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MasterpieceMasterpiece is a 1973 album by The Temptations originally released on the Gordy (Motown) label. The album was produced and written by Norman Whitfield.1. Hey Girl (I Like Your Style)
4. Law Of The Land
5. Plastic Man
6. Hurry Tomorrow$24.99Vinyl LP - Sealed Buy Now
Victim Of LoveBradley and writer/producer/multi-instrumentalist Thomas TNT Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his Heartaches and Pain to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world's #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70's Temptations left off and edging boldly forward into psychedelic soul exploration.1. Strictly Reserved For You
2. You Put The Flame On It
3. Let Love Stand A Chance
4. Victim Of Love
5. Love Bug Blues
6. Dusty Blue
8. Where Do We Go From Here
9. Crying In The Chapel
11. Through The Storm$15.99Vinyl LP - Sealed Buy Now
Every Picture Tells A Story (Awaiting Repress)Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover (I Know I'm) Losing You, and the acoustic title track goes into hyper-drive with Mick Waller's primitive drumming -- the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether it's a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, Maggie May -- the ornate, ringing ode about a seduction from an older woman -- is the centerpiece, but each song, whether it's the devilishly witty title track or the unbearably poignant Mandolin Wind, has the same appeal. And the covers, including definitive readings of Bob Dylan's Tomorrow Is Such a Long Time and Tim Hardin's Reason to Believe, as well as a rollicking That's All Right, are equally terrific, bringing new dimension to the songs. It's a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music -- few rock albums are quite this powerful or this rich.
- Stephen Thomas Erlewine (All Music)1. Every Picture Tells a Story
2. Seems Like a Long Time
3. That's All Right
4. Amazing Grace
5. Tomorrow Is a Long Time
7. Maggie May
8. Mandolin Wind
9. (I Know) I'm Losing You
10. Reason to Believe$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
In Spades"Cleromancy" isn't a word one normally finds in rock lyrics. Then again, In Spades - the forthcoming album by The Afghan Whigs, from which the new song "Oriole" hails - is defined only by its own mystical inner logic. The term means to divine, in a supernatural manner, a prediction of destiny from the random casting of lots: the throwing of dice, picking a card from a deck. From its evocative cover art to the troubled spirits haunting its halls, In Spades casts a spell that challenges the listener to unpack its dark metaphors and spectral imagery.
On the one hand, In Spades is as quintessentially Afghan Whigs as anything the group has ever done - fulfilling its original mandate to explore the missing link between howling Midwestern punk like Die Kreuzen and HÜsker DÜ, The Temptations' psychedelic soul symphonies, and the expansive hard-rock tapestries of Led Zeppelin and Lynyrd Skynyrd. At the same time, this new record continues to push beyond anything in the Whigs' previous repertoire - another trademark, along with the explosive group dynamic captured on the recording.
Indeed, the chemistry of the lineup - Dulli, guitarists Dave Rosser and Jon Skibic, drummer Patrick Keeler, multi-instrumentalist Rick Nelson, and Whigs co-founder/bassist John Curley - set the tone for In Spades' creation. When it came to follow up the band's triumphant return to recording - Do To the Beast (2014), which was the band's first ever Top 40 album, - the die was cast. "This is the first time since Black Love [the Whigs' 1996 noir masterpiece] that we've done a full-blown band album," Dulli says.
The joys, sorrows, and upheavals of innocence and experience echo throughout In Spades: it powerfully documents where The Afghan Whigs have been, and where they might go next. For Dulli and Curley, it's a journey that, since their origins as one of the first Sub Pop acts to be signed from outside the label's Pacific Northwest base, has spanned decades. Dulli notes they were barely in their twenties when they first started the band, and yet here they are, fulfilling dreams long held and frequently realized. "Having a break from the Whigs helped me remember what made it so rewarding," Curley says. "Over the course of a lifetime, there are constants, and there's also change. You see who's dropped off the vine - who's going in reverse, and who's still by your side. It's interesting to see where life takes you, and where it doesn't. That's the journey and it hasn't stopped."
In Spades was recorded at Rick Nelson's studio Marigny Sound in New Orleans, LA.1. Birdland
2. Arabian Heights
3. Demon In Profile
4. Toy Automatic
7. The Spell
8. Light as a Feather
9. I Got Lost
10. Into the Floor$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Singles 1966-1969Sundazed is proud to release The Velvet Underground Singles 196669, a 7 x 7 single box set honoring the legendary New York combo's 7 vinyl output in their rare mono versions. The set features exact reproductions of Velvet Underground singles, two of them with their original picture sleeves. The singles are packaged in a distinctively designed box, along with rare vintage photos and new liner notes by Rolling Stone's David Fricke (who also penned the acclaimed notes for the historic 1995 Velvets CD box set Peel Slowly and See).
The Velvet Underground whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles, the original seven-inch masterpieces inside this box.
Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7 single format. The Velvet Underground were a great singles band, David Fricke notes, adding that the Velvets invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songscompact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes.
The seven singles included in The Velvet Underground Singles 196669 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single All Tomorrow's Parties appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single Sunday Morning emphasizes the song's haunting quality. Meanwhile, the mono single version of White Light/White Heat exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of What Goes On accentuates that song's inherent pop jangle.
The Velvet Underground Singles 196669 also includes two unissued singles, one with a never-released pairing of White Light/White Heat backed by I Heard Her Call My Name, and the other with Temptation Inside Your Heart and Stephanie Says, recorded in the waning days of the band's classic Reed/Cale/Morrison/Tucker lineup and unheard by the public for nearly two decades thereafter. The set's seventh single is a reproduction of a vintage promotional disc, a two-and-a-half minute radio spot promoting the band's eponymous third album and featuring legendary disc jockey Bill Rosko Mercer, with excerpts from Im Set Free, What Goes On and Beginning to See the Light, as well as a picture sleeve with an un-airbrushed variation on the album's iconic cover art.
By presenting the Velvets as a singles band, The Velvet Underground Singles 196669 shows, in David Fricke's words, rock history the way it should have been: the Velvet Underground as the New York Beatles, guaranteed to blow up your radio and your mind.Single 1
All Tomorrow's Parties / I'll Be Your MirrorVerve VK-10427
Sunday Morning / Femme FataleVerve VK-10466
White Light/White Heat / Here She Comes NowVerve VK-10560
White Light/White Heat / I Heard Her Call My Name Cancelled Single
Temptation Inside Your Heart / Stephanie Says Cancelled Single
What Goes On / JesusMGM K-14057
VU Radio Spot / VU Radio SpotMGM VU-1$49.99Vinyl LP (7x7 Box Set) - Sealed Buy Now
Selected Ambient Works Vol. 2 (Out Of Stock)Aphex Twins 1994 masterpiece Selected Ambient Works Volume II includes barely anything resembling a beat or any sign of typical song structure, yet the album continues to garner adulation generally reserved for holy music. Fans have been testifying on its behalf for nearly two decades, as if it were capable of curing ills or healing the soul. Its synthetic construction belies the intuitive, human, melancholic and uplifting nature of the music.
Some have speculated the album was intended by Aphex Twins Richard D. James as a farce, as if its Über-minimalism was a joke played on an electronic community that relied so heavily on the beat; an expectation-defying statement from ambient-houses young hero. The album induces varied responses and often from the same person. A listener may go from being incredulous to drenched in tears within the span of a single track. Music critic Frank Owen described the music as veering between an eerie beauty and an almost nightmarish desolation. James himself described it as like standing in a power station on acid.
The albums raw emotional power is built upon the influences of Brian Eno, Erik Satie, Steve Reich, Terry Riley and The Orb. Each of its tracks has an elegiac and desolate feel far removed from the tooth-rattling, drill-n-bass or abstract electronica for which James was originally known. The soft, nimble flow leaves one in a tranquilized state. Throughout the album, James resists the temptation to layer the sound with beats or samples. Instead, he relies on swathes of sound and harmonics and almost-implied pulses. When the music does incorporate subtle industrial sounds, rhythmic drums or muted samples, it is only to affect a menacing feel in the textures.
Remarkably, for an album that is often perceived as difficult, Selected Ambient Works Volume II is quite accessible. Featured in films, commercials and video games, the music continues to offer an entry point for listeners new to the ambient genre while remaining a classic touted by connoisseurs.No tracklist available$33.99Vinyl LP - 3 LPs Sealed Temporarily out of stock