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Thats The Way Of The World'
SPCO-SPE-33280xEarth, Wind, & Fire
That's The Way Of The World (Speakers Corner)Ranked 493/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
OK, so it's disco sound, but it's really good. Whoever says that today must have been pretty lively on their feet in the 70s and 80s and in the days of their youth they will definitely have noticed that the commercial fusion music they listened to on a Saturday night was buzzing with energy and excitement. Earth, Wind & Fire considered their amazing mix of Latin, Gospel, Soul, Funk and dynamic horn section as being of existential importance. This was the album that would either make or break the band: either they would establish themselves or they would sink into oblivion like so many other rhythm and blues acts.
The basic recipe - finely chiselled Latin beat, meaty bass grooves and sizzling funky improvisations, spiced with the sound of exotic instruments - works perfectly. Furthermore, crowned with a beautifully airy falsetto and relaxed harmonious singing, the band created a big-band sound that the magazine Rolling Stone described as »innovative yet popular, precise yet sensual, calculated yet galvanizing«. Almost two decades later, and with more than three million albums sold in the USA alone, the editorial team voted the LP into their list of the '500 Greatest Albums of All Time'. And about time too! At last today's ravers and rappers also get the opportunity to experience the great rhythms to which their daddies danced.
- Maurice White (vocal, percussion, drums)
- Verdine White (vocal, bass, percussion)
- Philip Bailey (vocal, conga, percussion)
- Larry Dunn (piano, organ, synthesizer)
- Al McKay (guitar, percussion)
- Ralph Johnson (drums, percussion)
- Johnny Graham (guitar)
- Fred White (drums, percussion)
Recording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig
Production: Maurice White
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.1. Shining Star
2. That's The Way Of The World
3. Happy Feelin'
4. All About Love
5. Yearnin', Learnin'
8. See The Light$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
That's The Way It Is (Awaiting Repress)First Time 180 Gram Audiophile Soundtrack Vinyl & Gatefold Cover Presentation!
Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.
Elvis Aaron Presley was born during The Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known.
The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long term deal, forever etching "The King Of Rock And Roll" trademark to his name. In 1970 after a plethora of chart topping albums and a bevy of number one singles, Elvis Presley continued to build his marquee value even further while starring in a staggering amount of feature motion pictures. More incredible fame followed as the That's The Way It Is movie starring Elvis Presley became another box office hit for the King. The 70's epic documentary captured Elvis's first concert tour in over a decade, as the brilliant soundtrack album recorded live in Las Vegas and in RCA Studios, Nashville, was also was a blockbuster as it rose to the upper rungs of the album charts, making this his 40th hit album in a row! Both the That's The Way It Is movie and soundtrack LP truly proved once again that his career was unlike any other in music history.
Filled with more winners than in a Las Vegas casino, That's The Way It Is takes off with several smashes in a row, including the classic I Just Can't Help Believin' which became a UK smash, plus the definitive hit single version of You Don't Have to Say You Love Me plus an LP live only version of the killer rocker Patch It Up featuring James Burton's trail blazing guitar work. More soundtrack treasures follow with the beautiful ballads I've Lost You and Mary in the Morning. The album also features his stellar rendition of You've Lost That Lovin' Feelin' featuring the vocals of The Sweet Inspirations as well as the superlative Simon & Garfunkel interpretation of Bridge Over Troubled Water. In total, the album showcases 12 very important Elvis Presley recordings which have truly gone on to become international classics.
In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Soundtrack Vinyl release of the RCA Victor classic That's The Way It Is by Elvis Presley. As another classic installment in our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are very pleased to present this masterwork in all its true stereophonic hi-fi glory. Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured at R.T.I., That's The Way It Is will be a much anticipated audiophile dream release for Elvis fans everywhere Especially during the celebration of his birthday month!
For this exclusive anniversary presentation, we are also including the first time ever gatefold artwork which includes the groundbreaking original LP cover elements from this historic Elvis Presley era. We are also enclosing a poly bag to protect your album cover and poly lined inner
sleeve to help keep your Elvis vinyl in mint shape.
Elvis Presley's That's The Way It Is A history making rock soundtrack album from a historic legend, an original stereophonic audiophile
dream release first time gatefold cover is now an audiophile Anniversary vinyl dream come true From your friends at Friday Music Stay
tuned for more Elvis Presley original RCA Record audiophile recordings from Friday Music.1. I Just Can't Help Believin'
2. Twenty Days and Twenty Nights
3. How the Web Was Woven
4. Patch It Up
5. Mary in the Morning
6. You Don't Have to Say You Love Me
7. You've Lost That Lovin' Feelin'
8. I've Lost You
9. Just Pretend
10. Stranger in the Crowd
11. The Next Step Is Love
12. Bridge Over Troubled Water$29.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
Rented WorldPhiladelphia-based band The Menzingers will release their new album Rented World via Epitaph Records. Rented World is the fourth studio release for the band and the follow-up to their critically-applauded album On The Impossible Past (2012).
In Remission is the first track from the new album, and one where the band observes, Maybe the future's just a little bit weird; a statement that sets the tone of Rented World.
The Rust Belt punks are in a crucial period of growth. Now in their mid-20s, members Greg Barnett (guitar/vocals), Tom May (guitar/vocals), Eric Keen (bass), and Joe Godino (drums), seek a greater wisdom in life, even if they are old enough to know better. A theme that strongly permeates throughout the album.
Things start to feel a little more serious, said May. When we were younger we wrote fiery songs because at that age it's your world view. Now I look at the world and think 'well, maybe I'm not right all the time.'
Another change for the former Scranton, Pennsylvania housemates is their studio location. They entered Miner Street Studio for the first time in Fishtown, Philly in the fall of 2013. Jonathan Low, whose rich Americana influences can be heard on his work with The National, Sharon Van Etten, and Kurt Vile was enlisted to engineer the album. When writing the new material, the band recognized their shifts in their craft, shifts they knew would best be handled by Low. "We wanted to go to somebody who wasn't used to recording punk records, though it wasn't in a pretentious way, like we wanted to become an indie rock band, stated May.
The end result is an album that fearlessly collides the snarl of emo with grungy, 90s grit and exploring the celestial expanse of post-rock. It's slightly new territory for a band coping with their mid-20s. And lyrically touches on matters that any red blooded human of that age can relate to.1. I Don't Wanna Be An Asshole Anymore
2. Bad Things
4. Where Your Heartache Exists
5. My Friend Kyle
6. Transient Love
7. The Talk
8. Nothing Feels Good Anymore
9. Hearts Unknown
10. In Remission
11. Sentimental Physics
12. When You Died$19.99Vinyl LP + CD - Sealed Buy Now
REDI-FYS-0093xHope I Die Virgin
Is Forever No WayHope I Die Virgin have, with their chaste and low key mix of rainy British indie and Dischord sound, been a cult band reserved for a few seeking souls. Two self released EP's, the most recent produced by Emil Nikolaisen of Serena Maneesh, received nods of approval from besserwissers. Still the band with the strange name have been walking by themselves in the murky mud on the banks of Oslo's underground, barely visible for the past two years.
Hope I Die Virgin let the world be and created an alternate reality in Harrys Gym studio through innumerable sessions in 2009 and 2010. Is Forever No Way was from the beginning a megalomaniac project, a fantasy of a record so extensive, so deep and discomposing that the world had never heard anything like it. The more time the band spent in the studio, the more self-exhausting their ambitions became. Every bass note, every last beating of the cymbals have been subjected to infinite interpretation and association processes. Every chord shift has been analysed with astrological and scientifical intent.1. Intro
2. Panther Streams
3. Acid Lake
4. Anders Giæver (Interstellar Duke)
6. Wolf Head Dress
7. (Soon) Into Heavens
8. No Dwelling
9. At Crude Garbage Falls$27.99Vinyl LP - Sealed Buy Now
Along The WayFrom the mid-western underground consciousness, guitarist/producer Mark McGuire
emerges with his forthcoming 2014 Dead Oceans debut Along the Way. The conceptual
album details the inner journey of an individual seeking definition and enlightenment. For
those following McGuire's musical ascent thus far, the record is a culmination of a prodigious
and prolific artist.
Playing with a wide variety of instruments and styles on Along the Way, McGuire presents his
unique vision of modern psychedelia. Using electric and acoustic guitars, a Talkbox, drum
machines, a mandolin and lots in between, McGuire conducts a sonic exploration of the
inner self. "This story is an odyssey through the vast, unknown regions of the mind," he
explains in the liner notes," The endless unfolding of psychological landscapes, leading to
perpetual discoveries and expansions, in a genuinely emergent and infinite world of worlds."
Mark McGuire first came to national attention as part of Cleveland's drone collective
Emeralds, a band that single handedly created a paradigm shift toward the meditative in an
era of underground music best known for noise and chaos. Their albums for the Editions
Mego, No Fun and Hanson labels, among others, remain treasured to a generation of tape
collecting misfits. Over the course of many independent and self-releases the individual
members of the band exhibited their solo material from their earliest days. McGuire's first
solo release in 2006 showcased a natural affinity for melody, slowly disintegrating loops and
composition. When he kept audiences spellbound with live performances of his material it
made believers of concertgoers across the world. By 2009 his solo debut album Living With
Yourself was garnering praise from press and audiences alike. McGuire as a solo performer
made a direct connection with fans through his hypnotic playing, becoming more complex
in its dynamics and phrasings. The album's 2011 follow up Get Lost furthered the guitarist's
palate to include a sun-bleached digital effect. The music continually grew over itself as delays
decayed and new ones took their place, each layer revealing colors and sunspots, reflecting the
expanse of roads traveled.
The last few years have found McGuire touring with friends like Ducktails as well as
performing as a fifth member of the legendary Afghan Whigs, collaborating with artists like
Ponytail's Dustin Wong and releasing his own R&B influenced Road Chief project. 2014 will
bring more touring, more collaborations, more videos and media; expanding horizons that
all start with a sound.1. Awakening
2. Wonderland of Living Things
3. In Search of the Miraculous
4. To The Macrobes (Where Do I Go?)
6. Silent Weapons (The Architects of Manipulation)
7. The Instinct
8. The Human Condition (Song For My Father)
9. For the Friendships (Along the Way)
10. Arrival Begins the Next Departure
11. The War on Consciousness
12. The Lonelier Way
13. Turiya (The Same Way)$20.99Vinyl LP - 2 LPs Sealed Buy Now
Down the Way
2-LP Gatefold Package Featuring 3 Additional Tracks
" a sweet and savory blend to warm the soul." - MOJO
"Brother Angus' acoustic guitar wraps sister Julia's whispery trill with an unhurried,
disarmingly simple melody that will propel you off the couch and into the sun."
- Marie Claire "Need To Download"
"If A Book Like This compounded the prospects of their future, consider Down The Way
the fulfilling realization of all expectations." - Filter
" the musical equivalent of a walk on the beach at twilight." - Nylon
"The pair melt in to one another to create a spectral and lush backdrop" - Clash Magazine (UK)
"Very possibly the worlds' favourite Australian indie-folk brother and sister duo"
- Evening Standard (London UK)
Australian brother/sister duo, Angus & Julia Stone's sophomore album Down The Way was released to critical
acclaim, charted at #1 in Australia, and features the stand-out track "Big Jet Plane."
Originally available on vinyl only in limited quantities in North America, the 2-LP Gatefold package featuring 3
additional tracks is being reissued timed with the duo's 2014 album release and October tour.
Down The Way highlights the endless talents of this brother and sister as musicians, songwriters and producers.
The self-produced album was recorded between England, New York and Australia--from an old sawmill on the
riverbanks of Fowey, Cornwall to a studio in Brooklyn, to a water tank in Coolangatta to the streets of London and
back to Queens. Down The Way is comprised of tracks that sail across the different realms of musical themes,
from folksy charm to epic orchestral grandeur, all the while emphasizing the pair's beautifully subtle harmoniesLP 1
1. Hold On
2. Black Crow
3. For You
4. Big Jet Plane
5. Santa Monica Dream
6. Yellow Brick Road
7. And The Boys
1. On The Road
2. Walk It Off
4. Draw Your Swords
5. I'm Not Yours
6. The Devil's Tears
7. Old Friend
8. Little Bird
9. Take You Away$26.99Vinyl LP - 2 LPs Sealed Buy Now
My Life, My WaySo far we only reissued classic AGNOSTIC FRONT albums from the 80s and early 90s, but we all know this NEW YORK HARDCORE machine cant be stopped and that they are still going strong until this very day! Therefor the next reissue on STRENGTH RECORDS is one of the bands more recent, but certainly not their least records, 2011s MY LIFE, MY WAY! Originally released on NUCLEAR BLAST, the original pressing is already long gone and sold out, with some of the versions selling for top dollar on the known auction sites. We reckon that great music should be available for everyone who wants to hear it for a fair price, and MY LIFE, MY WAY can definitely be classified under great New York hardcore music with modern day classics such as City Streets, Us Against The World, My Way, Until The Day I Die and The Sacrifice!1. City Streets
2. More Than A Memory
3. Us Against The World
4. My Life, My Way
5. Thats Life
6. Self Pride
7. Until The Day I Die
8. Now And Forever
9. The Sacrifice
10. A Mi Manera
11. Your Worst Enemy
12. Empty Dreams
13. Time Has Come$37.99Vinyl LP - Sealed Buy Now
The Way Is ReadNonesuch Records releases The Way Is Read, a twelve-song album by the English trio The Staves-Emily, Jessica, and Camilla Staveley-Taylor (all vocals)-and New York City-based ensemble yMusic. After being commissioned in 2016 by Justin Vernon's Eaux Claires Festival to collaborate on a live performance piece, The Staves delved deep into yMusic's catalogue of contemporary classical compositions to find pieces suited to their lyrics and vocals. While the Festival is known for bringing musicians together for one-off performances, this is the first time one of those partnerships has made the leap into a studio album. The LP was produced by Rob Moose and Jessica Staveley-Taylor and mixed and engineered by Brian Joseph at his studio, Hive, in Eau Claire, Wisconsin.
The two groups will come together live again at a series of special shows at the Walker Art Center in Minneapolis on December 1 and 2, and they also will perform on public radio's A Prairie Home Companion on December 16. The Way Is Read is available to pre-order now from iTunes and the Nonesuch Store, along with an instant download of the album track Trouble on My Mind, which can be heard on Spotify. You can watch a video for that song, directed by yMusic flautist Alex Sopp, here:
Emily Staveley-Taylor says of the collaboration, Our aim from the outset was to truly collaborate with yMusic. We wanted to feel like instruments and join in with some of yMusic's existing work, using our voices in ways we hadn't previously explored. We chopped up compositions and put them together again in new ways. We took old folk songs and made them abstract. The idea of forming an orchestra with these incredible musicians was fascinating. What we have ended up with is everything we'd hoped, more than we dreamed, and hopefully the tip of the iceberg.
Rob Moose of yMusic adds, When Justin raised the possibility of our groups collaborating, we immediately upped the stakes by focusing on a combination of new Staves songs and transformations of yMusic's composed works. It was as much a thrill to hear songs emerge organically over sections of intricate chamber music as it was satisfying to strip songs of the instrument that created them, whether guitar or piano, in order to craft new connective tissue. This project was born of voice memos sent back and forth across the seas, two frenetic days in a Manhattan rehearsal space, a festival set, and a single day of recording in the woods outside of Eau Claire.
The Staves, also known as Jessica, Camilla and Emily Staveley-Taylor, moved to Minneapolis from London in the summer of 2016, where they lived for a year in order to be closer to Eau Claire, Wisconsin, friend and collaborator Justin Vernon's hometown, which has become a creative hub and second home to them. The sisters have worked with Stones and Who producer Glyn Johns, as well as Laura Marling and Ryan Adams producer Ethan Johns. In addition to their three albums and several EPs, The Staves have headlined tours across North America and Europe and performed on tours with Bon Iver, Florence and the Machine, Angus and Julia Stone, and The Civil Wars. The New York Times said of their 2015 Vernon-produced Nonesuch debut, If I Was, the songs are illuminated from within, and Magnet said, The perfection just goes on and on until you start to wonder: Are they human?
Hailed by Performance Today's Fred Child as one of the groups that has really helped to shape the future of classical music, yMusic comprises six New York City instrumentalists-violinist Rob Moose, violist Nadia Sirota, cellist Gabriel Cabezas, clarinettist Hideki Aomori, flutist Alex Sopp, and trumpeter CJ Camerieri-flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration has attracted the attention of high profile collaborators-from Paul Simon to Ben Folds to JosÉ González-and inspired an expanding repertoire of original works by some of today's foremost composers, including Nico Muhly and Andrew Norman.1. Hopeless
2. Take Me Home
3. Trouble on My Mind
4. Bladed Stance
5. All My Life
6. Silent Side
7. Year of the Dog
8. Courting Is a Pleasure
9. All the Times You Prayed
11. Sprig of Thyme
12. The Way is Read$21.99Vinyl LP - Sealed Buy Now
The Thread That Keeps UsOver the past two decades, a strong sense of place
has shaped the music of CALEXICO, infusing their
albums with a stylistic unpredictability and richness
of texture. While 2015's Edge of the Sun brought
the Tucson-bred band to the Mexico City borough
of Coyoacán, their new full-length The Thread That
Keeps Us mostly came to life in a house studio near
the Northern California coast nicknamed "The Phantom
Ship" by CALEXICO vocalist/guitarist Joey
Burns and drummer John Convertino.
Like "End of the World with You," much of The Thread
That Keeps Us captures the anxieties and unease of
living in tumultuous times. While the album draws
a kinetic energy from all that uncertainty, its lyrics
unfold with a literary nuance and sense of setting
and character. "Instead of writing straight-up protest
songs, I want to tell stories," Burns says. Largely
inspired by his wanderings around Northern California
during the album's production, the narratives
embedded in The Thread That Keeps Us reflect on
displacement, transitory existence, and-in Burns's
words-"returning to your home after being gone for
some time and seeing how things have changed, and
maybe not in the best way."1. End of the World With You
2. Voices in the Field
3. Bridge to Nowhere
5. Under the Wheels
6. The Town & Miss Lorraine
7. Flores y Tamales
8. Another Space
9. Unconditional Waltz
10. Girl in the Forest
11. Eyes Wide Awake
12. Dead in the Water
14. Thrown to the Wild
15. Music Box$19.99Vinyl LP - Sealed Buy Now
The Way We Are (Discontinued)Following their abstract masterpiece, The World I See, The Present returns with an album that delves ever deeper into the human psyche. Like an audio equivalent of Apocalypse Now, The Way We Are is by turns terrifying, enchanting, hallucinatory, and sharply focused. A psychedelic power-trio from a mythical dimension, The Present creates a strangely familiar music, as if they had already seen your dreams and your nightmares.
In order to define the music, it might help to list some of the things it is not: it is not a pop album, neither is it a classical or jazz album. It's not an ambient album or a rock album either, but there are elements of all of these within its dense musical structure. Touchstones include the music of La Monte Young, Dmitri Shostakovich, Wolfgang Voigt, Cluster, Black Dice, Claude Debussy, Aphex Twin, Can, Arthur Russell, Boredoms, and Brian Eno-- and yet it sounds like none of these.
What it is: a kaleidoscopic trip influenced by New York City, the ocean, mountains, the sun and the trees, Andy Warhol, Yukio Mishima, David Lynch, Friedrich Nietzsche, Buddhist mantra, mass transit, cats, birds and life. Life in all its myriad complexity and confusions, in all its transcendent beauty and its horrendous brutality.
Their live show has been described as more of a sensory experience than a mere matter of listening and it's the title track-- a 35-minute epic the likes of which has not been heard since the glory days of Popul Vuh-- that best captures the band's extraordinary intensity.
Once again this work is a collaboration with the artist Andrew Kuo, whose unique vision formed the cover of The World I See and whose work provides the visual counterpoint to The Present's sonic creation. Together, they make a totality that reflects so intensely and so clearly The Way We Are.Medman
The Way We Are$22.99Vinyl LP - 2 LPs Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Man Of The WorldALO is not a band that dwells in the past. Their latest adventure, Man of the World finds the CA collective flexing their considerable creative powers to craft their finest album yet. Recorded almost entirely live, the 11-song collection is the sound of four players who have truly found their groove together. This is ALO at their most natural, their most organic and their most pure.
Man of the World was engineered by the bands steady studio partner Dave Simon-Baker and produced by none other than Jack Johnson, a longtime friend and musical collaborator. The singer/songwriter/producer was a natural fit with ALO. It felt like he joined the band for the album, drummer Dave Brogan admits. He was very hands on. If he thought he could add something to a track, he was willing to go for it. And we were more than happy to let him. For the recording, the quartet packed their bags, said goodbye to their friends and families, and headed off to Johnsons home studio on the North Shore of Oahu, Hawaii.
As they always have, they shared the songwriting and the vocal duties. Though all four members came to the studio with arrangements and parts of songs fleshed out, everything got scrambled as soon as everyone was together. There was a real workshop vibe, guitarist Lebo affirms. Arrangements were being torn apart and put back together in ways nobody could have imagined. The band had traditionally built their songs up track by track, but they abandoned that approach for a rawer, more organic, one. Songs that sprang out of the bands new recording approach span the sonic spectrum in classic ALO fashion.1. Suspended
2. States Of Friction
3. Man of the World
4. Put Away the Past
5. I Wanna Feel It
6. Big Appetite
7. Gardener's Grave
8. Time and Heat
9. The Country Electro
10. The Champ
11. I Love Music$19.99Vinyl LP - Sealed Buy Now
WorldsHaving conquered the dance music world at the tender age of 21, Porter Robinson returns with his most ambitious and accessible work yet. 'Worlds' is a
superlative album that changes the game on what electronic music can be, adding a sleek and heartfelt altpop sensibility
to the larger-than-life dynamics of modern dance music. Imagine sonics and song craft of M83, Passion Pit and Skrillex all in one epic package. With his
last singles hitting #1 on Hypemachine, and #1 Facebook trending during the Oscars, and a 43 date national tour on the way, Robinson is poised to
become one of the big global breakout artists of the year.1. Divinity (feat. Amy Millan)
2. Sad Machine
3. Years of War (feat. Breanne Duren and Sean Caskey)
5. Fresh Static Snow
6. Polygon Dust (feat. Lemaitre)
7. Hear the Bells (feat. Imaginary Cities)
8. Natural Light
9. Lionhearted (feat. Urban Cone)
10. Sea Of Voices
11. Fellow Feeling
12. Goodbye To A World$21.99Vinyl LP - 2 LPs Sealed Buy Now
Love Makes The WorldImport
180 Gram Audiophile Vinyl
Includes 4 Page Booklet With Pictures, Lyrics And Liner Notes
First Time On Vinyl
Featuring Guest Appearances By Babyface, Steven Tyler, Celine Dion. Wynton Marsalis And K.D. Lang
Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. She also wrote 61 hits that charted in the UK, making her the most successful female songwriter on the UK singles charts between 1952 and 2005.
Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting. She is the recipient of the 2013 Library of Congress Gershwin Prize for Popular Song, the first woman to be honored this way.
Love Makes The World by Carole King was officially released in 2001 and is now finally available on vinyl for the first time. The album features a variety of well-known musicians like Babyface, Steven Tyler, Celine Dion, Wynton Marsalis and K.D. Lang.
King's distinctive piano and heartfelt vocals belt out tunes with spare accompaniment. The string quartet on Uncommon Love seems organically relaxed and K.D. Lang remains appropriately low-key throughout the duet.
The yearning of You Will Find Me There recalls the simple poetic honesty of You've Got a Friend both lyrically and musically.
Love Makes the World is the classiest and most consistent collection of songs since the late '70s.1. Love Makes The World
2. You Can Do Anything
3. The Reason
4. I Wasn't Gonna Fall In Love
5. I Don't Know
6. Oh No Not My Baby
7. It Could Have Been Anyone
8. Monday Without You
9. An Uncommon Love
10. You Will Find Me There
11. Safe Again
12. This Time$34.99180 Gram Audiophile Vinyl LP - Sealed Buy Now
Way Down In The Jungle RoomRCA Records and Legacy Recordings, the catalog division of Sony Music Entertainment, will release Way Down In The Jungle Room, a definitive new 2-LP collection of Elvis Presley's last studio recordings.
Way Down In The Jungle Room is an essential and welcome addition for every fan's library. In the mid-1970s, Elvis, the King of Rock 'n' Roll, became another kind of pioneer as one of the world's first major recording artists to create fully-realized professional level records in the intimacy of his own home studio.
With original recordings executive-produced by Elvis Presley with producer Felton Jarvis (who'd helmed most of Elvis' records from 1966-1977), Way Down In The Jungle Room features rare outtakes laid down during two mythic sessions (February 2-8, 1976 and October 28-30, 1976) in Graceland's den -- known as the Jungle Room -- which was converted into a professional caliber recording studio for the purpose of capturing these indelible performances. The outtakes have been newly mixed by Grammy Award-winning engineer Matt Ross-Spang at Sam Phillips Recording in Memphis, Tennessee.
For these sessions, Elvis was backed by many members of his longtime touring band including: James Burton (guitar), Ronnie Tutt (drums), David Briggs (keyboards), Glenn D. Hardin (keyboards), Jerry Scheff (bass), Norbert Putnam (bass) and J.D. Sumner & the Stamps (vocals).
In 1976, when the tracks for Way Down In The Jungle Room were cut, Elvis Presley had been an RCA Records recording artist for 20 years, inventing the sound and attitude that defined the very essence of rock 'n' roll. That same year, RCA released The Sun Sessions, the label's first official collection of the electrifying 1954-1955 Elvis recordings that launched his career while transforming the world.
Having entered his 40s, Elvis Presley was evolving as an artist and, rather than bask in the nostalgia of his 1950s watershed recordings, was looking for new ways to express himself musically. Needing to create new sounds for a new era, Elvis Presley--who'd been charting on Country and Adult Contemporary stations -- decided to convert the Hawaiian-themed Jungle Room (a relaxation den in his fabled Graceland mansion in Memphis, Tennessee) into an informal home studio, where he could lay down tracks the way he wanted, outside the budget and scheduling pressures of the professional studios he'd worked in previously. With the help of RCA's mobile recording truck and longtime producer Felton Jarvis and engineer Mike Moran at the board, Elvis tackled a far-ranging mix of country and pop covers (Blue Eyes Crying in the Rain, I'll Never Fall in Love Again, Danny Boy, Solitaire) and late-period classics of his catalog, such as Moody Blue and Way Down.
The Outtakes was mixed for this collection at the Sam Phillips Recording Service in Memphis and includes both outtakes and in-the-studio dialog, providing a fly-on-the-wall experience of what the sessions were like. With the exception of She Thinks I Still Care, the performances have been sequenced in the order they were recorded.
Way Down In The Jungle Room with also be available on 150g 12 vinyl in a 2LP gatefold sleeve.LP 1
1. Bitter They Are, Harder They Fall - take 1
2. She Thinks I Still Care - take 10
3. The Last Farewell - take 2
4. Solitaire - take 7
5. I'll Never Fall In Love Again - take 5
6. Moody Blue - take 1
7. For The Heart - take 1
8. Hurt - take 3
9. Danny Boy - take 9
1. Never Again - take 9
2. Love Coming Down - take 3
3. Blue Eyes Crying In The Rain - take 4
4. She Thinks I Still Care - (alternate version) take 2
5. It's Easy For You - take 1
6. Way Down - take 2
7. Pledging My Love - take 3
8. For The Heart - take 4$27.99Vinyl LP - 2 LPs Sealed Buy Now
The Way We Separate (Awaiting Repress)Thomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon,
introduced themselvesto the world with theNo Body and ForNow EPs,
both released last year on Ghostly International. The EPs were united
by minimalist, R&B-inuenced instrumentation, and also by a lyrical
theme, with both serving as meditations on the darkness that
underpins the most intense of human emotions: love.
The duo's debut album The Ways We Separate both consolidates and
developsthese ideas. The album focuses, asthe title suggests, on the
idea of separation - both within the context of relationships and in a
more intimate, psychological sense. As Mullarney explains, The
narrative contained inside The Ways We Separate deals with two kinds
ofseparation: one where two entities grow apart, and the other where
we grow apart from ourselves. Over the course of a relationship, the
two sometimes happen together, one being the result of the other.
Desires, passions and regrets are central to the songs on The Ways We
Separate, which take a variety of perspectives to construct a nuanced
reection on the album's central theme. 'Between the Waves' draws a
clever analogy between relationships and soundwaves falling out of
phase: I know all the ways we separate/ Where we start to fade at
di erent frequencies. 'Overseer' catalogues a parting of the ways with
discom ting clarity: Isn't it ne?/ Taking it slow?/ Watching you watch
me walk out your door. And album closer 'Split in Two' explores how th
extremes of love and loss can take you far away from being the person
you thought you were, making explicit the connection between the two
ideas of separation: What I'd do for you?, sings Thomas Mullarney,
Split myself in half/ Divided into two.
Musically, The Ways We Separate nds Beacon working with a richer
sonic palette than ever before -as Gossett says, The production on
this album is much more expansive than anything thing we've done
thusfar. We spent a lot of time exploring new gear and experimenting
with how to pull a wide range of sound out of various instruments.
Some ofthe key sonicsthatshaped this LP are analogue synthesis, lots
of heavily processed guitar work, and vocal layering/processing. While
the abiding mood remains that of late-night introspection, the
production draws from elements of hip hop and a wide gamut of
electronic music, marrying intricate beats and subtle textures to
honeyed pop melodiesthat belie the album's conceptual depth. Rarely
has bleakness sounded so pretty - this is a record that's deceptively,
compellingly beautiful, an exploration of a place both discom ting and
darkly seductive.1. Bring You Back
2. Feeling's Gone
3. Between The Waves
6. Late November
7. Studio Audience
10. Split in Two$18.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Never Were The Way She Was
180g LP In Gatefold Jacket Includes Art Print Poster
"Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
exhilarating and frightening." - Pitchfork
"Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
expressive sound palette,." - The New York Times
Two of Constellation's acclaimed solo instrumental artists join forces on this
tremendous new album of original compositions for horn and violin.
Colin Stetson has developed a unique and renowned voice as a performer and
composer, chiefly on bass and tenor saxophones, where he rallies an array of
technical strengths and innovations (circular breathing, contact micing of his own
body and the body of his instrument, vocalizations through the reed) to make some
of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
work of recent years. His brilliant trilogy of New History Warfare records (2007-
2013) has been resoundingly celebrated by critics, fans and fellow musicians
across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
industrial/dark ambient, black metal and indie rock.
The solo violin work of Sarah Neufeld has emerged more recently, and especially
through 2011-2014, in the period between her primary band Arcade Fire's last two
albums. While no stranger to modern/minimalist composition with her Bell Orchestre
ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
deliberate and evocative solo violin practice combining rock, folk, ambient and
modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.
Stetson and Neufeld first began playing in duo formation while on tour together as
soloists in 2012, joining each other on stage for one or two of their respective
pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
(including the Blue Caprice soundtrack). Duo compositions for their debut album
emerged throughout 2014, and were road-tested that spring with performances at
the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
(Germany). The album was recorded without overdubbing, looping, sampling,
cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
and mixed in Montreal by Mark Lawson (Arcade Fire).
Never were the way she was is guided by the metaphorical narrative of the life of
a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
search for a world that resembles her experience. The album's expansive sonic
trajectory and multiplicity of structures and voicings belies the fundamental
economy of two acoustic instruments combining in real time. The result is a musical
chronicle that powerfully establishes its own spatial and temporal horizon, a
soundtrack that requires no images but profoundly compels the imaginative. From
the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
to the stately long tones of "And they still move", the dark drone-inflected sea-saw
waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
impressively diverse) integration of composition, performance, timbre and texture
while holding their respective instruments in sparkling juxtaposition. Never were
the way she was is a sum quite definitively and thrillingly greater than its parts.1. The sun roars into view
2. Won't be a thing to become
3. In the vespers
4. And still they move
5. With the dark hug of time
6. The rest of us
7. Never were the way she was
8. Flight$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In A Silent Way (Awaiting Repress)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
ADAD-4AD-3210xThe Mountain Goats
The Life of the World To ComeThe Mountain Goats have been making records since that mythical time when the term tape-only label didn't require any elaborate explanation, but have been recording and touring in their current incarnation since 2007. That current incarnation consists of John Darnielle, Peter Hughes and Jon Wurster, who, having toured Australia, England, and the U.S. several times (and a cruise ship once), recorded The Life of the World to Come across three studios with three producers from April through June of 2009: with Brandon Eggleston at Chicago's Electrical Audio; with John Congleton at Sonic Ranch in Tornillo, Texas; and with Scott Solter at Baucom Road in Monroe, North Carolina. Owen Pallet, with whom the band shared a stage in Australia this past January at the Meredith Music Festival, arranged and played strings. The Life of the World to Come's 12 songs all originate, one way or another, in the Bible, though none of the band, as of press time, had joined the Vineyard Fellowship.1. 1 Samuel 15:23
2. Psalms 40:2
3. Genesis 3:23
4. Philippians 3:20-21
5. Hebrews 11:40
6. Genesis 30:3
7. Romans 10:9
8. 1 John 4:16
9. Matthew 25:21
10. Deuteronomy 2:10
11. Isaiah 45:23
12. Ezekiel 7 and the Permanent Efficacy of Grace$22.99Vinyl LP - 2 LPs Sealed Buy Now
A New World Record (Awaiting Repress)Jeff Lynne reportedly regards this album and its follow-up, Out of the Blue, as the high points in the band's history. One might be better off opting for A New World Record over its successor, however, as a more modest-sized creation chock full of superb songs that are produced even better. Opening with the opulently orchestrated Tightrope, which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group. The Beatles influence is present, to be sure, but developed to a very high degree of sophistication and on Lynne's own terms, rather than being imitative of specific songs.
Telephone Line might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking them. The original LP's second side opened with So Fine, which seems like the perfect pop synthesis of guitar, percussion, and orchestral sounds, embodying precisely what Lynne had first set out to do with Roy Wood at the moment ELO was conceived. From there, the album soars through stomping rock numbers like Livin' Thing and Do Ya, interspersed with lyrical pieces like Above the Clouds (which makes striking use of pizzicato bass strings).1. Tightrope
2. Telephone Line
4. Mission (A World Record)
5. So Fine
6. Livin' Thing
7. Above The Clouds
8. Do Ya
9. Shangri-La$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Very Special World of Lee HazlewoodLee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with "These Boots Are Made For Walkin'," the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.
In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning-in as much as he ever did-for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.
Lushly orchestrated and-like the album that preceded it-half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ("Sand," "Boots," "So Long Babe," "Summer Wine"-included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, "For One Moment." It's a record of extremes: "When A Fool Loves A Fool" is as light and throwaway as anything he ever laid down, while the wistful "My Autumn's Done Come" (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.1. For One Moment
2. When a Fool Loves a Fool
3. Not the Lovin' Kind
4. Your Sweet Love
6. My Autumn's Done Come
7. These Boots Are Made For Walkin'
8. I Move Around
9. So Long, Babe
10. Bugles In the Afternoon
11. My Baby Cried All Night Long$22.99Vinyl LP - Sealed Buy Now
The World Is Real (Awaiting Repress)LAKE's comprehensive pop vision has always been anchored in an honest mournfulness, a sensitivity to nature, and the vulnerability of life. These mark
LAKE's more down tempo, contemplative grooves, which are given their fullest voice yet on The World Is Real, LAKE's fourth album for K and sixth overall.
It follows 2008's Oh, the Places We'll Go, 2009's Let's Build A Roof, and 2011's Giving & Receiving, and was similarly recorded at Dub Narcotic Studio at K headquarters in their hometown of Olympia, Washington.
The songwriting partnership of Ashley Eriksson and Eli Moore is the locus of LAKE's creative engine, but the additional members are as integral and
longstanding. They are the diversely talented Andrew Dorsett, Markly Morisson, and Lindsay Schief. The creative sound that surrounds LAKE is storied in collaboration, sonic adventure and an allegiance to exploring the limits of crafting pop songs. They have toured, recorded and allied with some of the most pioneering figures in contemporary independent music: R. Stevie Moore, Chris Cohen, Karl Blau, and Phil Elverum's Mt. Eerie, for example.
Lead track Do You Recall? offers wide and subtle nods to working-class 80's classics like Mellencamp's Jack & Diane, or Hornsby's The Way It Is. Featuring drum machine and nostalgic guitar riffs, the lead and group vocals float through droning synths like wind to a bounded world.
Dog in the Desert one of the album's centerpieces, was initially inspired by the text-works of conceptual artist, Richard Long, and his "art made by walking in landscapes" (richardlong.org). Eriksson's voice, and the dark plodding instrumentation of the song, take Long's images and shape them into a meditation on abandonment, loss and reconciliation with nature.
Tellingly, the earthbound bass groove on Dog in the Desert is a quotation of Steely Dan's Black Cow. It is not the only song to directly live sample Fagen and Becker: Perfect Fit mashes up the chordal rhythms of Peg to excellent effect.
It's clear that LAKE enjoys to boldly tread and rework the classics in this way, most notably in Mark Morrison's first personal LAKE offering Takin' My Time, a direct reference to the Isley Brothers song "Caravan of Love." This smooth R&B pop seducer - a wild crowd favorite at LAKE's local Olympia outings - is a bit of an aside from The World Is Real's more meditative core.
Other highlights on The World Is Real: Bury the House takes its 60's styled psychedelic setting for a playful, self-deprecating riff on LAKE's own new age-y ideals: Bury the house / under the garden / make an attempt to go outside. Composure and "I Wish For You" have the pop attributes of Pet Sounds and Smile era Beach Boys - faintly forlorn, but still warm and sweet. And the community oriented compassion exhibited by LAKE's members is beautifully summarized in the opening lines of album closer Reconcile: How do we exist under the sun
but not in bliss? / What could have been? / Act on it.
Lovers of hybrid pop will hear the bright whirring electronic keys that notably set McCartney II apart from the rest of Paul's catalog, as well as the bittersweet organ and keyboard influence of Yo La Tengo, and the minimalist funk of Talking Heads on
this record. However, precise comparison is difficult: The World is Real avoids easy genre comparisons. An album full of the articulation of discontent and loss, LAKE captures these emotions in tandem with the pop music joys they have so expertly reigned in for many years.1. Do You Recall?
2. Bury The House
3. Combat Culture
5. Go Back
6. Dog In The Desert
7. Perfect Fit
8. Takin' My Time
9. I Wish For You
10. In The Stubborn Eyes Of A Demon
11. Reconcile$18.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Warm World of Joao GilbertoImport
180 Gram Vinyl
Includes Bonus Tracks
Early magic by Joao Gilberto - an album of tracks recorded in Brazil, issued in the US by Atlantic during the height of his first few years of bossa fame! The tracks are short, sweet, and gentle - gliding along on a mix of acoustic guitar, light percussion, and some occasional string backings that never get in the way. Titles include Lobo Bobo, Bim Bom, E Luxo So, Desafinado, Rosa Morena, Brigas Nunca Mais, and Ho Ba La La.1. Chega De Saudade
2. Bim Bom
3. Hó Bá Lá Lá Lá
5. Brigas, Nunca Mais
6. Morena Boca De Ouro
7. Manha De Carnival*
8. O Nosso Amor*
9. A Felicidade*
10. Maria NinguÉm
11. Lobo Bobo
12. Aos PÉs Da Cruz
13. É Luxo Só
14. Saudade Fez Um Samba
15. Rosa Morena
*Bonus Tracks$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Infinite WorldsWithin the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.
"I feel so small / my feet can barely touch the floor / on the bus where everybody is tall," she sings softly and with caution, as she begin the album with "The Embers." Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. "I'm just a small fish / and you're a shark that hates everything," she sings, repeating that line and over and over with strength and power. "I've been hiding in the smallest space / I am dying to go / this is not my home," Tamko starts carefully on "Fear & Force," before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. "Mal a L'aise" is one of the album's focal points, a five-minute meditation of ambient dream pop, featuring Tamko's usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. "Mal a L'aise" means "discomfort" in French, Tamko's first language, and throughout the song she works through different meanings of that word: social, cultural, physical.
Infinite Worlds builds upon Tamko's stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that's pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit side-by-side cohesively, all tied together by Tamko's soaring voice.
"I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in" she says. "Archiving different moments that I've been thinking about, have gone through. It's not always autobiographical though. It could be about different situations I've seen people I love in. Or people I don't know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where I'm from."
Tamko's songs are embedded with her own story and personal history: growing up in Cameroon, her family's move to New York and adjusting to culture shock. Her family left Cameroon just in time for her to begin high school in the states. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. "When I was in Cameroon, my mom would have these 'reunions' which was just her friends coming over on Sundays," she says. "There was a lot of music around me. Traditional West-African songs sung as group chants, hand drums and percussive instruments being played, etc." To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.
Infinite Worlds was recorded at Salvation Recording Co. in New Paltz, NY with engineer and co-producer Chris Daly. Tamko and Daly worked closely and tirelessly in his upstate NY studio through the winter into the spring of 2016. The album's title references a book of poetry by Dana Ward called The Crisis of Infinite Worlds, a book Tamko found particularly inspiring during her recording process, but also very challenging to read: "I had to think critically while reading Dana Ward, it was exciting to be challenged in that way. While I was writing the album, it was a lot of me thinking critically about how to actualize my ideas, and the challenge of reaching proficiency in new instruments. It sort of mirrored my experience reading Dana Ward's book. I found myself combing his writing over and over and over until I grabbed something from it."
And as she sat with her songs, she found more and more. "A lot of it is about finding a space for myself, whether it is physical, emotional, social" Tamko says. "It's about finding that place where I feel most comfortable. And also finding that the confidence within myself can continue to grow. And finding what it takes for me to feel whole through making music."1. The Embers
2. Fear & Force
4. Mal à L'aise
5. 100 Years
6. Cleaning House
7. Cold Apartment
8. Alive and A Well$15.99Vinyl LP - Sealed Buy Now