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  • Small Change (Remastered) Small Change (Remastered) Quick View

    $21.99
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    Small Change (Remastered)


    Presented On 180-Gram Heavy Vinyl And Packaged With The Original Artwork


    Pressed At RTI With Mastering Supervised By Gavin Lurssen


    Small Change is a masterpiece that contains some of Waits' best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom's unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like "Step Right Up", "Tom Traubert's Blues", "I Wish I Was in New Orleans", "The Piano Has Been Drinking", and "Invitation to the Blues" are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits most popular recordings.

    1. Tom Traubert's Blues (Four Sheets To The Wind In Copenhagen)
    2. Step Right Up
    3. Jitterbug Boy (Sharing A Curbstone With Chuck E. Weiss, Robert Marchese, Paul Body and The Mug and A
    4. I Wish I Was In New Orleans (In The Ninth Ward)
    5. The Piano Has Been Drinking (Not Me) [An Evening With Pete King]
    6. Invitation To The Blues
    7. Pasties And A G-String (At The Two O'Clock Club)
    8. Bad Liver And A Broken Heart (In Lowell)
    9. The One That Got Away
    10. Small Change (Got Rained On With His Own .38)
    11. I Can't Wait To Get Off Work (And See My Baby On Montgomery Avenue)
    Tom Waits
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Smalls Change (Meditations Upon Ageing) Smalls Change (Meditations Upon Ageing) Quick View

    $25.99
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    Smalls Change (Meditations Upon Ageing)

    THE ROAD OF ROCK is a rocky road, and no
    one's life exemplifies that more thoroughly than
    that of Derek Albion Smalls who celebrates his
    75th birthday with a hoped-to-be triumphant return
    to at least one of the echelons of the rock
    firmament. Derek went on to acquire the coveted
    position of bass player in the legendary
    rock band "Spinal Tap", from the 1984 Rockumentary
    "This Is Spinal Tap" Smalls makes hi
    return to the music world with this new recording.


    Guest artists on the album include Jeff
    "Skunk" Baxter (Steely Dan, Doobie Brothers)
    Gregg Bissonette, Larry Carlton, David Crosby,
    Donald Fagen (Steely Dan) Taylor Hawkins, Jim
    Keltner, Danny (Kootch) Kortchmar, Russ
    Kunkel, Michael League (Snarky Puppy), Jane
    Lynch (actress/singer), Steve Lukather (Toto),
    Judith Owen Snarky Puppy Horns Joe Satriani,
    Paul Shaffer (David Letterman, SNL, etc.) Chad
    Smith (Red Hot Chili Peppers), Richard Thompson,
    Steve Vai, Waddy Wachtel, Rick Wakeman
    (Yes) Phil X Dweezil Zappa.

    LP 1
    1. Openture
    2. Rock And Roll Transplant
    3. Butt Call
    4. Smalls Change
    5. Memo To Willie
    6. It Don't Get Old
    7. Complete Faith
    8. Faith No More
    9. Gimme Some (More) Money
    10. MRI
    11. Hell Toupee


    LP 2
    1. Gummin' The Gash
    2. She Puts the Bitch in Obituary
    3. When Men Did Rock

    Derek Smalls
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records Quick View

    $24.99
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    We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records


    Chicago was a great place to be if you were a member of a rock & roll combo in the mid-'60s -- there were plenty of teen clubs, radio stations were happy to play local product, and several Windy City labels were ready and willing to take hometown acts into the studio and get their music into stores. Dunwich Records and USA Records were the biggest labels in Chicago and both scored a handful of national hits, but they were far from the only game in town, and Peter Wright, a successful record promo man who went on to manage the New Colony Six, ran one of the city's most interesting small labels, Quill Records, which released top-notch sides on a number of fine groups and licensed a few of his masters to larger labels out of town.


    While Quill only lasted a bit less than two years (from 1966 to 1967), their output was impressive stuff from an eclectic variety of acts, and the great reissue label Sundazed, only a few months after releasing a definitive two-disc overview of the USA Records catalog (2131 South Michigan Avenue: 60's Garage and Psychedelia from U.S.A. and Destination Records), have unearthed 19 highlights from Quill's archives on We're Gonna Change the World! The 60's Chicago Garage Sound of Quill Productions.


    Many of Quill's acts followed the trends of the major British acts of the day, but hardly all of them; the Exterminators deliver a screed against long hair and take an America first position on rock with the over the top Declaration of Independence '65, Hot Pastrami by the Don Caron Orchestra is a high-powered instrumental dominated by honking saxophones and fuzzy guitars, and I'm Going to Change the World by the Commons Ltd. suggests the psychedelic revolution that was lurking around the corner while still maintaining a high degree of sneer and swagger.


    And even the acts that were looking to the U.K. for inspiration were turning their eyes to unusual places; the Delights were clearly obsessed with the Zombies, so much so that their original tune Every Minute, Every Hour, Every Moment mimics their style just as well as their cover of Just Out of Reach, and the Skunks, who true to their name bleached stripes into their hair, also leaned to the moody side of British pop with Don't Ask Why and a fine cover of the Beatles' It's Only Love (though Do the Duck is a raw and fuzzy celebration of some would-be dance craze).

    1. I'm Cryin' - The Malibu's
    2. Do The Duck - The Skunks
    3. Yes I Know - The Prophets
    4. I'll Have You Cryin' - Chances R
    5. Declaration Of Independence '65 - The Exterminators
    6. Losing You - The Ricochettes
    7. Just Out Of Reach - The Delights
    8. Hot Pastrami - Don Caron Orchestra
    9. A Heart Is Made Of Many Things - Jimmy Watson & The Original Royals
    10. It's One Thing To Say - The Riddles
    11. Without You - The Night Flight
    12. La-Do-Da-Da - Ronnie Rice & The Gents
    13. To Color Turn - The Night Flight
    14. I'm Going To Change The World - The Commons, LTD.
    15. Every Minute, Every Hour, Every Moment - The Delights
    16. Don't Ask Why - The Skunks
    Various Artists
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Color Changes (Pure Pleasure) Color Changes (Pure Pleasure) Quick View

    $34.99
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    Color Changes (Pure Pleasure)

    Possessor of the happiest sound in jazz, flÜgelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flÜgelhorn in the mid-'50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.



    This is one of flÜgelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.




    Musicians:



    • Clark Terry (trumpet, fluegel horn)

    • Jimmy Knepper (trombone)

    • Julius Watkins (french horn)

    • Yusef Lateef (tenor saxophone, flute; english horn, oboe)

    • Seldon Powell (tenor saxophone, flute)

    • Tommy Flanagan, Budd Johnson (piano)

    • Joe Benjamin (bass)

    • Ed Shaughnessy (drums)




    Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. Blue Waltz (la Valse Bleue)
    2. Brother Terry
    3. Flutin and Fluglin

    4. No Problem
    5. La Rive Gauche
    6. Nahstye Blues
    7. Chat Qui Peche (A Cat That Fishes)
    Clark Terry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Red Beans And Weiss Red Beans And Weiss Quick View

    $21.99
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    Red Beans And Weiss


    Executive Produced By Johnny Depp and Tom Waits


    Includes CD


    Which Chuck E. Weiss do we talk about here? The one who so impressed blues legends Lightnin'
    Hopkins and Willie Dixon as a Denver teenager that they took him out in their road bands? The one
    who lived in LA's Tropicana Hotel in the 70s alongside Tom Waits and Rickie Lee Jones, ending up
    namechecked on the classic Waits albums Small Change and Nighthawks at the Diner, and in Rickie Lee Jones' hit "Chuck E.'s in Love"? The one who has recorded with Tom Waits, Muddy Waters,
    Howlin' Wolf, Roger Miller, Dr. John, Willie Dixon? Whichever Chuck E. Weiss you choose, he's a
    legend, and his new album Red Beans and Weiss delivers on the big personality. Executive produced
    by Johnny Depp and Tom Waits, Red Beans and Weiss blends blues, barrelhouse, and bluster into
    a highly entertaining whole.

    1. Tupelo Joe
    2. Shushie
    3. Boston Blackie
    4. That Knucklehead Stuff
    5. Bomb The Tracks
    6. Exile On Main Street Blues
    7. Kokamo (Boy Bruce)
    8. Hey Pendejo
    9. Dead Man's Shoes
    10. Old New Song
    11. The Hink-A-Dink
    12. Oo Poo Pa Do In The Rebop
    13. Willy's In The Pee Pee House
    Chuck E. Weiss
    $21.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Mozart: Symphonies Nos. 35 & 41 (Speakers Corner) Mozart: Symphonies Nos. 35 & 41 (Speakers Corner) Quick View

    $34.99
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    Mozart: Symphonies Nos. 35 & 41 (Speakers Corner)

    Wolfgang Amadeus Mozart: Symphonies Nos. 35 K. 385 (Haffner) and 41 K. 551 (Jupiter)


    At flea markets in the colourful, pre-digital era, one could occasionally find Bruno Walter's Mozart recordings amongst other 'rarities'. Thin vinyl discs of dubious origin changed hands for a small sum, the cheap bootleg recording gave up the ghost after just a few rounds on the turntable and then vanished into thin air. What remained, however, was a musical impression that - from that moment onwards - influenced what one expected when listening to Mozart's symphonies. Is it the unifying sound with which Walter so harmonically interweaves the slender serenade-like character with the great symphonic idea in the Haffner Symphony? Does the magic of the fast finale, which Mozart wanted »to be played as swiftly as possible«, lie in the brisk tempo or in its clear structure?


    An answer to this and other questions is given by this new release of the Symphonies No. 35 and the unique Jupiter. The latter was a linchpin in the history of the genre; it not only terminated and consummated Mozart's creative period but also opened - as the first monumental piece - the way to the great symphonic works of the 19th century. The tightly knit finale in particular, with its sparkling mixture of strict counterpoint and galant style, is highly captivating thanks to its spirited and motivated, yet never overhasty, rendering, which can be enjoyed time and again on this production. And that's guaranteed!


    Musicians:


    • The Columbia Symphony Orchestra conducted by Bruno Walter


    Recording: January 1959 and February 1960 in Legion Hall, Hollywood (CA)


    About Speakers Corner


    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    Symphony No. 41, In C Major, K. 551 (Jupiter)
    I - Allegro Vivace
    II - Andante Cantabile
    III - Menuetto
    IV - Finale


    Symphony No. 35, In D Major, K. 385 (Haffner)
    I - Allegretto Con Spirito
    II - Andante
    III - Menuetto
    IV - Finale: Presto

    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Or Lame Straight Or Lame Quick View

    $24.99
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    Straight Or Lame


    Mastered From The Original Mono Reels


    Features Complete Original Cover Art




    Pressed On High-Quality 180-Gram Vinyl


    Limited Run Of 1000 Copies


    The female quartet known as the Daisy Chain came roaring out of Southern California's Orange County just in time for the Summer of Love. And the fab foursome of Shel Le, Camille, Rosemary and Dee Dee Lea disappeared from the scene almost as abruptly as they arrived, but not before leaving behind a stunning artifact of dayglo hippy trippiness and weirdness!!!


    Straight or Lame was little noticed by the public in its original 1967 release on the small United International label. Due to the original album's rarity, original copies have been known to change hands for huge prices. Now it's available once again, in a limited run of 1000 copies. Mastered from the original mono reels, this Sundazed edition features complete original cover art and is pressed on high-quality 180-gram vinyl.

    1. I'll Come Runnin'
    2. All Because of Him
    3. Zzotto
    4. Run Spot Run
    5. Unhappy for Me
    6. Got to Get You in My Arms
    7. Superfluous Daisy
    8. Love Them All
    9. We'll Meet Again
    10. Love to Share
    11. I'll Say Goodbye
    12. Final Hour
    The Daisy Chain
    $24.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • We Cool? (Awaiting Repress) We Cool? (Awaiting Repress) Quick View

    $17.99
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    We Cool? (Awaiting Repress)

    In true Jeff Rosenstock fashion, singer/songwriter/all around great guy Jeff Rosenstock shocked the globe today as he finally unleashed details surrounding his highly anticipated new solo album, We Cool?. The LP comes out through SideOneDummy Record...


    We Cool? serves as a much-needed alternative to the over-bloated rock star faux-indie bullshit that seems to be overwhelming today's music scene. Mixed and mastered by Jack Shirley (Tony Molina, Joyce Manor, Deafheaven), this album is a welcome change from Jeff's standard method of making a record.


    "The difference between recording in an apartment with a small amount of cheap gear that is constantly breaking vs. an actual studio with cool things to use and a really talented person running everything is immeasurable," Jeff explains.

    - Shrum (New Noise Magazine)

    1. Get Old Forever
    2. You, In Weird Cities
    3. Novelty Sweater
    4. Nausea
    5. Beers Again Alone
    6. I'm Serious, I'm Sorry
    7. Hey Allison!
    8. Polar Bear Or Africa
    9. Hall Of Fame
    10. All Blissed Out
    11. The Lows
    12. Darkness Records
    Jeff Rosenstock
    $17.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Diorama Diorama Quick View

    $34.99
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    Diorama

    Import

    Australian rockers Silverchair released their fourth studio album Diorama in 2002. The follow-up album to Neon Ballroom (1999) was co-produced by Daniel Johns (singer, guitar)and David Bottrill. Diorama marked Johns' first production credit, while Bottril had worked on albums for a variety of other bands (Muse, Tool, The Smashing Pumpkins).


    On Diorama Silverchair worked with composer Van Dyke Parks. The album contains various orchestral arrangements and power ballads, which was a change from the post-grunge music typical of their earlier work (Frogstomp and Freak Show), but consistent with the band's previous orchestrations on the album Neon Ballroom. The album includes singles like The Greatest View and Without You. Diorama reached number One on the Australian Recording Industry Association (ARIA) Albums Chart and won five ARIA Awards in 2002.


    Diorama was originally released on vinyl in 2002 in Australia and only available in very small quantities. Music On Vinyl is excited to add a high quality re-issue of this highly looked after vinyl record to their catalogue.

    1. Across The Night
    2. The Greatest View
    3. Without You
    4. World Upon Your Shoulders
    5. One Way Mule
    6. Tuna In The Brine
    7. Too Much Of Not Enough
    8. Luv Your Life
    9. The Lever
    10. My Favourite Thing
    11. After All These Years
    Silverchair
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ga Ga Ga Ga Ga Ga Ga Ga Ga Ga Quick View

    $17.99
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    Ga Ga Ga Ga Ga

    This record starts with Don't Make Me A Target, a song that builds on Spoon's familiar minimal rhythmic piano/guitar vamp popularized on earlier hits like Small Stakes or The Way We Get By. The album quickly moves into uncharted territory with the atmospheric The Ghost Of You Lingers and moves through several different stylistic changes from the explosive You Got Yr. Cherry Bomb to the wall-of-sound horns of radio single The Underdog. Their most heartfelt batch of songs since 2001's Girls Can Tell.
    1. Don't Make Me a Target
    2. Ghost of You Lingers, The
    3. You Got Yr. Cherry Bomb
    4. Don't You Evah
    5. Rhythm and Soul
    6. Eddie's Ragga
    7. Underdog, The
    8. My Little Japanese Cigarette Case
    9. Finer Feelings
    10. Black Like Me
    Spoon
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Compass (Awaiting Repress) Compass (Awaiting Repress) Quick View

    $19.99
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    Compass (Awaiting Repress)

    Jamie Lidell is a genuinely restless soul. He broke out of small-town England and has been a nomad ever since. His constant desire to progress leaping and stumbling towards new discoveries has defined his musical journey so far; and there's no sign of it fading away. Recorded in Los Angeles, New York and Canada, Compass is his most eclectic album yet. Songs shift, chop, change and mutate genres and forms before our very ears. It's got funk in spades; the jaw-dropping power of the vocals is stronger than ever; it rocks, it pops, it's sweet, angry, hard, soulful and soft, often within the span of a single track. It's the restless album that finally matches the soul of its creator. Jamie's fellow conspirators on Compass include Beck, Feist, Gonzales, Chris Taylor of Grizzly Bear and Pat Sansone of Wilco. Musically and lyrically this is very much a Jamie Lidell production reflecting not only his exhilarating, diverse tastes, but also a year of change, love, longing and arrival at a new place.
    1. Completely Exposed
    2. Your Sweet Boom
    3. She Needs Me
    4. I Wanna Be Your Telephone
    5. Enough's Enough
    6. The Ring
    7. You Are Waking
    8. I Can Love Again
    9. It's A Kiss
    10. Compass
    11. Gypsy Blood
    12. Coma Chameleon
    13. Big Drift
    14. You See My Light
    Jamie Lidell
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Equatorial Stars Equatorial Stars Quick View

    $39.99
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    Equatorial Stars

    Import


    Music performed and composed by Robert Fripp & Brian Eno


    Brian Eno is usually credited with the claim that everyone who originally bought a Velvet Underground album subsequently formed a band. It's no less valid to suggest that many of those involved in electronic music might not have been but for "No Pussyfooting" and "Evening Star". Indeed few contemporary albums can claim as much lasting influence as "No Pussyfooting" by Fripp & Eno. It's safe to say that for the vast majority of buyers at the time of its initial release in 1973, this was their first exposure to the small world of electronic music. It's equally safe to say it wasn't their last. The equipment used was, by modern standards, primitive. The ideas expressed were, by any standards, enormous. Many went on to have careers based on the possibilities suggested by the album. Fripp & Eno - to their eternal credit - were too busy working as musicians to ever 'milk it' in that sense. One further full album, "Evening Star", was issued in 1975. There were occasional collaborations, but no further recordings under the Fripp & Eno banner until the emergence of "The Equatorial Stars" in late 2004 as a limited edition release via the artists' websites, followed by a full release in 2005 on CD.


    However, it was never issued on vinyl, until now.


    "The Equatorial Stars" consists of a series of seven soundscapes. The evident care taken in the construction & presentation of the sound world makes the totality of the work so convincing. The textures & atmospheres forming the heart of each track manage to subtly change & alter, while leaving ample space for Robert's guitar solos to emerge from the centre. The album was Fripp & Eno's opportunity to redefine an area of music they helped to launch into the mainstream in the first instance.


    It is also, incidentally, Robert Fripp's personal favourite of his many collaborations with Brian Eno.

    1. Meissa
    2. Eyra
    3. Tarazed
    4. Lupus
    5. Ankaa
    6. Altair
    7. Terebellum

    Robert Fripp & Brian Eno
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Utah Utah Quick View

    $22.99
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    Utah

    At the heart of Jamestown Revival is a friendship that spans over a decade.


    Jonathan Clay and Zach Chance grew up together in the small Texas town of Magnolia. From a young age, they shared a love for music as well as the outdoors. About an hour north of Magnolia TX, there was some old family land with a dilapidated ranch house where they spent the better part of their adolescence.


    At one point or another, music from Creedence Clearwater and The Everly Brothers, to fellow Texans Willie Nelson, Guy Clark, and Stevie Ray Vaughan found its way through an old pair of speakers that sat on the back porch. The pair spent the day exploring that thousand-acre plot of land, and when the sun when down they took to the records of the songwriters and bands that inspired them. At the age of 22, they moved to Austin and began to craft a sound of their own. Deeply rooted in harmony, they merged the sounds of the South with classic American, and Western rock.


    Looking for adventure, as well as a change of pace, they eventually made the decision to head west and make the move to Los Angeles, CA. Throughout the course of the next 12 months, they wrote what will be Jamestown Revival's first full-length album. It's heavily autobiographical, telling the stories of their adventures, their discomforts, and their observations. In order to capture the spirit of the music, the two found a log cabin high within the Wasatch Mountains of Utah. The pair, along with their band and engineer, set out to convert it in to a temporary recording studio. With wild moose right outside the window, and aspen leaves spinning in the wind, they tracked 14 songs. Performed live, with no headphones, and entirely to tape, the process captured the moments in the room.

    1. Fur Coat Blues
    2. California (Cast Iron Soul)
    3. Golden Age
    4. Wandering Man
    5. Heavy Heart
    6. Revival
    7. Truth
    8. Medicine
    9. Headhunters
    10. Time Is Gone
    11. Hom
    Jamestown Revival
    $22.99
    Vinyl LP - Sealed Buy Now
  • IV IV Quick View

    $19.99
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    IV

    LETTER CONCERNING THE RECORD 'IV' AND A POST SCRIPT TO FANS


    A lot can happen in twelve years. It is beyond probable (if not brutally unavoidable) that such a period of time could render a man nearly unrecognizable to his older self. I would not categorize the young man who made three records under the pen name 'Darling' (incidentally, me) as unrecognizable, but I can say perhaps that we are vaguely disassociated. Those 3 albums, written between 1999 and 2005 and recorded anywhere except a recording studio (the bulk being tracked in my bedroom and parents' garage) follow the exceedingly lonesome course of a kid barely out of high school through a shaky introduction to manhood. They were recorded alone (with cheap microphones) composed alone (with expensive sentimentality), defined by loving befuddlement, and darkened by an all-consuming breakup. I look at them now with an appreciation for where I was, with no small measure of gratitude that I am no longer there. What has not changed however, is that there are still songs that come along which make sense in my mind as fitting only on a 'Darling' record. Truthfully, in the decade-plus that has passed since I last released a solo piece, there have been many songs of this nature. Consequently I have written, designed, edited, and put this record out many times in my mind. Inevitably, however, life would change and the conceptual direction would change with it. It is changing now as I write this. But after twelve birthdays, twelve New Year's Eve's, and twelve winters, I have a portrait I am compelled to commit to the canon of self-portraits.


    I am no longer the kid with all that worry, that blaring hurt and rum-fueled uncertainty. I am somewhere else now. But I still sit in my bedroom, quietly following songs where they take me, using them to process what is happening in my life. I have often declared to myself, that I would not leave the 'Darling' moniker forever tied to what I now regard as a time of young (albeit sincere) melancholy. And while this fourth installment is by no means an offering of pure and bright optimism, it is a statement less heavy with heartache, and hopefully a bit more even-keeled in its manner - whatever the emotional narrative. More importantly, it is a honest glimpse into my story alone and a faithful rendition of what I believe to be a notable chapter.


    For those interested in the Darling project:


    To say that activity of one form or another relating to my solo work is infrequent would be a bit of an understatement. In truth, as time goes, I am thankfully occupied primarily by the joys of my family and the pleasure of making music with my brother and some of my dearest friends. When, however, there are endeavors of the Darling variety on the horizon, I would be honored to let anyone interested know about it. If you count yourself among this set, please feel free to share your email address below. I can say, as someone who religiously declines giving my email out when a cashier asks for it, and as someone who somehow spends more time unsubscribing from email lists than answering emails, I will ONLY pass the word along when there is a word to pass meaning something significant like an upcoming album or confirmed performance(s). Once again, I realize that giving any part of your contact information out is a significant action, and I believe it should be seen as such. In other words, I won't be arranging for emails to go out about anything but relevant 'Darling' news. As always, thank you for your time and care.


    Sincerely,


    Timothy Seth Avett

    1. Disappointing You
    2. Should We Move
    3. Samuel And The Baler
    4. Songbird
    5. Weakness And A Strength
    6. Faith Undefined
    7. Your World
    8. Are You Thinking Of Me
    9. In These Boots
    10. My True Story/A Life To Live
    11. Waiting For Something To Die
    Timothy Seth Avett As Darling
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Liital Liital Quick View

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    Liital

    Senegalese griot Aby Ngana Diop was famous for her taasu, a form of oral poetry spoken to the rhythmic accompaniment of sabar and tama drums. Taasu is typically created and performed by griot women (a class of poets, storytellers and/or musicians), with a lead taasukat (practitioner of taasu) performing her distinct style of heightened, rhythmically declaimed speech in call-and-response with a small chorus of female vocalists. (Taasu is seen by some to be a predecessor to rap.) Throughout the 1980s and 1990s, Diop developed a reputation for being one of the most sought-after taasukats in Dakar, performing with her backup singers, dancers and drummers at parties, weddings and baptisms of the Dakar elite, including government officials and dignitaries. Aby Ngana Diop was undisputedly the best taasukat of her generation.


    In 1994, the Dakar diva released her one and only studio cassette recording, Liital, to the Senegalese market. Liital was groundbreaking in the history of Senegalese music because it was the first commercial recording to feature a traditional female taasukat performing to the modern accompaniment of mbalax, Senegal's quintessential pop genre. The combination of Diop and her backup vocalists with their powerful taasu, along with the driving, complex rhythms of the sabar and tama drums, mixed with key elements of mbalax (such as the syncopated, polyphonic marimba sounds played on the Yamaha DX7 keyboard) was something the Senegalese public had never heard before. But it wasn't only because of the fusion of taasu with mbalax; unlike in other mbalax tunes, the musical arrangements on this cassette are instead peculiarly minimalist and almost trance-like, with static harmonies and melodic figures
    playing more of an atmospheric role. The cassette became a huge hit, propelling Diop to a new level of superstardom. It could be heard blasting from taxis and from loudspeakers at house parties, weddings and baptisms for years to come. Liital bridged the gap between the more traditional taasu and the modern mbalax sound, thus appealing to all generations of the Senegalese public - and they simply couldn't get enough of it.


    When Aby Ngana Diop died unexpectedly on July 4, 1997, the country mourned her passing, but continued to celebrate her music. Other artists such as Cheikh Lô, Thio Mbaye and Lamine TourÉ released recordings based on some of Diop's taasu and accompanying drum phrases, paying further tribute to her musical legacy. Although this cassette has caught the attention of some African music aficianados who have stumbled upon it in recent years, it remains largely unknown to the wider world. Hopefully this re-release from Awesome Tapes From Africa will change that.

    1. Dieuleul-Dieuleul
    2. Ndame
    3. Yaye Penda Mbaye
    4. Liital
    5. Sapaly
    6. Ndadje
    Aby Ngana Diop
    $19.99
    Vinyl LP - Sealed Buy Now
  • Nigel Lived Nigel Lived Quick View

    $42.99
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    Nigel Lived

    45th Anniversary Edition Of Murray Head's Groundbreaking 1972 Classic


    180-Gram Double 45s Pressed At RTI


    Old Style ''Tip On'' Gatefold Jacket + 8-Page Book Printed By Stoughton On Heavy Stock


    100% Analog Mastering From The Original Master Tapes


    Mastered by Kevin Gray At Cohearent Audio


    Murray Head's Nigel Lived is a groundbreaking classic and one of the boldest, most daring and inventive albums of all time. Recorded by the great recording engineer Phill Brown, Nigel Lived is from the golden era of all-analog recording, a sonic and musical masterpiece that every music lover and audiophile simply must have.


    In Spring of 1972 Murray Head was just 25, coming off amazing success on the stage and screen, when he recorded his debut album, Nigel Lived. And Nigel isn't just any album, it's an ambitious, experimental album full of great songs that required stunningly diverse recording techniques and instrumentation on every track. There are beautiful acoustic works that draw a straight line to Murray's later albums like ''Ruthie'' and ''When You Wake Up In The Morning,'' there are straight-up rockers and amazingly innovative tracks like ''Religion'' and the sprawling ''Junk.''


    Nigel's story arc unfolds as a three-act play in which Nigel leaves a small town for the big city, finds love and success before crashing into addiction and despair. The background locations, characters and scenes change sonically throughout as Nigel was a adventurous & pioneering effort in blending studio recording with an incredible array of location recordings captured all over London's West End.


    In the same way that films today operate on the ''found footage'' motif, Murray's ahead-of-its-time conceptual treatment for Nigel consisted of hand writing a ''diary'' for Nigel that was then ''found'' by Murray, who put Nigel's life to song. It's a brilliant narrative tool that allowed Murray to weave aspects of his own rich experiences in the whirlwind of late 60s London into the songs. Murray saw great success, making a splash on stage in Hair and on-screen in films like The Family Way and John Schlesinger's avant-garde Sunday Bloody Sunday. And he saw the depths working in a drug-addiction clinic and watching friends disappear into and eventually succumb to heroin.


    Nigel Lived is driven by Murray's tremendous energy, and the songs are witty, intense, achingly beautiful and exceptionally well-recorded.


    This title is not eligible for discount.

    LP 1
    1. Pacing On The Station
    2. Big City
    3. Bed & Breakfast
    4. The Party
    5. Ruthie
    6. City Scurry
    7. When You Wake Up In The Morning


    LP 2
    1. Why Do We Have To Hurt Our Heads?
    2. Pity The Poor Consumer
    3. Dole
    4. Nigel, Nigel
    5. Miss Illusion
    6. Religion
    7. Junk

    Murray Head
    $42.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Handwritten (Awaiting Repress) Handwritten (Awaiting Repress) Quick View

    $24.99
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    Handwritten (Awaiting Repress)


    Blue Colored Vinyl


    The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.


    Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.


    And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.


    After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.


    We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.


    Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.


    The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?


    It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.


    And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.

    1. 45
    2. Handwritten
    3. Here Comes My Man
    4. Mulholland Drive
    5. Keepsake
    6. Too Much Blood
    7. Howl
    8. Biloxi Parish
    9. Desire
    10. Mae
    11. National Anthem
    Gaslight Anthem
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • I Know What Love Isn't I Know What Love Isn't Quick View

    $17.99
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    I Know What Love Isn't

    Tracey Thorn wrote a song that reached Jens Lekman in the early stages of his new album, I Know What Love Isn't. In her song she sang Oh Jens, oh Jens/your songs seem to look through a different lens/you're still so young, love ends just as easy as it's begun. A touching moment for the Swedish songwriter, having been a fan since his teens. But it came to him in a time when he found himself very confused and in doubt. He was changing and, subsequently, so were his songs. They weren't looking through that lens anymore.



    I Know What Love Isn't came out of a break up, something Jens didn't see as worth writing about at first. The songs began more fleeting than the last go around, on his 2007 album Night Falls Over Kortedala. The songs began building from images and memories and soon began to take their own route, one that Lekman wasn't privy to their destination.



    In The World Moves On he paints a picture of a sweltering summer in the city of Melbourne where he lived while writing and recording the album. The hot days that led up to the Black Saturday bushfires, but also more mundane images of feeding possums in a park or getting in trouble with some guy on a scooter. It seems to lead nowhere at first but the aimlessness in itself reaches heartbreaking conclusions later on, summed up by the soaring chorus and you don't get over a broken heart, you just learn to carry it gracefully. Like Joan Didion once said that she writes entirely to find out what she's thinking, Jens wrote until he caught up with his thoughts. And of course they led him right back to the break up.



    Musically, I Know What Love Isn't chooses an economic route. From the vast palette he created for Kortedala, he's only chosen a few somber colors this time around. There are strings but not a string section, an upright piano and not a grand, a single saxophone and gracenotes from a flute. The songs are lighter, almost aerodynamic, Jens explains, I wanted the songs to take off almost unnoticeably, where the chorus is separated from the verse only through a small detail like a tambourine or a harmony. Like when you're in an airplane taking off and you look out the window and realize you're already in the air.



    A dry country piano makes Become Someone Else's lift high. Vocals from Melbourne singer Sophie Brous makes the chorus in Erica America soar. Strings pick up the title track and send it up to the sky without much effort or force. In the latter, Lekman once again points the way to distill essential truths from every day life vignettes while singing about a sham marriage. I thought of the Friday nights when I'd be cruising up and down the street with my best friend in her old crappy Holden, talking about getting married to get me into the country.



    The idea was so appealing, that we would build this constructed relationship around a purpose rather than some vague feeling that could change at anytime. But in the end, the sham marriage is much too great a story to be kept secret. At least when you make a living from telling stories. And that's what I Know What Love Isn't is. A collection of songs that grew to a story that had to be told. A story that is not new, but essentially human. The story of the grey areas of love that you have to excavate and explore, using the method of exclusion, to find out what love is.

    1. Every Little Hair Knows Your Name
    2. Erica America
    3. Become Someone Else's
    4. She Just Don't Want To Be With You Anymore
    5. Some Dandruff On Your Shoulder
    6. I Want A Pair Of Cowboy Boots
    7. The World Moves On
    8. The End Of The World Is Bigger Than Love
    9. I Know What Love Isn't
    10. Every Little Hair Knows Your Name
    Jens Lekman
    $17.99
    Vinyl LP - Sealed Buy Now
  • Trompe Le Monde Trompe Le Monde Quick View

    $34.99
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    Trompe Le Monde


    The Pixies Trompe Le Monde On Numbered Limited Edition 180g LP From Mobile Fidelity


    Pixies Swan Song Sparks With Electrically Charged Hooks, Outer-Space Atmospherics, And Eminent Tunefulness



    Mastered From The Original Master Tapes: Restoration Turns 1991 Album Into A Sonic Blockbuster


    Frank Black-led Set Includes Contagious Cover Of The Jesus And Mary Chain's "Head On"


    The Pixies verged on commercial breakthrough when the now-iconic band released Trompe le Monde in September 1991. A sea change in popular music tastes that the band helped initiate began to sweep the world. And the Boston quartet seemed prepared to lead the way, with this, its eminently tuneful fourth record, jam-packed with crafty hooks, prickly tones, catchy elements, outer-space atmospherics, electrically charged energy, and delightfully quirky lyrics.


    As it stands, Trompe le Monde takes its place as one of the finest swan songs ever recorded. If the Pixies wouldn't have broken up right after its release, there's no telling what would've happened. All that you need to know is that the 15-track effort is as hard rocking and brilliantly innovative as any of the group's creations. That's no small feat.


    Mastered from the original analog tapes and pressed at RTI, Mobile Fidelity's numbered limited edition 180g LP presents the ensemble's abrasively melodic landmark in a fidelity it's never enjoyed in any prior version. Featuring lusher keyboards and moodier soundscapes than its predecessors, but also reclaiming the nasty guitar edginess and swooning distortion of the group's earliest efforts, Trompe de la Monde finally comes across as the Pixies intended: A sonic bridge between college-rock's influential cruder-textured albums and the polished professionalism that distinguished alt-rock classics.


    In other words, Mobile Fidelity's version presents it as the perfect-sounding album: Replete with grit, rawness, and character, but mixed in with radio-friendly smoothness and virtuosic professionalism. Awash with incredible timbres and tonalities, myriad new details rise to the surface. Listen to the counterpoint melodies and layered vocals on "Letter to Memphis"; the trash-compactor feedback and thumping bass during the whipsawing "Planet of Sound"; the "Spyhunter"-like pace and limitless depth now present on "Subbacultcha." Dynamics, contrasts, low-end frequencies, and imaging are all significantly enhanced. Compared to the original CD, Trompe le Monde emerges as a new album-a sonic wonderland that's not far removed from that of Nirvana's celebrated blockbuster Nevermind.


    Musically, the Pixies were never better. On par with the groundbreaking Surfer Rosa and Doolittle, Trompe le Monde explodes with hyper riffs, jerks to stop-start progressions, elates with cheerful emotions, and bangs on to giddy surf-fused arrangements. With Kim Deal absent from the songwriting process, vocalist/guitarist Frank Black takes the reigns and doesn't disappoint. Tales about sea monkeys ("Palace of the Brine"), aliens ("Planet of Sound"), and love ("The Sad Punk") bop alongside memorable jabs at hipster pretensions ("Subbacultcha") and inflated egos ("U-Mass"). A contagious cover of the Jesus and Mary Chain's "Head On" will have you hitting "repeat." Power pop, wanderlust punk, theatrical glam rock, reconfigured reverb-laden country-all here, all encouraging repeat listens.


    Nearly lost due amidst the alternative trend that it played such a key role in spawning, Trompe le Monde gets new life courtesy of this extremely punchy, greatly balanced Mobile Fidelity issue. If you missed it the first time, don't make that mistake again. Essential with a capital "E," and the perfect way to close Mobile Fidelity's Pixies catalog restoration series.


    This title is not eligible for discount.

    1. Trompe le Monde
    2. Planet of Sound
    3. Alec Eiffel
    4. The Sad Punk
    5. Head On
    6. U-Mass
    7. Palace of the Brine
    8. Letter to Memphis
    9. Bird Dream of the Olympus Mons
    10. Space (I Believe In)
    11. Subbacultcha
    12. Distance Equals Rate Times Time
    13. Lovely Day
    14. Motorway to Roswell
    15. The Navajo Know
    Pixies
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Permeable Life A Permeable Life Quick View

    $18.99
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    A Permeable Life

    Singer-songwriter Carrie Newcomer is releasing her twelfth
    studio recording this spring, A Permeable Life, produced and
    engineered by Paul Mahern (John Mellencamp, Over the
    Rhine, Willy Nelson, Lily & Madeleine). Newcomer is simultaneously
    releasing a companion book, A Permeable Life: Poems and
    Essays. Newcomer has attracted a devoted following with
    her warm voice, exquisite melodies, and an irreverent yet
    spiritual view of the world. As in the work of poets Mary
    Oliver and Wendell Berry, Newcomer's songs are based in
    the ordinary, and infused with images from the natural world.


    "A Permeable Life is about what presses out from the heart,
    what comes in at a slant and what shimmers below the
    surface of things," Newcomer says. "To live permeably is to
    be open-hearted and audacious, to risk showing up as our
    truest self, and embracing a willingness to be astonished."


    On this album, Newcomer's signature deep voice-which the Austin American-Statesman called "as rich
    as Godiva chocolate"-takes on a quiet conversational tone, close and intimate. Open and elegant arrangements
    showcase lyrics that balance introspection and interior monologue with love and fascination for the shared
    human story. The concept of this album was creating a musical framework as intimate and elegant as the songs
    themselves. Each individual part have clarity and beauty, tting perfectly together like the gears of a ne clock,
    and yet uid and never ridged or contained but remaining open and seemingly effortless. Newcomer states, "We
    wanted this album to be very intimate. We wanted the listener to feel very close as if in conversation with me.
    The vocals on this album were sung as if I were sitting at the kitchen table with the listener."


    In "Every Little Bit of It," Newcomer delights in the small experiences that give our life meaning, and the
    importance of embracing these moments while we can "drain the glass drink it down, every moment of this,
    every little bit of it." In "A Light in the Window," she reects on the feeling of seeing a light in the window at a
    distance. We don't know what the next threshold will bring, and yet there is always a whisper, a light in the
    distance giving us hope and encouragement. In "Writing You a Letter," Newcomer describes the process of
    traveling with an open heart, and how it will inevitably change us: "Every place I go leaves it's own tattoo." But
    she also knows that we make impressions when we leave: "That's how it is laying stone on stone, building little
    altars by the side of the road." "The Ten O'clock Line" and "Abide" (co-written with author Parker J. Palmer),
    explore themes of loss and new thresholds, musing on the possibility that what may look like a hole in one's
    life, may be only a space. In "Visitation," Newcomer describes the experience of how memories do not arrive in
    a linear fashion, but wash over us throughout the day. In the haunting "Thank You Good Night" she describes
    the evolution of a prayer of gratitude. "A Room at the Table" is an anthem for a new diverse world where she
    writes "This is how it all begins, let us sing the new world in," calling us to allow this troubled world to
    transform us and move us to action. In "An Empty Chair" she explores one woman's story in the wake of
    unexpected gun violence. And "Forever Ray" and "Don't Put Me On Hold" reect Newcomer's mischievous
    humor.

    1. Every Little Bit of It
    2. The Ten O'clock Line Featuring Lily & Madeleine
    3. Writing You a Letter

    4. A Light in the Window
    5. The Work of Our Hands
    6. Abide
    7. Room at the Table
    8. Thank You Good Night
    9. Forever Ray
    10. An Empty Chair
    11. Visitation

    12. Please Don't Put Me on Hold
    Carrie Newcomer
    $18.99
    Vinyl LP - Sealed Buy Now
  • Phosphorescent Harvest Phosphorescent Harvest Quick View

    $21.99
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    Phosphorescent Harvest

    The CHRIS ROBINSON BROTHERHOOD unveil their third studio album PHOSPHORESCENT HARVEST via Silver Arrow Records. The band--Chris Robinson (lead vocals, guitar), Neal Casal (guitar, vocals), Adam MacDougall (keys, vocals), George Sluppick (drums) and Mark Dutton (bass, vocals)--will also hit the road in conjunction with the album's release.


    PHOSPHORESCENT HARVEST is a treasure trove of 10 songs--including several the band road-tested over the last few years--that advances the band's kaleidoscopic sound, which is deeply soulful, rootsy and spacey all at once. There's strong songcraft here, with a free-flowing delivery; it is music that is in no hurry to reach its destination but firmly knows where it is going. From the beginning, the CRB set out to do something different from what they had done before, creating their own scene with a musical prowess, cohesive songwriting and a unified commitment to experimentation, both in the studio and on the road (they've performed over 230 shows since forming in 2011).


    The best perspective I have on what's going on in my life--good and bad--is what comes out in the songs, says Chris Robinson. As you move on in time, you get older, you have relationships. Some of them are good, some fail. Friends. Drugs. Life. Death. People come, people go. Songwriting is a completely different emotional response to your life and to what it means, to in some poetic nature, put it out there.


    PHOSPHORESCENT HARVEST follows the release of the companion albums Big Moon Ritual (June 2012) and The Magic Door (September 2012) plus last year's live quadruple vinyl Betty's S.F. Blends, Vol 1. The group continues to record with producer Thom Monahan, and Robinson wrote all of the songs with Casal, save for two that are Robinson solo compositions (Tornado, Jump The Turnstiles).


    We're really going by the electricity and the vibrations that we can sort of tune in to, Robinson recently told Relix magazine (Jan/Feb '14). There's a psychedelic component to it. That's part of the greasing the wheels of the great cosmic engine, with psychedelic thought and philosophy and action. If you get my drift. He went on to talk about the more rock and roll feel on PHOSPHORESCENT HARVEST, and his overall vision for the Brotherhood: I'm not going to have hit records. I don't write pop songs. But then again, I find a deep need to express myself and how I'm feeling and where I am and where I've been and where I'm going by writing songs. Why change something to make it easier for anyone else, when I think if we stay sincere and keep our energies in a real creative place, then people will wander into our small community, and it maybe would get more popular to tend that garden is a great responsibility. But I want it to grow. Check out the whole Relix feature here.


    Rolling Stone editor David Fricke picked the CHRIS ROBINSON BROTHERHOOD as one of his favorites of 2012, and praised their live performance in New York City, saying the singer's acid-country Brotherhood, with ex-Ryan Adams guitarist Neal Casal, were a sublime time onstage and across these two albums, recorded at the same sessions and issued six months apart. The Irving Plaza show was a characteristic live high. In the second set, Robinson steered out of a rattling 'Tough Mama,' from Bob Dylan's Planet Waves, into the long reverie 'Girl on the Mountain,' a song from an earlier side trip, New Earth Mud, given fresh air and a new coat of DayGlo paint (1/30/13).

    1. Shore Power
    2. About a Stranger
    3. Meanwhile In The Gods....
    4. Badlands Here We Come
    5. Clear Blue Sky & The Good Doctor
    6. Beggar's Moon
    7. Wanderer's Lament
    8. Tornado
    9. Jump The Turnstiles
    10. Burn Slow

    Chris Robinson Brotherhood
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Terry Riley: In C (Pure Pleasure) Terry Riley: In C (Pure Pleasure) Quick View

    $34.99
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    Terry Riley: In C (Pure Pleasure)

    If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.


    This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.



    Musicians:



    • Terry Riley (conductor, saxophone, organ)

    • Margaret Hassell, Lawrence Singer (oboe)

    • Darlene Reynard (bass)

    • Jon Hassell (trumpet)

    • Jerry Kirkbride (clarinet)

    • David Shostac (flute)

    • Stuart Dempster (trombone)

    • Edward Burnham (vibraphone)

    • Jan Williams (marimba)



    Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne

    Production: David Behrman

    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. In C
    Terry Riley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Time Is A Riddle Time Is A Riddle Quick View

    $20.99
    Buy Now
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    Time Is A Riddle

    I 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
    6. Cynic
    7. Innocence
    8. Time Is a Riddle
    9. Hunger
    10. Killing Me
    11. Slow Down
    Luke Sital-Singh
    $20.99
    Vinyl LP - Sealed Buy Now
  • Erode Erode Quick View

    $15.99
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    Erode

    Straddling post-hardcore genres, Orlando's Khann blend elements of melody and abrasion to capture a sound that is both unique and familiar. While most new music trends towards extremes or becomes a mish-mash of what's hot right now, Khann have thrown a curveball by incorporating prevalent influence from the post-hardcore movement of the late '90s of bands like Small Brown Bike, Cave In and Hot Cross, an interesting about face from the sounds of the grindcore stylings of their 2007 debut, Tofutopia. The end result is refreshing albeit surprising for some. Less distorted, less screamy but much more distinct and very hard-hitting.


    Erode has a calculated ebb and flow, rising and falling like the tide as the songs weave through various emotions. Ranging in intensity from subtle to chaotic, the album focuses on themes of the erosion of self with the aura of the music mirroring the lyrical content. As the band has changed members and styles; new sounds, energy and opportunity has presented itself, reviving the group and paving the way for more profound things.


    Masterfully produced by Chris Owens (Lords, Akimbo), Erode stands as a formidable reintroduction to an amazing and interesting band as they are quickly redeveloping on the most grassroots level.

    No Listing Available.
    Khann
    $15.99
    Vinyl LP - Sealed Buy Now
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