms and delirious
hooks of Criminal.1. Crawl
4. Gold Coast
5. To The Depths
6. I'll Never Know
8. Trumpets Fade
9. Distance$20.99Vinyl LP - Sealed Buy Now
InterminationLauded as "one of the most determined and deadly thrash metal acts in recent history (Alibi), German thrash mavens DEW-SCENTED have returned with their 10th studio album Intermination. Featuring 13 punishing tracks of pure thrash metal, the album also boasts a special appearance on guest vocals from Kyle Thomas (Exhorder, Trouble) on the track Reborn in addition to a cover version of grindcore legends Repulsion's Radiation Sickness. Mixed by Dan Swano (Edge of Sanity, Opeth, Bloodbath) while featuring artwork from Gustavo Sazes (Arch Enemy, Legion of the Damned), Intermination is set to pulverize crowds worldwide on June 30 via Prosthetic Records.
The band celebrated their 20-year anniversary in 2013 by releasing the comprehensive compilation Insurgent, containing a mix of new original songs with live tracks and hard-to-find covers, which they supported with extensive touring across Europe and Japan including runs with Testament, Death Angel, The Black Dahlia Murder, Fleshgod Apocalypse and Sacred Reich. They also maintained a high-profile across the festival scene with appearances at Wacken, Full Metal Cruise, Free & Easy Festival and several more. Stay tuned for news on the band's upcoming appearances!1. Declaration Of Intent
2. On A Collision Course
3. Scars Of Creation
4. Affect Gravity
5. Means To An End
6. Ode To Extinction
7. Demon Seed
8. Power Surge
9. Ruptured Perpetually
10. Living Lies
13. Radiation Sickness$20.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Esoteric WarfareEsoteric Warfare is the fifth studio album by the Norwegian black metal band Mayhem.
It has been seven long years since MAYHEM released their fourth and last full-length Ordo ad Chao. Founded as early as in 1984 in Oslo, Norway by the late and legendary frontman Øystein Aarseth aka Euronymous, bassist Jørn Necrobutcher Stubberud, and Kjetil Manheim Haraldsson on drums, the band took its name from the VENOM song Mayhem with Mercy. Continuing and renewing the Black Metal style heralded by the English trio, MAYHEM soon became the instigators of the so called second wave and were at the heart of every controversy surrounding that genre. The suicide of misanthropic frontman Per Yngve Dead Ohlin. The murder of Euronymous by guest bass player Count Grishnakh alias the notorious Varg Vikernes. Church burnings, drugs and prison sentences, MAYHEM were always at the centre of the storm. Yet not even death could stop the Norwegians, who released one musical milestone after the other. The incredible rawness of the Deathcrush EP (1987) was followed by the still iconic and genre defining De Mysteriis Dom Sathanas (1994), which featured devilish drummer Jan Axel Hellhammer Blomberg, who had joined in 1988. The vocalist on this album was the Hungarian Attila Csihar of TORMENTOR fame, who returned later in 2004 to take over from his meantime heir, the enigmatic original singer Sven-Erik Maniac Kristiansen. The latter was featured on the Wolf's Lair Abyss EP (1997), which was written mostly by highly talented guitarist Rune Blasphemer Eriksen, who scored a massive success with the highly controversial Grand Declaration Of War (2000). Those were followed by the more classic Chimera (2004) and a masterpiece of utter darkness called Ordo Ad Chao (2007) with Attila singing again, which inspired many bands to follow in its tracks. MAYHEM had always witnessed many line-up changes due to the circumstances described above. Therefore even the loss of Blasphemer, who decided to focus on his other band AVA INFERI in 2008, did not stop the band. Activities mainly revolved around live shows, until the right balance was found again with the recruitment of Morten Teloch Iversen. The guitarist had already made a name for himself with NIDINGR, which is highly regarded amongst black metal enthusiasts yet remained mostly an underground phenomenon. Now his first compositional work with MAYHEM is unleashed and demonstrates how perfectly Teloch has captured the essence and spirit of the Norwegian legend by linking the band back to its roots, while at the same time taking a step forward into the spearhead position of the genre instead of dwelling in nostalgia. The A-side, Psywar comes with a different mastering than the album version. The B-side, From Beyond the Event Horizon is a rare track taken from the much rumoured Budapest Recording Sessions, which the band decided to scratch. Tremble world, MAYHEM are back with a vengeance!1. Watchers
7. Throne of Time
8. Corpse of Care
10. Aion Suntelia$27.99Vinyl LP - 2 LPs Sealed Buy Now
Ranked 316/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
They say you can never go home again.
Yet, on their new Interscope Records release and fifth album, Rock Steady, No Doubt has embarked on a globe-spanning musical adventure that proves, once and for all, that home is where the heart is.
At the heart of the quartet's fifteen-year musical journey is a sound, a style and a sensibility that celebrates their enduring bond with millions of fans worldwide: the sheer pleasure of pure pop - danceable, hummable, instantly accessible songs that have become indispensable additions to the soundtrack of our life and times. And now with Rock Steady, that soundtrack signals a return to some of the key creative elements that have made No Doubt one of today's most popular and enduring bands. Simply put, No Doubt is ready to party.
"It's the hardest thing in the world just to be simple, to let the music and the words speak for what you're feeling and, hopefully, to share that feeling. And the feeling we all shared on this album turned out to be pretty simple, too: we were in a good mood."
So says vocalist, lyricist and glorious gamine Gwen Stefani on the inspiration that ignited the dozen deliriously entertaining new tracks comprising Rock Steady. With all-original material penned by Gwen and No Doubt's dynamic songwriting duo of Tony Kanal and Tom Dumont and a roster of producers that pretty much covers the cutting edge of the studio art, Rock Steady, recorded in such far flung locations as London and Los Angeles, San Francisco and Jamaica, is without question the most eclectic, wide-ranging and stylistically diverse offering in the band's extraordinary career. It is also a loving tribute to the musical roots that have nourished No Doubt from their very inception.
"We were on tour pretty much all of last year," explains drummer Adrian Young, "and whenever we had some down time, we found ourselves listening to lots of dancehall. It was kind of like getting back to where we once belonged." Dancehall, the exuberant evolution of reggae, ska and calypso currently rocking the clubs and studios of Jamaica, proved a potent point of departure for the group when they convened in early 2001 to begin work on a new album. "We were part of the whole ska revival back when we first got together," continues Adrian. "The fact is, we had to work hard to prove we had a wider range, and I guess we did that. Because this time around we didn't feel like we had anything to prove. The whole point was to follow the music, wherever it led."
"Following the music" would lead the quartet to a variety of exotic locales as they indulged their instincts and experimented with sounds and settings that would capture the sensational new music beginning to emerge. "This album was less about technique and more about attitude," asserts Tony. "We took it one day at a time and it became a very spontaneous process. Tom had set up a studio at his place in L.A. and we'd meet there just to try out different ideas. Whereas before we'd write everything with a guitar or bass, this time we started with just beats and grooves and keyboards and built from there. After a week or two of songwriting, Gwen had a trip planned to London. Since we were having such a good time we just packed up and followed her over there. We knew we were onto something."
"It felt like starting over," is Tom's assessment. "We had spent two years working on Return Of Saturn because we felt it was important to prove we could do a record that had depth and substance. Once we got that out of our system it was time to have some fun."
Return Of Saturn, the group's smash 2000 release, did indeed establish No Doubt's ability to fashion songs of substance as well as style. It also conclusively demonstrated that the group's 1995 breakthrough release, Tragic Kingdom was more than a flash in the pan, although it was a distinctly dazzling flash that elevated the group to world class status with a solid string of hit singles. "We'd already done most of what we'd set out to accomplish," continues Tom. "We wanted try something fresh."
Something fresh and, as it turned out, something tried and true. "With all the dancehall we'd been listening to it was only natural that some of that rhythm would seep into our new songs," Gwen adds. "We ended up going to Jamaica without really knowing exactly what we'd find when we got there. That was the whole plan from the beginning not to have a plan."
What No Doubt found in the lush musical environs of the island was a creative collaboration with some of Jamaica's most revered producers including the legendary team of Sly & Robbie who sat behind the board for the album's debut single "Hey Baby" and "Underneath It All," a tune written by Gwen with Eurthymics mainstay Dave Stewart during the group's London sojourn. They would also go on record with the fast rising dancehall duo of Steely & Clevie, who worked their magic for the incendiary selection, "Start The Fire." Remarks Tom, "Going to Jamaica and working with the great artists there had always been a dream of ours. Having that opportunity is one the best things about having some success. It's more important than any amount of fame or fortune."
As the spring of 2001 turned to summer the pace of recording stepped up, along with the group's increasingly bold ventures into new creative territory. In Los Angeles they added hip-hop to the mix with the streetwise sensibilities of The Neptunes, co-writers on the album's opening track, the scorching "Hella Good." Next they huddled with high-profile mixmaster Nellee Hooper on Rock Steady's title track as well as such standout selections as "In My Head," "Running," "Detective" and the above mentioned "Hella Good." Along the way they logged time with William Orbit for "Making Out," Ric Ocasek on "Platinum Blonde Life" and "Don't Let Me Down," and the inimitable Prince who co-produced and provided backing vocals on the drop dead gorgeous "Waiting Room."
But mixing and matching songs and producers was only part of the creative evolution that took place with Rock Steady. Says Tony, "Our attitude from the beginning was that we'd do whatever it took to make the music work. We've always been a very self-contained unit. This time we wanted to open it up, to find out what other people could bring to the party."
"The whole album was an exercise in spontaneity," adds Gwen, "and that challenged me to write more directly from my thoughts and feelings. I threw away my thesaurus and put aside my influences, everyone from Joni Mitchell to Sylvia Plath. I wanted to write songs about how it felt to be alive right now and that feeling, despite everything that going on in the world, is optimistic and full of hope. This is a time to affirm what's good and positive in our lives and if we can convey even a small part of the fun and excitement we had making this music, then we've done what we set out to do."
Hot on the heels of Rock Steady's release comes news of an extensive touring schedule that includes select dates with U2 as well as an extensive itinerary of international headlining dates. "We're primarily a live band," comments Tony. "That's how we started and that's how we maintain contact with our fans. Over the past couple of years, as the No Doubt machine got bigger, it's been more difficult to maintain that connection. But this time around,we're determined to stay true to the spirit of the music. It's about having a good time, about dancing in aisles and singing along. We all need that and it's what this tour is going to be about."
"After fifteen years together you naturally create all kinds of rules about how things should be," concludes Gwen. "There comes a time when you've got to throw the rules out and start all over again. That's what keeps it fun and interesting. For us that time has come."
It's a sentiment that gets to the heart of the brilliant music on Rock Steady, an album that finds No Doubt comfortable at home with the risks and rewards of true originality. It's also proof positive that, when No Doubt throws a party, everyone's invited.LP1
2. Hella Good
3. Hey Baby
4. Making Out
5. Underneath It All
7. Don't Let Me Down
1. Start The Fire
3. In My Head
4. Platinum Blonde Life
5. Waiting Room
6. Rock Steady$24.99Vinyl LP - 2 LPs Sealed Buy Now
AntiphonMidlake returns with their new studio album "Antiphon". An antiphon is a call-and-response style of singing, from Gregorian chants to sea shanties. In the
case of Denton, Texas' favorite sons Midlake, it's the perfect title for a bold response to a new phase in the band's illustrious career, with a re-jigged lineup
and a newly honed sound as rich and symphonic as it is dynamic and kaleidoscopic.
Anyone who knows Midlake's preceding albums will recognize some constituent parts of Antiphon: the quirky psychedelia of 2004 debut Bamnan and
Slivercork, the '70s soft-rock strains of breakthrough album The Trials Of Van Occupanther and the Brit-folk infusion of 2010's The Courage Of Others.
But their fourth album is another fascinating departure, but also a logical progression. The sound is simultaneously familiar and changed.
"It's always through the scope of Midlake," says vocalist/guitarist Eric Pulido, "but on Antiphon we wanted to embrace the psychedelia, style and nuance
you might hear in bands from yesteryear while also being aware of music influences leading up to and present now. The result was less folk and more
rock. Less nostalgic and more progressive. Now the sky's the limit."
This growth is down to the ambition and ability of Pulido (vocals, guitars, keyboards) Paul Alexander (bass, keyboards, bassoon, guitars, backing vocals),
McKenzie Smith (drums, percussion) and Eric Nichelson (guitars, autoharp), plus Jesse Chandler (keyboards, piano, flute, backing vocals) and Joey
McClellan (guitars, backing vocals) from Midlake's last live incarnation. But it's also down to the absence of Midlake's former principal singer Tim Smith,
who left the band in November 2012.In the fall-out over the spoils of what had been recorded, the remaining members decided to start afresh, and wrote
and recorded Antiphon in six harmonious months - bar 'Vale', which had been demoed without Smith during one of the sessions. With its ravishing,
rippling textures symptomatic of Antiphon's scale, 'Vale' showed how far they'd already come. The remaining nine tracks - the album is free-flowing in
feel, concise in structure - confirm it's very much Midlake, but uncannily rebooted, and relaxed.
After the costumed antics of the band's last two album covers, the color-saturated globe on Antiphon takes a different tack, and a broader picture outside
of Midlake's internal dynamic. "It conjures imagery of a celebratory fireworks display," Pulido suggests "but it's actually a diagram of an exclusive group of
connected entities with disproportionate amounts of control over the global economy. It's a beautiful way to show a darker side of things in the world."
Antiphon has a similarly paradoxical nature - from stress and upset, something positive and creative has emerged. Midlake is dead, long live Midlake.1. Antiphon
3. The Old And The Young
4. It's Going Down
6. Aurora Gone
8. This Weight
10. Provider Reprise$19.99Vinyl LP - Sealed Buy Now
Brothers And SistersBrothers and Sisters on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1973 Affair Introduces Southern Rock to Popular Parlance
Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Transpired in Macon Studios
Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell
Chart-Topping Album Includes Smash "Ramblin' Man" and Favorites "Jessica" and "Southbound"
Brothers and Sisters is significant for myriad reasons. It's the first album the Allman Brothers Band made in its entirety after Duane Allman's death. It also came after bassist Berry Oakley's spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective's leader. And pianist Chuck Leavell's arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromised fidelity possible. Whether it's the feather-light harmonic layering of the collective's background vocals, echoing cavity of Leavell's gospel-tinted piano, skin-against-skin smack of Jaimoe's congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.
Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band's biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane's tragic motorcycle accident, the group experienced dÉjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.
What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts' picking and abetted by Gregg's organic, shot-of-blues vocals. The laidback vibe manifests on the signature "Ramblin' Man," a hit evocative of the record's breezy melodies and friendly interplay.
The cover art further reveals the Allman Brothers Band's mindset. Golden, tranquil, idyllic, Southern, loving: It's a paradise-longing view that would soon come crashing down in the group's lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.
This title is not eligible for discount.1. Wasted Words
2. Ramblin' Man
3. Come and Go Blues
4. Jelly, Jelly
7. Pony Boy$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pint Of BloodIncludes Free CD of this entire album!
Jolie Holland's new Anti-album Pint of Blood finds Jolie returning to the simple, pared-down approach that made early albums like Escondida fan favorites. With her band The Grand Chandeliers, Jolie works through ten songs with a loose, live-in-the-studio feel that recalls the vibe of classic '70s album's from Neil Young to the Grateful Dead. Featuring her simplest, most elegant songs in a long while, Pint of Blood is a classic setting for the vocals the Village Voice called sultry and sweet, despairing and lonely.
An artist who transcends genres and demographics, her audience spans from 20-something fans of Devandra Barnhardt and Sufjan Stevens to NPR listeners embracing a spiritual descendant of classic American music, Jolie Holland will once again surprise and delight her fans with Pint of Blood. Co-produced with Shahzad Ismaily (Lou Reed, Tom Waits).1. All Those Girls
3. Tender Mirror
4. Gold and Yellow
7. Little Birds
8. The Devil's Sake
9. Honey Girl
10. Rex's Blues$19.99Vinyl LP - Sealed Buy Now
Europe '72 Vol. 2 (Out Of Stock)This exclusive Record Store Day vinyl version of Europe 72 Vol. 2. LP includes a bonus track not found on the CD version; Big Railroad Blues recorded at the Tivoli Concert Hall in Copenhagen (4/17/72).
Europe '72, a triple live album documenting its historic trek across Europe became not only one of the band's best-selling releases, but also set the gold standard for live Dead. Now the group proves you can never get too much of a good thing when it revisits that legendary collection with Europe '71 Vol. 2, an essential continuation of the original that includes more than two hours of unreleased performances from that storied tour.
Grateful Dead archivist David Lemieux, who produced this 20-track compilation, says he only chose song titles that did not appear on Europe '72 as a way to complement the original. I think this album, coupled with Europe '72, represents a complete overview of the tour in every way, he says. In fact, songs like Beat It On Down The Line, Next Time You See Me and Sing Me Back Home were selected by the Grateful Dead for the first set, but were left off because there wasn't enough room.
In a nod to the original, Vol. 2 features new cover art by Stanley Mouse, the artist who helped create the iconic artwork from Europe '72, which features the return of the legendary Ice Cream Kid. Trouble comes in many flavors. Ice Cream Kid is in hot water. The jury is out. His only defense is love, says Mouse of the Kid's return.
Recorded at various locations during the band's 22-show tour, the collection captures the Dead in white-hot moments of improvisational revelry as the band explores a number of its most enduring songs, like Bertha, Sugaree and Playing In the Band, plus relatively obscure cuts like Black-Throated Wind and Pigpen's Chinatown Shuffle.
As a special treat, the set includes an epic hour-plus jam that combines Dark Star and The Other One. Recorded at the Bickershaw Festival, it was the only show on this tour where the band broke out both of these beloved improvisational showpieces. Vol. 2 also includes Good Lovin and Dire Wolf from the April 26 show at Jahrhundert Halle in Frankfurt, West Germany. While much of that concert was released on 1995's Hundred Year Hall, these particular tracks were not included and have remained unreleased until now.LP1
1. Bertha (Tivoli Concert Hall, Copenhagen, Denmark 4/14/1972)
2. Me And My Uncle (Wembley Empire Pool, London, England 4/7/72)
3. Chinatown Shuffle (Tivoli Concert Hall, Copenhagen, Denmark 4/14/1972)
4. Sugaree (Olympia Theatre, Paris, France 5/3/72)
1. Black-Throated Wind (Tivoli Concert Hall, Copenhagen, Denmark 4/14/1972)
2. Loser (Tivoli Concert Hall, Copenhagen, Denmark 4/14/1972)
3. Next Time You See Me (Olympia Theatre, Paris, France 5/4/72)
1. Beat It On Down The Line (La Grande Salle Du Grand Theatre De Luxembourg, Luxembourg 5/16/72)
2. Dire Wolf (Jahnrhundert Halle, Frankfurt, West Germany 4/26/72)
3. Good Lovin (Jahnrhundert Halle, Frankfurt, West Germany 4/26/72)
1. Greatest Story Ever Told (Olympia Theatre, Paris, France 5/3/72)
2. Deal (Olympia Theatre, Paris, France 5/4/72)
3. Playing In The Band (Lyceum Theatre, London, England 5/24/72)
1. Dark Star (Bickershaw Festival, Wigan, England 5/7/72)
2. Drums (Bickershaw Festival, Wigan, England 5/7/72)
1. The Other One (Bickershaw Festival, Wigan, England 5/7/72) [Part 1]
1. The Other One (Bickershaw Festival, Wigan, England 5/7/72) [Part 2]
2. Sing Me Back Home (Lyceum Theatre, London, England 5/26/72)
1. Big Railroad Blues (Tivoli Concert Hall, Copenhagen, Denmark 4/17/1972)
2. Not Fade Away (Wembley Empire Pool, London, England 4/7/72)
3. Not Fade Away (Wembley Empire Pool, London, England 4/7/72)$69.99180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Temporarily out of stock