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Roll With The Punches'
Roll With The PunchesRoll With The Punches - Van Morrison's 37th studio album - sees him simultaneously hand-picking a selection of rhythm and blues classics (by the likes of Bo Diddley, Mose Allison, Sister Rosetta Tharpe and Lightnin' Hopkins among others) and recording a set of new self-written songs. It's an album that features raw, intimate interpretations of some of the cornerstones of rock'n'roll alongside five new numbers by one of our most consistently brilliant recording artists.
Roll With The Punches was produced by Van Morrison and recorded with an incredible team of studio collaborators including Chris Farlowe, Georgie Fame, Jeff Beck, Paul Jones and Jason Rebello.1. Roll With the Punches (Van Morrison & Don Black)
2. Transformation (Van Morrison)
3. I Can Tell (Bo Diddley & Samuel Bernard Smith)
4. Stormy Monday / Lonely Avenue (T-Bone Walker / Doc Pomus)
5. Goin' To Chicago (Count Basie & Jimmy Rushing)
6. Fame (Van Morrison)
7. Too Much Trouble (Van Morrison)
8. Bring It on Home to Me (Sam Cooke)
9. Ordinary People (Van Morrison)
10. How Far From God (Sister Rosetta Tharpe)
11. Teardrops From My Eyes (Rudy Toombs)
12. Automobile Blues (Lightnin' Hopkins)
13. Benediction (Mose Allison)
14. Mean Old World (Little Walter)
15. Ride On Josephine (Bo Diddley)$35.99Vinyl LP - 2 LPs Sealed Buy Now
In Rolling WavesBeyond a life hardwired to pop culture via the 24 hour news feed, The Naked and Famous elicit a romantic connection inspired by the golden era of
alternative rock; a shared response to a teenage soundtrack of epic, emotionally charged mid-nineties music.
Released in March 2011, their ambitious debut Passive Me, Aggressive You featured singles Young Blood and Punching In A Dream. Lauded by
NME, it was a 'classic case of lovely and beautiful: TNAF's passive melodicism and aggressive innovation clash in a dazzling blaze of psych/sonic
fireworks and Rolling Stone magazine described Young Blood as one of the year's best singles. Fronted by Alisa Xayalith and Thom Powers, The
Naked And Famous lit a fire under an online fan base, with a video subculture built through YouTube and into radio. M83 invited TNAF to remix a single
and a Tiesto remix transformed Young Blood into a club smash. Agencies fell into The Naked and Famous slipstream, and theirs became the go-to
soundtrack for gaming, Hollywood and TV shows mining a zeitgeist of young and interesting.
By June 2012, the New Zealand quintet had played to more than 600,000 people in 24 countries, but the band chose to hit pause and embark on a
second album. The resulting album, In Rolling Waves, delivers darkly nuanced, intricately rocking electro gems once again born in bedroom studio
sessions, then demoed in studios in Wales and Australia ahead of recording at Sunset Sound in Hollywood.
Thom Powers sought out Alan Moulder (NIN, Foals, My Bloody Valentine) to mix this daydreaming dark-wave experiment. In 2013, The Naked And
Famous are matured and determined to deliver new music to their fans as soon as possible.LP 1
1. A Stillness
2. Hearts Like Ours
4. Rolling Waves
5. The Mess
6. Grow Old
1. Golden Girl
2. I Kill Giants
3. What We Want
4. We Are Leaving
5. To Move With Purpose
6. A Small Reunion$29.99Vinyl LP - 2 LPs Sealed Buy Now
Ahoy!Nonesuch Records releases Punch Brothers' five-song EP, Ahoy! Recorded during the Nashville sessions for their critically acclaimed 2012 album, Who's Feeling Young Now?, these tracks also were produced by Jacquire King (Kings of Leon, Tom Waits, Modest Mouse). The Los Angeles Times said Who's Feeling Young Now?'s "rich and evocative tracks capture a white-hot musical mind coming into his own and collaborating with stellar peers," and Rolling Stone said, "The acoustic framework dazzles-wild virtuosity used for more than just virtuosity."1. Another New World
2. Down Along the Dixie Line
4. Squirrel of Possibility
5. Icarus Smicarus$13.9910 Vinyl LP - Sealed Buy Now
The Notorious Byrd Brothers (MONO)Ranked 171/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with Artificial Energy, a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned Goin' Back. It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. Space Odyssey is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of Draft Morning says plenty about being eligible for conscription during the Vietnam War, while Wasn't Born To Follow was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby.
Insanely rare and unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. Artificial Energy
2. Goin' Back
3. Natural Harmony
4. Draft Morning
5. Wasn't Born To Follow
6. Get To You
7. Change Is Now
8. Old John Robertson
9. Tribal Gathering
10. Dolphin's Smile
11. Space Odyssey$28.99Vinyl LP Mono - Sealed Buy Now
Get The Knack
One of the Most Instantly Successful and Highest-Selling Debut Albums in History: The Knack's Attitudinal Get the Knack Loaded With Power Pop, Catchy Hooks, Keen Melodies, and My Sharona
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity 180g LP of Get the Knack Teems with Abundant Energy
Most everyone knows The Knack's Get the Knack because of the ubiquitous smash My Sharona, a contagious hit that still plays countless times everyday on radio stations nationwide. But the appeal and significance of the Los Angeles quartet's 1979 debut extend far beyond the career-making single. Loaded with tight power pop, hummable hooks, blunt lyrics, and precision playing, the controversy-igniting Get the Knack resonates with an ageless freshness that's influenced everyone from Kurt Cobain to modern indie artists such as the Mountain Goats.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Get the Knack brings the record's urgent harmonies, keen melodies, bell-clear tones, and snapping percussion out of the shadows and into the limelight. Graced with large-scale frequency extension and ample separation, the Knack's feisty music now teems with added energy, body, and immediacy. Absent the dynamic compression that squelched previous reissues, this numbered limited-edition audiophile analog version blossoms with detail, openness, and brashness. A guilty pleasure to some and new-wave classic to many others, Get the Knack is so attitudinal it spawned one of the industry's most famous backlashes.
Released by Capitol Records after the Knack courted a dozen other offers, the 12-track set remains one of the most instantaneously successful debuts ever made. Aided by tongue-in-cheek marketing, a sly cover-art reference to the Beatles' Meet the Beatles, and Mack Truck-sized refrains that stick in your head for hours, Get the Knack went gold in days and, to date, has sold more than five million copies. The meteoric rise didn't sit well with detractors committed to ripping apart the band for its perceived arrogance (members refused to sit for interviews) and alleged misogynist stance. Needless to say, the boycotting campaigns fell on deaf ears.
Holding down the top of the singles chart for six weeks, and the eventual number-one single on the year-end 1979 chart, My Sharona alone cemented the Knack's position in history. Written by lead singer and guitarist Doug Fieger about his lust for the then-underage 17-year-old Sharona Alperin, who ultimately became his fiancÉe, the anthem's suggestive themes carry throughout the record. Straightforward in its sleaziness and sexuality, Get the Knack pulls no punches about teenage frustrations, boy-girl one-upsmanship, sticky sweet romance, and unrequited passions for the opposite sex.
Teasing, mischievous tracks such as (She's So) Selfish connect with Bo Diddley-inspired riffs and crude, hormonally charged lines that split the difference between manipulation, nastiness, and arousal. The Top 15 hit Good Girls Don't similarly confronts the pent-up carnal desires and libidinous emotions shared by youth of all generations, while That's What the Little Girls Do functions as a sly response. Your Number or Your Name dabbles in related subject matter, with sensitivity and hopefulness added for good measure. It's a perfect mix of agony and ecstasy, fear and confidence.
Shot-through with yearning, every song bursts forth with undeniable catchiness, firecracker release, and sassy style - an approach Rolling Stone rightly says finds the band [winding] itself tighter than a hot pair of disco jeans, then [doing] its best to hold to that energy until its time to explode.
This title is not eligible for discount.1. Let Me Out
2. Your Number or Your Name
3. Oh Tara
4. (She's So) Selfish
5. Maybe Tonight
6. Good Girls Don't
7. My Sharona
9. Siamese Twins (The Monkey and Me)
11. That's What the Little Girls Do
12. Frustrated$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
New City BluesFrom the cutlery in the blender indictment of surface beauty "Paper Doll" to the Lone Star drive of "Just To Be With You" and the tumbledown melody of "Sit Here and Cry," this is a high energy box cutter of emotion: 14 songs marked by the bite and punch of smart girls who know there's more to life than a cold beer and cut-offs. "I tell people there's not a lot of happy songs," the Texas/Nashville hybrid cautions. "But they're not unhappy songs, either. It's life... the way it is, and what's wrong with that?" There's a definite viscerality to New City Blues. From the yearning title track to the slow-building "Loveless Rolling Stone," the sense of displacement marking so many young people uncertain about the future tempers the pools of guitar lines, the way her voice has just the slightest ache when she finds a note's center. "LP 1
1. Light of Day
2. Sit Here and Cry
3. Paper Doll
4. Losing Ground
6. Dreaming in the Day
7. Liar Liar
8. Humming Song
9. Just to Be with You
1. People Talking
2. Something Special
3. Loveless Rolling Stone
4. Like the Rain
5. Living Is Killing Me
6. In My Room (Live Studio Version) [Bonus Track]
7. Living Is Killing Me (Live Studio Version) [Bonus Track]
8. People Talking (Live Studio Version) [Bonus Track]
9. The Way I Feel Inside (Live Studio Version) [Bonus Track]$27.99Vinyl LP - 2 LPs Sealed Buy Now
MASSEDUCTIONPressed On Pink Vinyl
St. Vincent - aka Annie Clark - has announced her new album, 'MASSEDUCTION,' to be released via Loma Vista Recordings. Themes of power and sex, imperiled relationships and death slice through the album, Clark's first since her 2014 breakout 'St. Vincent.' The thirteen tracks on 'MASSEDUCTION' swirl with guitar and piano, synths and strings, and drum beats that punch with purpose. The album was co-produced by St. Vincent and Jack Antonoff at Electric Lady Studios in Manhattan, with additional recording at Rough Consumer Studio in Brooklyn, and Compound Fracture in Los Angeles.
"Every record I make has an archetype," says Clark. "'Strange Mercy' was Housewives on Pills. 'St. Vincent' was Near-Future Cult Leader. 'MASSEDUCTION' is different, it's pretty first person. You can't fact-check it, but if you want to know about my life, listen to this record."
'MASSEDUCTION' is the culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe. Special guests on the album include Thomas Bartlett on piano, Kamasi Washington on saxophone, Jenny Lewis on vocals, and beat production from Sounwave. Greg Leisz and Rich Hinman add pedal steel, and Tuck and Patti Andress contribute guitar and vocals respectively on select tracks.
St. Vincent's 2014 self-titled album was her best-reviewed and best-selling to date, topping many year-end lists and culminating in her first GRAMMY® nomination and win for Best Alternative Music Album in 2015. Shortly after the album's release Clark performed with a re-formed Nirvana at the 2014 Rock & Roll Hall of Fame Induction Ceremony and on the 2014 season finale of Saturday Night Live. In 2015 Clark won the ASCAP Vanguard Award and she was 2017's Record Store Day Ambassador.1. Hang On Me
5. Los Ageless
6. Happy Birthday, Johnny
8. New York
9. Fear The Future
10. Young Lover
11. Dancing with a Ghost
12. Slow Disco
13. Smoking Section$24.99Colored Vinyl LP - Sealed Buy Now
Say Yes To Love
These punk kids from the mean streets of Syracuse, New York, deliver high-energy
slabs of mayhem-friendly post punk noise, a wall of guitar and Casio. Meredith
Graves knows how to run her mosh pit like a dictator runs a birthday party." - Rolling
"In just four short songs, Perfect Pussy has spoken more truths than many artists with
20-year-spanning discographies, and with news of a debut full-length in the works,
now is probably a good time to start bracing yourselves. It might get a little uncomfortable, but trust me, the shake-up is worth it." - Complex
"One of the boldest new rock bands." - Pitchfork
Since releasing their 4 song demo cassette I Have Lost All Desire for Feeling
in late 2013, Perfect Pussy have taken the music world by storm. Their harsh
yet refreshing lyrics paired with the assaulting vocals of singer Meredith
Graves drew in audiences from all crowds. While often muffled by the wall
of sound built buy the guitar, bass, drums and synth, it is the brutal truths of
Graves' lyrics and the power of her live delivery that has had everyone
from Rolling Stone to Pitchfork to The New York Times praising the power of
this rising band.
With Say Yes to Love Perfect Pussy have begun to hone their sound while
retaining the rough around the edges noise that first drew listeners in. The first
track, "Driver", grabs the listener and drags them into the chaotic world of
this brief but powerful album. The songs kick and punch but it is the dense,
honest lyrics that will make the listener feel the most. Filled with conflict and
confidence and despair and desire, these are songs that stay with the
listener long after the album has ended.1. Driver
3. Big Stars
5 Interference Fits
7. Advance Upon the Real
8. VII$19.99Vinyl LP - Sealed Buy Now
Time Is A RiddleI made an album that I was mostly proud of. But the process was hard and process matters to me. It colors the final work with a subtle significance. So now I look back with a bemused frown. Because all I remember is the process. And the process was too hard.
When it came time to move on, things needed to change. I wanted control of the process back. I wanted to be small again. Big can be good, but big can be brittle. And small packs a punch when you can be nimble.
So wrote Luke Sital-Singh in July 2015. He typeset his words using metal type and an old printing press, each sentence on a new line, no full stops required. It was a pause, a moment of reflection on the events of the preceding couple of years, specifically the release of his compromised debut album, 'The Fire Inside', the slightly bitter fruits of an ill-starred major label relationship. It was also a personal manifesto, a quiet, internal rallying cry. And it was a nice bit of writing, thought through and pored over and carefully presented. That's how he rolls. He rolls his own.
Eighteen months on - he wasn't going to rush - comes 'Time Is A Riddle', that second album Sital-Singh was determined to make solely on his terms. No interference, no scheduling issues, nor elaborate musicianship, nothing big or brittle. Just care, and effort, and time well spent - values he shares with the Slow Movement to which he subscribes, and with the crafts people up and down the country with whom the musician has some special projects planned. It's a lovely record of self-written songs, a crafted distillation of the ideas and tastes that have been percolating through Sital-Singh since he was a teenager in suburban southwest London.1. Still
2. Oh My God
3. Until the Night Is Done
4. Rough Diamond Falls
5. Nowhere's Home
8. Time Is a Riddle
10. Killing Me
11. Slow Down$20.99Vinyl LP - Sealed Buy Now
Spirit Electricity: LiveSeeing the legendary Bad Brains live is an incredible experience, and over four separate live albums, the band has never really been able to capture that experience perfectly on record...but Spirit Electricity comes close. Anchored by the bands best reggae song, The Youth Are Getting Restless, which clocks in at nearly eight minutes, the disc captures both sides of Bad Brains -- the punk legends and the lifelong reggae fans...with both sides heavily steeped in Rasta philosophy. A combined reggae cover of The Beatles' Day Tripper and the Rolling Stones' She's a Rainbow is the other gem here. The cover, a live favorite, is yet another example of how distinctive the Bad Brains sound...even if they're playing someone else's music. Guitarist Dr. Know really shines on the reggae songs, using his jazz-fusion background and unique style of rhythm playing to beautify what would otherwise be fairly harsh songs. The punk side of things is pretty righteous as well. The version of their standard Banned in D.C. found here is arguably the best recording the band has ever made, and the one-two punch of Return to Heaven and Let Me Help that kicks off the disc is incredible. Next time the band has a reunion tour (seems to happen every few years), check 'em out. If you can't do that, this is the next best thing. reggae-reviews.com1. Return to Heaven
2. Let Me Help
3. Day Tripper/ Shes a Rainbow
4. Banned in DC
6. Youth are Getting Restless$15.9910 Vinyl LP - Sealed Buy Now
Dig Me Out"Sleater-Kinney is America's best rock band" - Greil Marcus, Time (2001)
Sleater-Kinney is an acclaimed, American rock band that formed in
Olympia, Washington in 1994. The band's core lineup consists of Corin
Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and
Janet Weiss (drums). Sleater-Kinney were known for their feminist,
left-leaning politics, and were an integral part of the riot grrrl and indie
rock scenes in the Pacific Northwest.
Dig Me Out is the third studio album by Sleater-Kinney, originally
released on April 8, 1997 by Kill Rock Stars. The album was produced
by John Goodmanson and recorded from December 1996 to January
1997 at John and Stu's Place in Seattle, Washington. Dig Me Out marked
the debut of Janet Weiss, who became the band's longest-serving and
Dig Me Out made several publications' best album lists. The album
appeared at number four in The Village Voice's "Pazz & Jop" critics' poll
for 1997. In 2001, Spin placed it at number 19 on its list of 50 Most
Essential Punk Records. In 2003, the album was ranked number 272
on Rolling Stone's list of "The 500 Greatest Albums of All Time." In
2005, the album was ranked number 24 in Spin's 100 Greatest Albums,
1985-2005. In 2012, Spin also ranked it at number 74 on their 125
Best Albums of the Past 25 Years. In 2008, the song Dig Me Out was
ranked number 44 in Rolling Stone's 100 Greatest Guitar Songs of All
Now [delivers] the punch their words describe...If [Sleater-Kinney]
wanna be our Simone de Beauvoir, Dig Me Out proves they're up to it.'
[9/10] - Ann Powers, SPIN
The album has been freshly remastered by Greg Calbi for this release.
This reissue coincides with Sub Pop's release of
remastered versions of Sleater-Kinney's six other albums, as well as a
limited-edition, deluxe vinyl box set featuring all seven albums.1. Dig Me Out
2. One More Hour
3. Turn It On
4. The Drama You've Been Craving
5. Heart Factory
6. Words and Guitar
7. It's Enough
8. Little Babies
9. Not What You Want
10. Buy Her Candy
11. Things You Say
12. Dance Song '97
13. Jenny$15.99Vinyl LP - Sealed Buy Now
Little Death ShakerStripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.
This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)
The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.
Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.
More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.
With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.
One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!
The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!1. Allegiance
2. Little Death Shaker
3. Some of My Friends
5. You'll Never Surf Again
6. Don't That Lake Just Shine
8. A Little More Credit
9. Some Kind of Fool
10. You're Not Standing Like You Used To
12. Meridian, MS
13. Allegiance 2$19.99Vinyl LP - Sealed Buy Now
Songs From The Garage (Pink Vinyl)Pink Colored Vinyl
Features AC/DC Lead Vocalist Brian Johnson
Guitars And Production Duties Handled By Rob Caggiano (Anthrax, Volbeat, Bleeding Through, Cradle Of Filth And More)
Whether it's Spinal Tap gloriously losing the plot, the escapades of Tenacious D getting them into trouble, or the phenomenon that is Dethklok tearing up the album charts, comedy and heavy music have long made for great bedfellows. Jim Breuer is a man who understands this, and with Songs From The Garage, his first full-length with longtime backing band The Regulators, he delivers both in his inimitable style. "I basically want the crowd to have a blast, and I write what I feel that I would love if I was in the crowd. So, going into the record the music had to be killer and have great hooks, that was most important, and I wanted to balance that with something that's funny," he enthuses. "I wanted to bring the smile back to hard rock that has a nice punch to it - and in doing so hopefully bridge the gap so my generation and their kids will come see this live together!"
In realizing this, Breuer has delivered a record that is pure, unadulterated fun, and yes, it rocks. From crunchy opening romp "Thrash" through the swaggering "Who Better Than Us?" to the gloriously deranged excitement suffusing "Sugar Rush", his exuberance is infectious, and he challenges you to keep your ass from shaking and the corners of your mouth twitching while it thunders from the speakers. Throughout, his influences bleed through, comfortably blurring the line between hard rock and metal while every anthemic chorus lodges irrevocably in the hippocampus. While a great many 'comedy rock' records are ultimately pretty throwaway and last as long as the joke stays funny, this is not the case with Songs From The Garage. True to his game plan, Breuer has made great songs, ones that persistently draw a smile and will fit comfortably when shuffled among the likes of Megadeth, AC/DC, Judas Priest and more contemporary bands, such as Avenged Sevenfold and Halestorm.
Having finally made the album that has been burning to get out of him since his teens, Breuer couldn't be happier with the result. Though he has fulfilled one rock and roll dream with its completion, it certainly does not mean he's about to kick back and leave it at that. "I plan on making great, funny videos for every song and have videos up during the concerts. I want pure entertainment when you come see this live, and now my rock and roll dream is to play this not only here in America, but anywhere else in the world that will accept it! I'm taking it one day at a time, living the dream."1. Thrash
2. Raising Teenage Girls
3. Old School
4. Be a Dick 2nite
5. My Rock n Roll Dream
6. Mr. Rock n Roll
7. Who's Better Than Us?!
8. Family Warrior
9. Sugar Rush
11. The Unexplained$25.99Colored Vinyl LP - Sealed Buy Now
MUSD-MFSL-412xHall and Oates
Private EyesPrivate Eyes on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1981 Album Established Parameters for Decade's Celebrated Pop Sounds
Includes Private Eyes, I Can't Go For That (No Can Do), Did It in a Minute
Meticulous Merger of Pop, Soul, Rock, and R&B Crossed Over Into all Fields
Stylish, Sophisticated Production Comes to Fore on Mobile Fidelity Reissue, Mastered from the Original Master Tapes
Hall and Oates could've easily followed the protocol established on their breakthrough Voices, done nothing else, and watched 1981's follow-up Private Eyes scale the charts. Yet the duo continues to press forward, further refining the era-defining stylistic mÉlange that propelled them to mass stardom a year prior. The creative and artistic peak of the all-time best-selling male duo's output, Private Eyes delivers relentless pop bliss and functions as an instruction manual that, as Rolling Stone opined, still teaches "the way to make rock girls, disco girls, and new-wave girls scream together."
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the Top 5 album's sharp, widescreen production values with awe-inspiring detail and palpable realism. For the first time, listeners can get inside the songs' internal mechanisms by experiencing first-hand the vast surfeit understated sonic effects. Well-appointed tones now grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing also claims enhanced intimacy and balance. Offering tremendous insight, Mobile Fidelity's LP doubles as a lesson in the construction and sustain of big, bold grooves.
Advancing their rhythmic support and melodic symmetry, Hall and Oates give extra space to their still-underrated backing band, affording the material a muscular punch and organic warmth crucial to their success and ability to transcend the largely artificial era. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard noises, Hall and Oates wisely merge the period's savvy sounds with tried-and-true soulful instrumentation.
Reflecting the album's infallible level of quality control, no song disappoints. The three Top 40 singles-the title track, "I Can't Go For That (No Can Do)," and "Your Imagination"-feature clever elements such as hand-clapped choruses and staccato piano lines. The distinctive traits complement the duo's hallmark harmony vocals and add R&B flavors to already-scintillating pop concoctions. Yet Private Eyes' pleasures advance well beyond the radio singles.
Whether witnessed via the taut tension of "Some Men," reggae-splashed "Tell Me What You Want," or Motown homage "Looking for a Good Sign," the group's blend of dance vibes, electrifying hooks, keyboard loops, and sleek beats epitomizes seduction, style, and swagger. Private Eyes is an 80s juggernaut that hasn't lost a step. Utterly classic.
This title is not eligible for discount.1. Private Eyes
2. Looking for a Good Sign
3. I Can't Go For That (No Can Do)
4. Mano a Mano
5. Did It in a Minute
6. Head Above Water
7. Tell Me What You Want
8. Friday Let Me Down
9. Unguarded Minute
10. Your Imagination
11. Some Men$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
44 on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
#1 1981 Album Teems With Hits: Urgent, Waiting for a Girl Like You, Juke Box Hero
Foreigner's Most Consistent, Economical, and Cleanly Produced Record
Half-Speed Mastered from the Original Master Tapes: Sonics Open Window to Mutt Lange's Direct Production
Be A Juke Box Hero: Sound Will Rattle Your Walls and Shake Your Windows!
Want to be a juke box hero? Heres your chance. Featuring Mutt Langes spotless production, contributions from Motown legend Junior Walker and new-wave icon Thomas Dolby, no less than three huge singles, and Foreigners most economical performances, 4 is classic-rock nirvana, a model of crystalline pop-rock melodies and lighter-flicking balladry. More than six million copies later, the 1981 record is still rightly discussed as a front-to-back masterpiece of precision, power, and economy. Its an album that demands to be experienced in the highest-possible fidelity.
Half-speed mastered from the original master tapes, Mobile Fidelitys 180g LP presents 4 in a room-filling, stadium-big sound that simply crushes whats heard on all prior versions. Replete with energetic rockers such as Urgent, Night Life, and Woman In Black, the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramms superhuman vocals. For the first time, Langes obsessive, detail-oriented production can be enjoyed in all its splendid glory.
Fresh off blockbuster success with AC/DCs Back In Black, Lange uses his magic touch on 4, pairing with guitarist Mick Jones who, armed with the best batch of riffs of his career, shared a the producers sentiment for discipline, efficiency, and cleanliness. And so, on crisp tunes like Break It Up, pianos and hard-hitting guitars share the same space without ever impinging on one another or overstepping boundaries. The winning formula also propels Top 5 hits like the wildly funky Urgent, sent to new heights by Walkers dazzling saxophone solo, and the touching Waiting for a Girl Like You, a crossover smash that introduced Foreigner to soft-rock and adult-pop audiences.
Simply stated, 4 has everything: Rowdy frustration-releasing cuts, fiery rock n roll tunes, heartfelt torch songs, and synth-drenched pop numbers. The playing throughout positively smokes, as the one-two punch of Gramm and Jones lands with both emotional and musical impact every time. There's not a single wasted note. And, reduced to a quartet, Foreigner seems bent on making more with less, just as Lange does with the polished production. This is 42 minutes of hard-rocking bliss.
Accept no substitute. Mobile Fidelitys collectible audiophile edition will rattle your walls and shake your windows. Be prepared to tap every reserve available from your amplifiers. And play it LOUD!
This title is not eligible for discount.1. Night Life
2. Juke Box Hero
3. Break It Up
4. Waiting for a Girl Like You
7. I'm Gonna Win
8. Woman in Black
9. Girl on the Moon
10. Don't Let Go$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Tyler Bryant And The ShakedownA Band On The Verge Of Rock N Roll Greatness!
After carving out a fervent fan base and drawing widespread critical applause with their heady, high-voltage brand of guitar-driven rock, shooting from both hip and heart, Nashville's Tyler Bryant & The Shakedown find themselves at the epicenter of an advanced rock 'n' roll adventure that continues to take them around the world, appearing at some of the biggest venues along the way
Starting with a guest spot on AC/DC's 'Rock or Bust' World Tour in 2016, the quartet - Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age - have continued to share events and stages with some of rock's most legendary names, including Guns N' Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.
At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown - The Shakedown to friends and fans - have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records - the most immediate and exciting result being an 11-track, self-titled studio album set to be the label's inaugural release, with November 3rd locked in as the day of the launch
"So many great things have happened over the past few months," exclaims Caleb, "and it's all just so surreal. I remember seeing that Guns N' Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn't it be amazing if we appeared on both of those shows and we did!"
Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown
"The instant we started playing, I knew there was something special," reflects Caleb. "We played our first show a week later and haven't stopped since!"
The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.
All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown's sound. As Tyler recalls, "his bass sound scared me and he brought an edge and an attitude to the band that we didn't even know we needed."
2013's 'Wild Child' album announced the quartet's arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.
Following the release of 'The Wayside' EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N' Roses on a European tour
"We had just decided to self-produce a record completely on our own," says Tyler. "I'll never forget driving home that morning and getting a call from our manager saying, 'You wanna go back to Europe with Guns N Roses?' That was a great kick-start to the first day of tracking."
So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.
Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world - music based on authenticity and emotion, under-pinned by core values and beliefs.
In this respect, Tyler Bryant & The Shakedown - who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin' Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three - are a flagship representation; what's more, in 'Tyler Bryant & The Shakedown' they've delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.
"This is the definitive Shakedown record as of now, and that's why we decided it should be self-titled," explains a fired-up Tyler. "It's the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It's not just a guitar album; it's a song album, and I'm proud to hang my hat on this one."
The first single / video, 'Heartland', introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, "There's a slow beat in the heartland, going down in the quicksand, stack 'em up and watch the cards fall, if it happens to one, then it happens to all".
"It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they're singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in.
Elsewhere, 'Backfire' struts along on a stomping drum groove driven by thick distortion with lyrics "about pulling the short end of the straw and feeling vengeful". Then there's 'Aftershock'. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.
"That's a tune about feeling the effects of a situation long after it's come and gone.
As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N' Roses (again), The Who & Alice Cooper - as well as making their first appearance at Rock In Rio - this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled
"I want people to put this on and literally escape," Tyler leaves off. "I hope they feel free. That's what rock 'n' roll makes me feel. You don't have to think about your bills or any of the other things that have the power to bring you down when you've got your fist up in the air, your eyes closed and you're lost in the music. Angus Young told me, 'You've got to make the audience think you're taking them on a journey, and they'll go with you. If you believe it, they will too'. I believe it with this record."1. Heartland
2. Don't Mind The Blood
3. Jealous Me
5. Ramblin' Bones
6. Weak And Weepin'
7. Manipulate Me
8. Easy Target
9. Magnetic Field
11. Into The Black$29.99Vinyl LP - Sealed Buy Now
Tougher Than LeatherToo many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP.
By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl, and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] - get lost in their crates.
For starters, the album's first single, "Run's House" b/w "Beats To The Rhyme" is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called "turntablism" a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.
The second single, "Mary, Mary," driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like "Walk This Way," the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. "Papa Crazy," driven in concept and by a sample from the Temptations' "Papa Was A Rolling Stone," followed a similar pop-leaning path.
Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like "Radio Station," they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. "Tougher Than Leather" reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And "They Call Us Run-DMC" and "Soul To Rock And Roll" both bring things back to their early days, with sure-fire park jam rhymes and killer cuts.
Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl, and Jay!1. Run's House
2. Mary, Mary
3. They Call Us Run DMC
4. Beats To The Rhyme
5. Radio Station
6. Papa Crazy
7. Tougher Than Leather
8. I'm Not Going Out Like That
9. How'd Ya Do It Dee
10. Miss Elaine
11. Soul To Rock And Roll
12. Ragtime$22.99Vinyl LP - Sealed Buy Now
Tomorrow Is My TurnRhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.
Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."
For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."
"I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown's renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens' Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.
Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."1. Last Kind Words
2. Don't Let It Trouble Your Mind
4. She's Got You
5. Up Above My Head
6. Tomorrow is My Turn
7. Black Is the Color
8. Round About the Mountain
9. Shake Sugaree
10. O Love Is Teasin'
11. Angel City$22.99Vinyl + CD - Sealed Buy Now
Foghat LiveIt's one of the greatest rock 'n' roll live albums of all time, and one of the greatest rock 'n' roll albums of the '70s, period. And it (deservedly) vaulted one of the best boogie bands ever to superstardom. But, even in this golden era of classic rock vinyl reissues, Foghat: Live has not seen its killer twin guitar jams recommitted to wax until now! Real Gone Music is proud to bring this legendary live album back to vinyl where it belongs, with a limited-edition package that pulls no punches: 180-gram vinyl, with painstaking replications of the original die-cut jacket and of the 4-color cardboard inner "Eurosleeve" that peeks out through the die-cut. Peter Black's remastering and lacquer cutting brings out every note in such stomping songs as "Honey Hush" (taken at twice the speed of the studio version), "Home in My Hand" (check those a cappella harmonies), the big hit "Fool for the City, " "Road Fever" and, of course, the frenzied boogie favorites "I Just Want to Make
Love to You" and "Slow Ride." The quartet of guitarists "Lonesome" Dave Peverett and Rod Price, bassist Craig
MacGregor and drummer Roger Earl were as tight as any rock band before or since-38 minutes of blues-rock bliss.1. Fool for the City
2. Home in My Hand
3. I Just Want to Make Love to You
4. Road Fever
5. Honey Hush
6. Slow Ride$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blonde On Blonde (Box Set)Ranked 9/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World
Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity
Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians
Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles
Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.
Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.
The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.
As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.
Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for discount.1. Rainy Day Women #12 & 35
2. Pledging My Time
3. Visions of Johanna
4. One of Must Know (Sooner or Later)
5. I Want You
6. Stuck Inside of Mobile With the Memphis Blues Again
7. Leopard-Skin Pill-Box Hat
8. Just Like a Woman
9. Most Likely You Go Your Way (And Ill Go Mine)
10. Temporary Like Achilles
11. Absolutely Sweet Marie
12. 4th Time Around
13. Obviously 5 Believers
14. Sad Eyed Lady of the Lowlands$84.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 3 LPs Sealed Buy Now
Blood And Chocolate
Elvis Costello Blood and Chocolate on Numbered Limited Edition 180g LP from Mobile Fidelity
Emotionally Cathartic Nick Lowe-Produced Set Includes I Want You, I Hope You're Happy Now, and Uncomplicated
Mastered from the Original Master Tapes and Pressed at RTI: Guitar-Driven, Stripped-Down 1986 Album Teems With Stacked Rhythms, Tonalities, Punch, and Tension
Costello at His Most Vicious: Songs Rumble and Storm, Dark Humor and Biting Lyrics Address Tumult, Jealousy, Vindictiveness
Part of Mobile Fidelity's Elvis Costello Reissue Series: Singer-Songwriter's First Eleven Studio Albums Available on Sumptuously Sounding 180g LP
Known in his youth as the angry young man, Elvis Costello waited until 1986 to create the most vicious record of his career. Stripped to the studs and produced by Nick Lowe, Blood and Chocolate seethes with vindictiveness, spite, and rancor. The 11-track effort clatters with raw rock n' roll menace and clangs with darkly humorous intent. Venomous, acerbic, and aggressive, it values rhythm and attack over harmony and melody. A volatile rite of passage on which harsh Telecaster riffs cut like razor blades and Costello spits words as if they were Molotov cocktails tossed at enemies, this is the satisfying sound of emotional catharsis.
Mastered from the original master tapes and pressed at RTI, this collectable edition of Blood and Chocolate joins Mobile Fidelity's acclaimed Costello reissues series in presenting the icon's vital records in rich, dynamic, three-dimensional analog sound. That's never been truer than it is here. Costello and Co. recorded the songs in a large room at London's Olympic Studios while playing at stage volumes, an unconventional approach that nonetheless suited the music's raw feel. Nearly every track was done in three takes or less, with minimal vocal fixes and overdubs added immediately afterward. Such energy, spark, force, and pace thrive on this reissue.
Capturing the decibel-laden atmosphere that heightens the rhythmic pace and elevates the urgency of the deliveries, Mobile Fidelity's 180g LP delivers the band's performances with wall-of-sound hugeness and booming authority. And while this isn't a record where subtlety reigns, listeners can now discern the acoustic guitar strummed by Lowe for the foundation of the savage Uncomplicated as well as the nuanced final bars of the inimitable I Want You on which each member's instrumental track is switched off to bleed into Costello's vocal microphone. Indeed, for all the apparent chaos, Steve Nieve's keyboards even get accurate placement and imaging on this incredible pressing. Then there's the temperament of the songs themselves-perhaps best described by Costello.
The album title and Eamon Singer's crude cover painting reflected some intense and uncertain situations. The record might have well been a blurred polaroid: a smashed-up room, a squashed box of chocolates, some broken glass and a little blood smeared on the wall, wrote the singer in 2002. The album [is] a pissed-off 32-year-old divorce's version of the musical blueprint with which I had begun my recording career with the Attractions. Indeed, the band-on the verge of fraying at the seams and at each other's throats in close confines-pummels twanging chords, beats up on notes, turns up amplifiers, and eyes everything with great suspicion.
Lyrically, Costello has seldom been wittier, sharper, or more malicious. The snarling, tables-turning I Hope You're Happy Now joins Bob Dylan's Positively Fourth Street as among the most lacerating kiss-off tunes ever penned. Similarly sarcastic, Next Time Round lends a pop rave-up air to the album's otherwise dark assault. The bloodletting Crimes of Paris and Poor Napoleon (featuring Pogues singer Cait O'Riordan playing the role of the voice of pity) confront the consequences of traumatic relationships and lustful choices with a savvy intellect. Given the mood and mindset of everyone and everything involved, it's no surprise that Costello and the Attractions wouldn't again work together until eight years later. Saying that Blood and Chocolate was worth the sacrifice is an understatement.
This title is not eligible for discount.1. Uncomplicated
2. I Hope You're Happy Now
3. Tokyo Storm Warning
4. Home Is Anywhere You Hang Your Head
5. I Want You
6. Honey, Are You Straight or Are You Blind?
7. Blue Chair
8. Battered Old Bird
9. Crimes of Paris
10. Poor Napoleon
11. Next Time Round$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
PretendersPretenders One of the Most Essential Debuts Ever Released: No-Nonsense 1980 Set Ranked 155th Greatest Album of All Time by Rolling Stone
Mastered from the Original Master Tapes: Added Extension, Sharper Imaging, Multi-Dimensional Soundstaging on MoFi 180g LP Place Pretenders on a Small Stage in Your Room
Pretenders' Self-Titled Record Moves Fast With Biting Hooks, Soulful Melodies, and Guitar-Charged Toughness: Includes Brass In Pocket, Precious, and Tattooed Love Boys
The milieu the Pretenders create on their groundbreaking debut didn't exist when the album came out in early 1980. Such is the magnitude of originality, creativity, and nerve the band captured on a record that captivated each side of the Atlantic and both upended and advanced tradition. The no-nonsense set also announced the arrival of the inimitable Chrissie Hynde, one of the greatest singer-songwriters in rock history, gender be damned. Equally significant, the album remains just one of two studio efforts featuring the original members before tragedy ended the lives of guitarist James Honeyman-Scott and bassist Pete Farndon.
Mastered from the original master tapes, Mobile Fidelity's 180g LP of Pretenders grants the influential music newfound clarity, punch, dynamics, and perspective that enhance the realism and attack of everything from Hynde's vocal snarl to the band's myriad textures. Originally recorded live in the studio at high volume levels by producer Chris Thomas, the record on this vinyl edition boasts added extension, sharper imaging, multi-dimensional soundstaging, and a crispness that practically places the Pretenders onstage in your room. Replete with detail and nuance-particularly, Hynde's singing and Honeyman-Scott's terrific array of hovering chords, colorful palettes, and inventive effects-this is a record that rewards repeat listening and full-bloom playback.
Cited by Rolling Stone as the 155th Greatest Album of All Time, Pretenders took shape via the vision of the Ohio-born Hynde and chemistry she achieved with three Brits circling the same punk orbit-one that saw the frontwoman work with the Sex Pistols and briefly embark on a serious music-criticism career. Indeed, while Hynde is the unquestionable leader of the gang, the Pretenders are the sum of their total parts, displaying rapport and interaction that never came together more convincingly, naturally, or emotionally as it does on their debut. Honeyman-Scott's ringing arpeggio tones seamlessly combine with Hynde's no-muss sass, sensuality, and soulfulness. Similarly, the rhythm section contributes considerable thump and classically styled explosiveness. Together, the four sound like no other band.
Such distinctiveness helps explain why Pretenders remains as contemporary now as it did 30-odd years ago.Schooled in the era's raw, unfiltered English punk yet equally versed in rockabilly, new-wave pop, and British Invasion rock, the band orchestrates songs that overflow with keen hooks, sexual swagger, and ear-catching melodies. Courtesy of the aggressive guitars and leather-tough cool, Pretendersmoves fast, Hynde's assertive deliveries and take-notice lyrics jolting the senses with a lethal mix of sophistication, toughness, tenderness, rebelliousness, and romance.
With Honeyman-Scott playing the Richards to her Jagger, Hynde operates on pure instinct. She throws down the gauntlet on the corrugated pulse of Precious, proves she can hang with even the roughest boys on the energetic bounce of Tattooed Love Boys, and, on the smash hit Brass In Pocket, spouts self-aggrandizing claims that she would back up for decades to come. Yet Hynde and the Pretenders' appeal goes much deeper than brazenness. Akin to her guitarist's unconventional phasing and treated effects, the singer never abides by rules or stereotypes as she balances the gutsiness and attitude with sensitivity (Lovers of Today), compassion (the jangling Stop Your Stopping), and vulnerability (Kid).
Pretenders is not only one of the most impressive album debuts in history, it's one of the most essential records, independent of genre or timing, ever made. Hear this energetic music in the finest-possible fidelity it's ever enjoyed.
This title is not eligible for discount.1. Precious
2. The Phone Call
3. Up the Neck
4. Tattooed Love Boys
5. Space Invader
6. The Wait
7. Stop Your Sobbing
9. Private Life
10.Brass In Pocket
11.Lovers of Today
12.Mystery Achievement$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Darling... It's Too LatePeaches And Cream Colored Vinyl
"Oldies werent lo-fi," says Guantanamo Baywatch guitarist and vocalist Jason Powell, even though people have a hard time distinguishing the crackle and pop of worn-out vinyl or the low bandwidth of AM radio from
the actual production mastery of early rock n roll. With Darling Its Too Late, Guantanamo Baywatch sought to harness and manipulate the sparkling sounds from yesteryear, all while staying true to the tape hiss and
rough takes of analog recording. "We really wanted a mixtape compilation sound to the record," says Powell, and that approach can be heard in both the songwriting and the production. According to Powell, each individual song was approached with all the amps and the EQs on the recording console zeroed out. That meant that every song was recorded with a new template. The title track and lead single, "Too Late", perfectly captures this new aesthetic. With Burger Records soul singer Curtis Harding contributing
backing vocals and rounding out the classic Motown ballad vibe of the track, "Too Late" is an enormous departure from the trashy Mummies-esque ruckus of their earlier recordings. Of course, the band hasnt completely abandoned the rowdy surf rock of their previous releases-Powell put the finishing touches on the album back at his Jungle Muscles Studio in Portland to keep that rough-hewn feel intact. But even when he and his bandmates Chevelle Wiseman (bass) and Chris Scott (drums) tread on their familiar territory with songs like "Raunch Stomp" or their cover of Eddie & The Showmens "Mr. Rebel", theres a newfound clarity, punch, and swagger to their sound. Throughout the course of Darling Its Too Late the trio continues to fuck with various subgenres, from the dusty Western twang of "Corey Baums Theme" to the straight-outta-Sun Studios rocker "Do What You Want.1. Jungle Bride
2. Raunch Stomp
3. Sea of Love
4. Corey Baum's Theme
5. Too Late
6. Mr. Rebel
7. Beat Has Changed
9. Boy Like Me
10. Do What You Want$18.99Colored Vinyl LP - Sealed Buy Now