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Songs In The Key Of Life'
Songs In The Key Of Life (Awaiting Repress)No. 56 On Rolling Stone's List Of 500 Greatest Albums Of All Time
2x 180 Gram Vinyl + Bonus 7-Inch EP
Two years in the making, Songs In The Key Of Life is a groundbreaking sonic masterpiece that brilliantly brings together Stevie Wonder's genius for pop music, his bold experimentation, and his lyrical humanitarian concerns. Released on the Tamla label by Motown in late September 1976, the 21-song album remains an immeasurable influential recording.
A critically acclaimed double-LP that includes a four-song bonus EP and a 24-page booklet, Songs In The Key Of Life is the first album by an American artist, and the first double-album, to debut at No. 1 on Billboard's Pop Album Chart. The album won the Grammy® for Album of the Year; Wonder also won for Producer of the Year; Best Pop Vocal Performance, Male; and Best R&B Vocal Performance, Male. The latter was awarded for "I Wish," the first single from the album, which hit No. 1 Pop and R&B. "Sir Duke," the follow-up single, was No. 1 on both charts as well, while "Another Star" and "As" were each Top 40 hits on the Pop and R&B charts; "Another Star" was also a top 3 club chart hit. Among the album's many other notable tracks, "Isn't She Lovely" was a hit without being released as a single; "Pastime Paradise" became the basis of Coolio's 1995 rap hit "Gangsta's Paradise," a No. 1 hit in many countries worldwide. A cover of "As," by George Michael and Mary J. Blige, was a top 5 hit in the U.K. in 1999. That same year, "I Wish" was prominently sampled in the No. 1 hit by Will Smith, "Wild Wild West."
Songs In The Key Of Life, with Wonder and his band Wonderlove accompanied by all-star musicians and singers, is No. 56 on Rolling Stone magazine's list of "500 Greatest Albums of All Time." It is one of the few albums to be awarded Diamond status by the RIAA, for sales of more than ten million copies in the U.S.LP 1
1. Love's In Need Of Love Today
2. Have A Talk With God
3. Village Ghetto Land
5. Sir Duke
6. I Wish
7. Knocks Me Off My Feet
8. Pastime Paradise
9. Summer Soft
1. Ordinary Pain
2. Isn't She Lovely
3. Joy Inside My Tears
4. Black Man
5. Ngiculela - Es Una Historia - I Am Singing
6. If It's Magic
8. Another Star
A Something Extra 7 EP
2. Ebony Eye
3. All Day Sucker
4. Easy Goin' Evening (My Mama's Call)$45.99180 Gram Audiophile Virgin Vinyl + 7 - 2 LPs Sealed AWAITING REPRESS Buy Now
ADAD-SEC-1019xThe War On Drugs
Lost In The DreamLost In The Dream is the third album by Philadelphia band The War on Drugs,but in many ways,it feels
like the first. Around the release of the 2011 breakthrough Slave Ambient,Adam Granduciel spent the
bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late night television slots. As these dozen songs shifted and grew beyond what they'd been in the studio, The War on Drugs became a bona fide rock 'n'roll band.
That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff
Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played
and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist
in the world), who had played a bit on The War on Drugs' 2008 debut Wagonwheel Blues, and pianist
Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight
months bouncing between a half-dozen different studios that stretched from the mountains of North
Carolina to the boroughs of New York City. Only then did Granduciel-the proudly self-professed
gearhead, and unrepentant perfectionist-add and subtract, invite guests and retrofit pieces. He
sculpted these songs into a musical rescue mission, through and then beyond personal despair and
anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination.
"I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the
band cares about it so much,"he says."That is the crux of it-growing up,dealing with life,having close
friends, helping each other get by. That is what the record's all about.
As such, these tunes reveal a careful and thrilling reinvention of the sound that's become The War on
Drugs' trademark. The signature meld of long tones and scatter shot layers still stands, with phantom
drum machines and organ lines dotting the musical middle distance all across Lost In The Dream.Note
the way the keys whisper against the guitar's growl as the tempestuous"An Ocean in Between the Waves"
approaches pentecostal heat. Hear how,when a sharp and hard riff cuts into the inescapable chorus of
"Red Eyes," synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there's a
new found directness to these tunes, too. Granduciel's voice steps out from behind its typical web of
effects-louder now, with more experiences to share and more steel from having survived them. He
sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of
that idea. With its crisp, unencumbered delivery, "Eyes to the Wind" becomes the album's centerpiece
and the group's new anthem.This is Granduciel's to-date triumph and the exact moment where Lost In
The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips
loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling
Thunder lift of "Eyes to the Wind," Granduciel finds new contentment and direction. Anguish
sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.1. Under The Pressure
2. Red Eyes
4. An Ocean In Between The Waves
6. Eyes To The Wind
7. The Haunting Idle
9. Lost In The Dream
10. In Reverse$21.99Vinyl LP - 2 LPs Sealed Buy Now
Songs In A&EWho would have thought that Jason Pierce's Spiritualized would have had any life in them after the rather uninspiring Amazing Grace in 2003? In the intervening five years, Pierce nearly died from double pneumonia. Near death experiences by their very nature are life-changing events. The music on Songs in A&E were recorded in that aftermath, but most of the album was written two years before he got sick; with so much of it about near death and survival, it feels like life imitating art. From the first notes of Sweet Talk, it's obvious that a very different Spiritualized is up and about; an acoustic guitar, a sparse drum kit, the voice quartet, a few horns, and a minimal bassline fuel it. Pierce sweetly croons to a loved one in waltz time; his words are
simultaneously appeasing and accusatory. The gospel chorus isn't as overblown as it was on Amazing Grace or Let It Come Down. They are in a support role, offering Pierce's reedy voice a fullness and authority it wouldn't have otherwise. The arrangement is lilting but powerful. How strange, then, the sounds of a ventilator that usher in the next track Death Take Your Fiddle: I think I'll drink myself into a coma/And I'll take every way out I can find/But morphine, codeine, Whisky, they won't alter/The way I feel/Now death is not around...Death take your fiddle/And play a song for me. Minor-key acoustic
guitar and ghostly bass frame Pierce singing a mutant folk-blues that evokes Gary Davis' Death Don't Have No Mercy. The backing vocals float
wordlessly like death angels, hovering around the vocalist and giving the tune an otherworldly quality.
But this isn't a song about dying; it's a song about coming close and cheating it; it's eerie. The proof? The next two tracks: I Gotta Fire, and Soul on
Fire. The former is a taut, Gimme Shelter-esque rocker, the latter, a lush, uptempo love song. Sitting on Fire is a beautifully orchestrated love song:
it's an admission of weakness and codependency but celebrates both of them at the same time: Baby, I'm sitting on fire/but the flames put a hole in my
heart/when we're together we stand so tall/But a part of me falls to the floor/Sets me free /I do believe it'll burn up in me for the rest of my life. Strings,
vibes, marimbas, and drums crash in to the center of the mix carrying the protagonist into oblivion. Yeah, Yeah is a scorching rocker that feels like the
Bad Seeds meeting the old Spacemen 3. You Lie You Cheat, crashes in Velvets style with acoustic guitar and screeching feedback. The chorus sings
atop a flailing drum kit, distorted strings, and wailing electric guitar. The marimbas and strings that power Baby, I'm Just a Fool, sweetly underscore a
very dark pop song, complete with da-do-da-do-dat det-det-do's. It descends into beautifully textured chaos led by a loopy violin solo over seven
minutes. Songs in A&E is the most consistent recording Spiritualized has issued since 1997's Ladies and Gentlemen We Are Floating in Space. It
contains the best elements of the band's signature sound, and paradoxically hedonistic yet utterly spiritual lyric themes. That said, newly focused energy,
willfully restrained arrangements, and taut compositions give the set a sheer emotional power that no Spiritualized recording has ever displayed before,
making it, quite possibly, their finest outing yet.
- Thomas Jurek (All Music)LP1
1. Harmony 1 (Mellotron)
2. Sweet Talk
3. Death Take Your Fiddle
4. I Gotta Fire
5. Soul on Fire
6. Harmony 2 (Piano)
7. Sitting on Fire
8. Yeah Yeah
9. You Lie You Cheat
1. Harmony 3 (Voice)
2. Baby I'm Just a Fool
3. Don't Hold Me Close
4. Harmony 4 (The Old Man )
5. The Waves Crash In
6. Harmony 5 (Accordion)
7. Borrowed Your Gun
8. Harmony 6 (Glockenspiel)
9. Goodnight Goodnight$24.99Vinyl LP - 2 LPs Sealed Buy Now
Keys To The KingdomKeys To The Kingdom is a celebratory declaration of life in the face of death. Luther and Cody Dickinson lost their father Jim Dickinson only months before Luther became one. At the heart of the record is the journey that traverses thru the mirrored gates of life and death. This is the band's first studio album in 3 years. Gatefold sleeve.1. This AWay
2. Jumpercable Blues
3. The Meeting
4. How I Wish My Train Would Come
5. Hear The Hills
6. Stuck Inside Of Mobile With The Memphis Blues Again
7. Let It Roll
8. Aint No Grave
9. Ol Cannonball
10. New Orleans Walkin Dead
11. Aint None OMine
12. Jellyrollin All Over Heaven$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
Fuchsia Swing SongDuring the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.
Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition.
Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point.
Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. Downstairs Blues Upstairs sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures
He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is Luminous Monolith, with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records limited editions; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of Luminous Monolith and three more of Downstairs Blues Upstairs, making it a very worthwhile look at the entire session.
This is a highly recommended date. Rivers never played quite like this again.
- Thom Jurek1. Fuchsia Swing Song
2. Downstairs Blues Upstairs
3. Cyclic Episode
4. Luminous Monolith
6. Ellipsis$19.99Vinyl LP - Sealed Buy Now
Life Will See You NowJens Lekman describes his new record, Life Will See You Now, playfully, but also honestly, as a midlife-crisis disco album; it's an existentialist record, about seeing the consequences of your choices. It's a typical Lekman album in several ways: sly humour is key to its heartfelt nature; it inverts pop's writing norm by making songs with sad concerns sound happy and songs with a happy subject sound sad; and it plays with notions of identity and the self. But, as the title suggests, it also represents a significant move forward, as if across a threshold. It's the more expansive, upbeat sound of a revitalized Lekman, who is just one of many characters in his new stories about the magic and messiness of different kinds of relationships.1. To Know Your Mission
2. Evening Prayer
3. Hotwire The Ferris Wheel
4. What's That Perfume That You Wear?
5. Our First Fight
6. Wedding in FinistÉre
7. How We Met, The Long Version
8. How Can I Tell Him
9. Postcard #17
10. Dandelion Seed$19.99Vinyl LP - Sealed Buy Now
REDD-BAN-4146xTrampled By Turtles
Life Is Good On The Open RoadLife Is Good On The Open Road is the welcome return that the group's legions of passionate fans have been waiting for. Led by the songwriting of lead singer Dave Simonett, the new songs touch on key elements from the entire spectrum of Trampled By Turtles body of work, while creating something that sounds fresh and invigorated. Simonett, and bandmates Erik Berry, Ryan Young, Dave Carroll, Tim Saxhaug and Eamonn McLain reunited at a cabin in the Minnesota woods to see if the special chemistry they once shared still existed. It did not take long for the magic to reveal itself with a renewed sense of purpose and the result shines brightly on Life Is Good On The Open Road.1. Kelly's Bar
2. We All Get Lonely
3. The Middle
4. Thank You, John Steinbeck
6. Right Back Where We Started
7. Life is Good on the Open Road
8. Blood in the Water
9. I Went to Hollywood
10. I'm Not There Anymore
11. Good Land
12. I Learn the Hard Way$19.99Vinyl LP - Sealed Buy Now
Shadows In The NightColumbia Records announces Bob Dylan's new studio album, Shadows In The Night. Featuring ten tracks, the Jack Frost-produced album is the 36th studio set from Bob Dylan and marks the first new music from the artist since 2012's worldwide hit Tempest.
Upon Columbia's announcement of the album's release, Bob Dylan commented, "It was a real privilege to make this album. I've wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That's the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day."
As Columbia Records Chairman Rob Stringer explains, "There are no strings, obvious horns, background vocals or other such devices often found on albums that feature standard ballads. Instead, Bob has managed to find a way to infuse these songs with new life and contemporary relevance. It is a brilliant record and we are extremely excited to be presenting it to the world very soon."1. I'm A Fool To Want You
2. The Night We Called It A Day
3. Stay With Me
4. Autumn Leaves
5. Why Try to Change Me Now
6. Some Enchanted Evening
7. Full Moon And Empty Arms
8. Where Are You?
9. What'll I Do
10. That Lucky Old Sun$20.99Vinyl LP + CD - Sealed Buy Now
Covered In Black
And they are glorious, beautiful. Sounding a bit like She &
Him might were they produced by Sufjan Stevens - to create a
sort of She & She & She & She, they are four alt-pop Brontës
who beam right into your stereo like a comforting aural torch
you never need to buy batteries for. - Drowned In Sound
"Best referenced midway between the Bangles and Go-Gos in
terms of a girl group approach, there's a kind of slacker
sensibility at work here, one that never muffles the drive or
conviction. I was meant for something more, Cottingham
sings on the final track, aptly entitled Anything and indeed a
lyric has never sounded so true." - Blurt
Precociousness always catches its observer off guard; we are
witness to a stubborn incongruity, a disproportionate relationship
between limited years and elevated levels of skill, insight, or
vision. It confounds common experience, and we wonder. When
Ortolan's debut album Time On A String was released in 2010,
three quarters of the family foursome were yet under drinking
age. Along with copious kudos given to the quality of the music
and the maturity of the songwriting, every single review made
mention of their age. Wonder indeed.
What may be the greater marvel though, is when a nascent talent
starts to grow into itself; when prodigious promise begins to
deliver something beyond spectacle, when it begins to nourish
those who are witness to it. Such is the case with Ortolan's latest,
Covered In Black.
The pulse at the heart of Ortolan's music has always been
Stephanie Cottingham's voice, a curious combination of
innocence, wisdom, and wit (all rare commodities in the greater
landscape of popular music today). These beguiling qualities
remain, but here her voice is imbued with a greater richness. The
bandwidth of color, hue, and shade has widened; the reds are
redder and the blues are bluer. Even more significant though, is
Cottingham's development as an interpreter of her own songs.
Her voice remains a thing to behold, but in the tradition of Kitty
Wells, Etta James, or Emmylou Harris, she is becoming a
storyteller. Each note is now is its own scene in a greater drama.
Each vocal push and lilt tells of loss and love, fear and
As much as Ortolan is about Stephanie Cottingham's voice and
songwriting, it is about family, and the picture is incomplete
without the powerful presence of Jill (keys), Briana (bass), and
Lara (drums). Floor toms drum and drive, strumming guitars
strum and strum faster, basses rock and keyboards swirl and
swoop. Their commitment to one another is palpable, and is as
important to the music as the notes and rhythms they're playing.
That their voices also join Stephanie's throughout the record is
not insignificant. There is an excess of animosity in the world: so
much time is spent competing, resisting, debating, conflicting,
arguing. There is something so vital and humane in joining voices
for once, in unison. One of the simplest and most powerful
activities of human beings is singing together, and this is a
central ingredient to Ortolan's music and life. Nothing is
pretended-it's what they do: voices are raised and raised
together -- to cry, to question, to pray, to laugh, to celebrate.
The color black is achieved through the mixing of different
paints and opposing pigments; as such, black represents the
presence of color, not the absence of it, and Ortolan's latest is
covered in it.1. Bottle's Broken
2. Holding This Fire
3. Votes Are In
4. Covered In Black
7. Green Were The Days
8. You Don't Know
9. Above The Mountain
10. Miles$18.99Vinyl LP - Sealed Buy Now
Young In All The Wrong WaysYoung in All the Wrong Ways is Sara Watkins'
most cohesive and fully realized solo album.
The new collection finds her embracing the role
of frontwoman following the collaborations of
Watkins Family Hour (featuring Sean Watkins,
Fiona Apple and Benmont Tench) and Nickel
Creek, the hugely successful group she first
formed with her brother Sean and Chris Thile.
The album is also her most powerful. Personal
and revealing, she wrote or co-wrote each of the
10 songs-a first for her. It was produced in Los
Angeles by Gabe Witcher who arranged a stellar
band including two of his fellow Punch Brothers,
guitarist Chris Eldridge and bass player Paul
Kowert, and additional musicians Jon Brion and
Jay Bellerose. Sarah Jarosz and Aoife O'Donovan,
Watkins' bandmates in I'm With Her, provide
harmonies on the title track while Jim James of
My Morning Jacket guests on "One Last Time."
Benmont Tench is again featured on keys.
Sara calls the record "a breakup album with
myself..." Writing and recording these ten
intensely soul-baring songs was a mechanism
to process and mark the last few transformative
years. The record is about Sara turning the
page and taking the reins of her own life, in
both a career and personal sense.
around and realized that in many ways I wasn't
who or where I wanted to be," Sara says. "It's
been a process of letting go and leaving behind
patterns and relationships and in some cases
how I've considered myself. What these songs
are documenting is the turmoil you feel when
you know something has to change and you're
grappling with what that means. It means you're
losing something and moving forward into
The songs contain some of the
heaviest moments of her career, with eruptions
of thrumming B3 organ and jagged electric guitar.
But it's also quiet, vulnerable, tenderhearted.
Bold in all the right ways.
Young in All the Wrong Ways reveals an artist
who has managed to transform her own turmoil
into music that is beautiful and deeply moving:
"God bless the tenderhearted," she sings, "who let
life overflow."1. Young In All The Wrong Ways
2. The Love That Got Away
3. One Last Time
4. Move Me
5. Like New Year's Day
6. Say So
7. Without A Word
8. The Truth Won't Set Us Free
10. Tenderhearted$19.99Vinyl LP - Sealed Buy Now
Life, Death, Love, & FreedomThe poet laureate of the interstate's new collection of modern electric folk songs entitled Life, Death, Love And Freedom are the most intimate, honest and poignant of his career. With backing from Mellencamp's legendary touring band, the album's 14 new tracks were recorded at his studio in Bloomington, Indiana and mixed in Los Angeles by the great T. Bone Burnett. Mellencamp cites Burnett's production as key to finding the soul of each song.1. Longest Days
2. My Sweet Love
3. If I Die Sudden
4. Troubled Land
5. Young Without Lovers
6. John Cockers
7. Dont Need This Body
8. A Ride Back Home
9. Without A Shot
12. County Fair
13. For The Children
14. A Brand New Song$21.99Vinyl LP - Sealed Buy Now
ChulahomaChulahoma is a stopgap EP from the Black Keys, a collection of six covers of songs by cult bluesman Junior Kimbrough, whose 'Do the Rump' they covered on their 2002 debut, Big Come Up. Considering that this is the first time the blues-rock guitar-n-drums duo has devoted an album to nothing but straight-ahead blues songs, it wound seem logical that Chulahoma would be the bluesiest recording in their catalog, but the Black Keys aren't that simple. The six songs on this 28-minute EP are hardly replications of Kimbrough's gritty originals, nor do they have the dirty, punch-to-the-gut feel of any of the duo's three proper albums. Instead, this is the weirdest set of music the band has done to date, a trippy, murky excursion into territory that floats somewhere between the primal urgency of the duo's best work and the dark, moody psychedelia of late-'60s blues-rock. Take 'Have Mercy on Me' its winding, narcotic blues groove settles into a bed of droning organ and bongos, but the interplay between guitarist/vocalist Dan Auerbach and drummer Patrick Carney prevents it from sounding as affected as psychedelia, while infusing it with a real sense of danger. That unsettling undercurrent flows throughout this brief EP, and it makes Chulahoma an album that's ideal for pitch-black nights, where the music can worm its way into your imagination and then run wild. That alone would make it a unique, noteworthy detour for the Black Keys, but when this is compared to Kimbrough's original recordings, it becomes an instructive listen since a side-by-side listen reveals how Auerbach drew inspiration from Kimbrough's stripped-down, idiosyncratic grooves and took it into some place entirely different. And while that might mean that Chulahoma doesn't necessarily sound like a kissing cousin to Kimbrough's originals, it does make it a greater, richer tribute than most cover albums, and it certainly proves that Auerbach's testimonial in the liner notes about how Junior Kimbrough changed his life is no lie.1 Keep Your Hands off Her
2 Have Mercy on Me
3 Work Me
4 Meet Me in the City
5 Nobody But You
6 My Mind Is Ramblin'$17.99Vinyl LP - Sealed Buy Now
Dance HallFeaturing Robben Ford, Bill Frisell, And J. Anthony Granelli
Featuring guitar greats Robben Ford and Bill Frisell and bassist
J. Anthony Granelli, the material on Dance Hall reflects Jerry Granelli's
deep gratitude to the artists who originally wrote and recorded these
great songs, and at this point in his life the sheer joy of playing the drums.
"The key was not doing covers, but finding songs that were personal to
my journey. We kept it as open and spontaneous as possible, this one
is about the joy of finding the freedom in the form."1. Meet Me in the Morning
2. The Great Pretender
3. Boogie Stop Shuffle
4. Ain't That a Shame
5. Driva Man
6. This Bitter Earth
7. Never Going to Break My Faith
8. Caldonia$22.99Vinyl LP - Sealed Buy Now
Silent Running SoundtrackPressed On Green Colored Vinyl
The 1972 classic Silent Running is lauded as one of the most influential science fiction films of all time. The soundtrack features a memorable score by Peter Schickele and songs by Joan Baez. After the end of all botanical life on Earth, an ecologist and his robots maintain a greenhouse on a space station in order to preserve key plants from extinction. They are later ordered to destroy the greenhouse, a decision that forces them to do anything necessary to keep their invaluable greenery alive.1. Rejoice In The Sun (Vocal: Joan Baez)
2. The Space Fleet
3. Rejoice In The Sun (Instrumental)
4. No Turning Back
5. Driving Crazy
7. Silent Running (Vocal: Joan Baez)
8. The Dying Forest
9. Tending To Huey
11. Getting Ready
12. Rejoice In The Sun (Reprise) [Vocal: Joan Baez]$25.99Colored Vinyl LP - Sealed Buy Now
Incorruptible HeartProduced by OK Go frontman Damian Kulash Jr. and mixed by longtime Flaming Lips collaborator Dave Fridman.
Incorruptible Heart transforms Becky Stark's songs in the key of cosmic love into their most four-demensional realizations yet. Over two years in the making, Incorruptible Heart's diamond-light shines through its every facet from strings by the Calder Quartet to horn arrangements by longtime Brian Wilson compatriot Probyn Gregory to magical cover art by Lavender Diamond drummer (and graphic novelist) Ron Rege Jr.
Turning from soaring electro-pop ("Light My Way") to distantly showtuney eruptions ("Perfect Love,") featuring M. Ward on guitar to simple strums, Incorruptible Heart is an extension of a life lived in a beautiful universe, and an album that could only be made by the freest of thinkers. Incorruptible Heart is Lavender Diamond's first release since 2007's Imagine Our Love, and is the first full-length original release on OK Go's record label, Paracadute.1. Everybody's Hearts Breaking Now
3. I Don't Recall
4. Just Passing By
5. Teach Me How To Waken
6. Come Home
8. Light My Way
9. Oh My Beautiful World
10. There's a Perfect Love For Me
11. Everybody's Song
12. All The Stars$15.99Vinyl LP - Sealed Buy Now
Owed To Mama Rickie (Awaiting Repress)Rickie Byars Beckwith is Georgia Anne Muldrows mother. Rickie is also the music and arts director of the world famous Agape International Center in Culver City, CA. It's no surprise then that after releasing a dizzying array of albums, Georgias latest and most poignant full length would be titled Owed To Mama Rickie.
Owed instead of ode, the obvious play on words speaks to a promise from daughter to mother to finally release an album that taps directly into her spiritual roots. Still laden with the signature bass heavy, drum snapping funk of her production, the vocals this time around are rich with the soulful musings of the ancients.
Songs like Dr. Feelgood warn of sugar daddies preying on the weak with worldy posessions while More & More (a duet with grammy nominated singer Bilal) reminds you to love yourself, friends and family. EZ Duz It is a funky groove about life in the neighborhood while All In All and The Key channel energies of the ancestors to cleanse both mind and spirit.1. Zulu (The Mind)
2. Dr. Feelgood
3. Ez Duz It
4. Mother, Father, God
5. The Jump Rope Song
6. All In All
7. More & More feat. Bilal
8. The Key
9. Love Letter
11. Dubby Time!
12. Moonsong Lullabye$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
A Street Cat Named Bob SoundtrackImport
180 Gram Audiophile Vinyl
PVC Protective Sleeve
Includes 4-Page Booklet
Based On The Based On The Best Selling Book By James Bowen (2.5m Copies Sold In Germany And 1m In The Uk)
Music By Noah & The Whale's Charlie Fink And David Hirschfelder (Elizabeth)
First Pressing Of 500 Numbered Copies On Bob Coloured Vinyl, Black Vinyl Thereafter
Homeless and a recovering drug addict, James Bowen (Luke Treadaway) is running low on his luck and finds a ginger cat at his home. From that point onwards, the two lives become entwined.
Roger Spottiswoode's English feature is based on the bestselling novel A Street Cat Named Bob.
After their story was published in a local newspaper, Bowen was offered a book deal in 2010 and has since published six bestsellers detailing his life and travels with his ginger cat.
Bob has also become something of a celebrity in his own right, receiving the most fan mail of any Hachette author and boasting 72,000 followers on Twitter. They cast multiple cats to play Bob but in the end, Bob played himself for most of the film.
Charlie Fink has written six original songs especially for the film, all of which feature on this soundtrack. He is a British singer-songwriter, producer and filmmaker and is best known for fronting the indie band Noah and the Whale.
The songs have prominent placement in the film and are sung on screen at key moments in the story by the main protagonist James, busking on the streets of London.
David Hirschfelder is recognized globally as one of Australia's most distinguished screen-composers, having garnered Oscar nominations for Scott Hicks' Shine and Shekhar Kapur's Elizabeth. He is also the winner of two BAFTA (British Academy) awards for Strictly Ballroom and Elizabeth. David's recent film-scores include Craig Monahan's Healing which is nominated for APRA and FCCA Awards.1. Satellite Moments (Light Up The Sky) [with Luke Treadaway, Written By Charlie Fink]
2. Looking For Paradise
3. Second Time Around (with Luke Treadaway, Written By Charlie Fink)
4. To Covent Garden
5. I'll Find A Way
6. Somewhere On The Avenue (Life Is Good) [with Luke Treadaway, Written By Charlie Fink]
7. Chasing Bob
8. Lifelong Partner
9. Month Of The Cat
10. Don't Give Up (with Luke Treadaway, Written By Charlie Fink)
11. The Mouse
12. Baby Steps, James
13. Catching The Bus
14. You Need This In Your Life (with Luke Treadaway, Written By Charlie Fink)
15. Cold Turkey (Back On Bike)
16. The Book Launch
17. Bob's Bedtime
18. Roll Of The Dice (with Luke Treadaway, Written By Charlie Fink)
19. Satellite Moments (Orchestral Reprise)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Test For Echo200 Gram Vinyl LP
Features Etched Designs on Side D of the Album
Test for Echo is the sixteenth studio album by Canadian rock band Rush, released in 1996. It marks the final Rush work prior to the tragic events in Neil Peart's life that put the band on hiatus for several years. He recorded a majority of his drum tracks for the album using traditional grip, after receiving drum lessons from jazz instructor Freddie Gruber.
After flirting with alternative rock on Counterparts, Rush returns to classic progressive rock on Test for Echo. Cutting back many of the AOR production flourishes that hampered most of their late-'80s and early-'90s releases, the band concentrates on the sounds and styles that made albums like Moving Pictures huge successes in the late '70s and early '80s. Test for Echo is all instrumental gymnastics and convoluted song structures, all of which demonstrate each member's skills. And the key to the album is the individual performances.
The title track reached #1 on the mainstream rock chart. Driven became a bass showcase for Geddy Lee during live performances, while Resist was rearranged as an acoustic song on the Vapor Trails and R30 tours. Since then, the band has not performed any tracks from the album in concert.1. Test For Echo
3. Half The World
4. The Color Of Right
5. Time And Motion
7. Dog Years
11. Carve Away The Stone$34.99200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Return Of SaturnJust like the heavenly occasion which inspires its name, Return of Saturn, the latest album from Southern California rock band No Doubt, is best experienced with both feet firmly on the ground, and with eyes and ears held wide open.
The album's title refers to the notion that in the first 29 years of someone's life (the same time it takes the planet Saturn to orbit the Sun), a person is only beginning to understand himself or herself, which, singer and songwriter Gwen Stefani explains, helped her to discern her own place in life as she turned 30 years old. I wrote the song 'Artificial Sweetener', Gwen says, which has the line, 'the Return of Saturn, assessing my life, second guessing.' From the time you're born till the time Saturn returns to that point is a time of reassessment and a growing period, where you second-guess everything, and you clear out things that are going to be in the way of moving on in your life. I really did feel like I was going through a transitional phase in my life as I made this album. I think the name Return of Saturn is relevant in the sense that it shows how we've grown as a band, and as songwriters.
The culmination of two years of creative blood, sweat and tears for the quartet, Return of Saturn is a bold and exciting coming-of-age saga. An intimate view of the world as seen by a group of musicians and friends who watched their humble worlds turned literally upside-down by the unexpected (though well-deserved) success of No Doubt's third album, Tragic Kingdom. While that youthful recording reflects the concerns and observations of a band at the edge of possibility, Return of Saturn represents that same group looking collectively inward. What they saw and what they created those two years, will surprise and fascinate you. Who am I, and how did I get to this point in my life, when I thought I was going to be something completely different? -- that pretty much sums up the subject of this album, says Gwen.
Return of Saturn was recorded in two Los Angeles studios during 1998 and 1999. Twelve of the album's 13 songs were produced by Glen Ballard, (Alanis Morissette, Aerosmith), whose contribution was a key ingredient in the album's creation. In our band, everyone has such strong opinions that if you put the four of us in the room together you could have some troubles, says bassist Tony Kanal. But if you get somebody as experienced as Glen, not only as a producer but as a songwriter, you can bounce ideas off him and get some really cool objective answers, and it helps level the creative playing field.
One song on the album, New (also heard on the GO soundtrack) was produced by the band with Jerry Harrison (Talking Heads, Live). It was fun to start with a clean slate and create something brand new, says guitarist Tom Dumont, who also wrote much of the album's music. We hadn't really done much writing on the road, so when it came time, we had to come up with the entire record. Every time we wrote a song it was like having a baby. It's such a good feeling to sit down with an acoustic guitar and a tape recorder, and later to have created something really cool.
In light of the international success of Tragic Kingdom (more than 15 million copies sold worldwide, including over 11 million in the U.S.), the four band members were bound to be subject to any number of outside influences and pressures when it came time to make their follow-up.
But as it turned out, the band was able to turn any outside distraction to their ultimate benefit, beginning with pre-production and writing sessions at a rented Hollywood Hills house. I remember being in a very open, optimistic mood, says Tony, getting the house up in the hills, and just feeling like we had time to do it right. There was no deadline to deliver a record, so I remember not feeling pressure. It just felt like a good place to be, creatively.
Drummer Adrian Young agrees: We were just more conscious of the fact that we're following a huge record, and we need good songs, but I don't know what kind of album we wanted, or expected to make. It was very experimental most of the time. In fact, we didn't have any predisposition about it. That's always a good way for us to approach the music. We've always been across the board, stylistically, and I'm glad we didn't lose that part of the band, he says.
Songs on Return of Saturn like Marry Me, Simple Kind of Life and the album's first single Ex Girlfriend show vocalist Gwen Stefani in a reflective and unashamedly romantic mood, traits which she says are often overlooked in her hectic life. I think I am a romantic at heart, but my life in a lot of ways these days doesn't reflect that, she remarks. So I have this inner conflict about it, and this guilt about it. I'm very hopeful that someday those things will happen in my life, because it's all I've ever dreamed of. But right now it seems like my life doesn't have any room for it, and I won't make any room for it because I'm so passionate about what No Doubt is doing right now.
The music on each of No Doubt's three previous albums (1992's No Doubt, 1995's Beacon Street Incident, Tragic Kingdom) runs the stylistic gamut, mixing in as many influences as the band members can think of, and this collection is no different. Tom says the band has few rules when it comes to songwriting. We discovered a way to write on songs like Just a Girl and Spiderwebs and some of the older ones, which we incorporated when we started this album, and that was that there were no preconceived ideas at all. We would sit down in a room with a tape recorder and acoustic guitars and start improvising things. All the songs were written very spontaneously, starting from a blank slate every time.
The truth is, I feel like I've been turned inside-out after writing this album, adds Gwen. It's everything that I have been in the last two years, which have been really hard years for me. I just feet this sense of accomplishment, and this lightness has come over me since the album has been finished. It's so rewarding to be done and feel so proud of it, I can't wait for people to hear it.LP1
2. Simple Kind of Life
4. Six Feet Under
5. Magic's in the Makeup
6. Artificial Sweetener
7. Marry Me
2. Too Late
3. Comforting Lie
4. Suspension Without Suspense
5. Staring Problem
6. Home Now
7. Dark Blue$24.99Vinyl LP - 2 LPs Sealed Buy Now
White LightAfter playing in various teenage groups, Gene Clark was offered a place in the sprawling New Christy Minstrels in late 1963. He stayed long enough to contribute to two albums, Merry Christmas and Land Of Giants, before returning to Los Angeles, where he teamed up with Jim (Roger) McGuinn and David Crosby in the Jet Set. This fledgling trio evolved into the Byrds. At that point Clark was the leading songwriter in the group and contributed significantly to their first two albums.
As founding member of folk-rock pioneers the Byrds, Gene Clark had emerged as a uniquely gifted singer/songwriter and master of the minor key melancholy ballad. His departure from the group in 1966 was met with critical anticipation and commercial indifference. Tiring of the Hollywood fast lane by 1969, Gene and new wife Carlie moved up to Mendocino on the Northern California coast where the tranquility, pastoral beauty and laid back lifestyle of the coastal community appealed to his country boy roots. It inspired a body of songs unlike anything Gene had composed before. Their stark simplicity and stripped down arrangements, acoustic guitar, harmonica and voice, evidence a deeper insight into life and an overall optimism rarely found in his previous body of work.
The resulting album, White Light, produced by renown guitarist Jesse Ed Davis, remains one of Gene's most accessible and much-loved recordings among fans and critics, topping several domestic Best Album of the Year lists and being voted Album of the Year by rock critics in the Netherlands. Songs like For A Spanish Guitar, With Tomorrow and Where My Love Lies Asleep are delicately evocative while the title song draws on Gene's appreciation for country music. One In A Hundred harkens back to his finest Byrds compositions.
Buoyed by his new surroundings, friendships, marriage, a feeling of contentment in his rural retreat and the imminent birth of his first child, White Light reveals singer/songwriter Gene Clark at the top of his game. Rolling Stone declared the folk-based album a fresh and innovative look at what came before in a new framework. One of the most interesting and exciting records of 1971. Relive that excitement on this Sundazed edition! Mastered directly from the original A&M analog session tapes on high-definition vinyl.1. The Virgin
2. With Tomorrow
3. White Light
4. Because of You
5. One In A Hundred
6. Spanish Guitar
7. Where My Love Lies Asleep
8. Tears of Rage
9. 1975$24.99Vinyl LP - Sealed Buy Now
UNIM-JMB-7821xJames Vincent McMorrow
We MoveWritten in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."
The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.
The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.
Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.1. Rising Water
2. I Lie Awake Every Night
3. Last Story
4. One Thousand Times
6. Get Low
7. Killer Whales
8. Seek Another
10. Lost Angles$19.99Vinyl LP - Sealed Buy Now
Give You The GhostPoliça's debut album, Give You The Ghost, is 11 perfectly formed auto-tuned songs that re-shape the intersection of pop and digitised R&B. And for all Poliça's synthetic manipulation, Channy's soft vocals and Ryan's electronic soundscapes reveal a tender heart beneath, pulsating with life and raw emotion. Give You The Ghost opens with the attention grabbing sonic of first track 'Amongster', the two drummers immediately coming into full effect as it builds to a heady mass of beats, bass and Channy's wandering vocals. 'Violent Games' continues the heavy on the drums theme, with duelling beats that intensify to machine gun-like levels, led by Channy's urgent and cyclical vocals "Tremble at the taste of / Tremble at the taste of / Tremble at the taste of in his hands".
Born out of the break-up of a recent relationship, the majority of Give You The Ghost reflects the difficulty of facing up to your mistakes and making peace with them; an exorcism via exciting new musical possibilities. "The recurring theme of this record is 'what in the hell just happened and who in the hell am I anyways'" says Channy. This redemptive mood is key for the track 'Dark Star', released online late last year amidst a viral whirlwind. Backed by smooth brass breakdowns throughout and mid-tempo loping rhythms, it's typical of Poliça's often meditative content fused with the addictive refrain "Ain't a man who can pull me down from my Dark Star".
First sashaying single proper 'Lay Your Cards Out' and the dreamy 'Wandering Star' both feature Mike Noyce of Bon Iver on vocals and are equally as deliciously funk laden as they are hypnotic, with more ratatat drums from Ben Ivascu and Drew Christopherson, propelling the lush arrangements and slinky bass, provided by Chris Bierden.1. Amongster
2. I See My Mother
3. Violent Games
4. Dark Star
6. The Maker
7. Lay Your Cards Out (feat. Mike Noyce)
8. Fist Teeth Money
9. Happy Be Fine
10. Wandering Star
11. Leading To Death$19.99Vinyl LP - Sealed Buy Now
Glazin'The Jacuzzi Boys are guitarist/vocalist Gabriel Alcala, drummer Diego Monasterios and bassist Danny Gonzalez, three dudes from South Florida, bright as neon and fun as hell. After forming the band in 2007 and accruing a handful of 45s, the group released the LP No Seasons on Floridas Dying (located in nearby Orlando, FL) in 2009. Now, in 2011, we have Glazin, their second full-length and first for Hardly Art.
For Glazin, the group traveled to Key Club Studios in Benton Harbor, MI where they spent twelve full days recording and mixing. The Jacuzzi Boys used this as an opportunity to dig deeper into the production of each song. If the first record was the Everglades, the follow-up is Dadeland Mall, says Alcala. This is also true sonically, while No Seasons was a primal wallop, Glazin has the slight sheen of a studio environment. Moving beyond the beauty and harshness inherent in a life spent within a single climate, Glazin instead offers a take on the culture that surrounds that environment: girls, cruising, air conditioning and raspberry feelings.1. Vizcaya
2. Automatic Jail
4. Cool Vapors
5. Libras and Zebras
7. Silver Sphere (Death Dream)
9. Los Angeles
10. Koo Koo With You$13.99Vinyl LP - Sealed Buy Now