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#3#3 follows up The Script's critically acclaimed 2010 Science & Faith album, which rocketed to No. 3 on Billboard's Top 200 and led to a string of sold out US tour dates in Fall 2011. Science and Faith debuted at #1 in Ireland and the UK.
The Script have enjoyed an epic rise to fame following the success of their 2008 self-titled debut album and their massive platinum selling single, Breakeven. That single rewrote history on Billboard's Adult Pop Songs airplay radio chart, taking the #1 spot, where the song completed a record-setting 36 week rise to the summit. Impressively, the band has sold over five million singles in the US, and has played stadium shows with Paul McCartney and their mentors, U2.1. Good Ol' Days
2. Six Degrees of Separation
3. Hall of Fame (feat. will.i.am)
4. If You Cold See Me Now
6. Give the Love Around
7. Broken Arrow
9. No Words
10. Millionaires$23.99Vinyl LP - Sealed Buy Now
Freedom ChildFreedom Child is the new album from The Script, and is the band's fifth full length album. Freedom Child sees the band presenting a collection of urgent, timely, future-facing anthems that speak of both real-life events and real-time sonic adventurism. The album was recorded between London and Los Angeles and for the first time, the band chose to work with an A List of co-writers and producers.
Freedom Child is the follow up to the band s 2014 release, No Sound Without Silence. The new album is being launched with the new single and video, Rain, an infectious cloudburst of rhythmically-taut, piano-tinged pop with the kind of irresistible chorus that has become a trademark of the tight-knit band.1. No Man Is An Island
3. Arms Open
4. Rock The World
5. Mad Love
7. Divided States of America
9. Love Not Lovers
12. Written In The Scars
14. Freedom Child$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Science & FaithFollow-up to The Script's debut album from Dubliners Danny O'Donoghue, Mark Sheehan and Glen Power. For The First Time is the lead track and is the inspirational key to The Script's second album Science & Faith - an addictive blend of hip hop rhythms, flowing melodies, sparkling hooks and poignant, story-spinning lyrics, with Danny's mellifluous soulful vocals riding high over huge, anthemic choruses. Finding weighty, emotion-packed mini-epics came thick and fast, Science & Faith is far from a difficult second album.1. You Won't Feel A Thing
2. For the First Time
4. Science & Faith
5. If You Ever Come Back
1. Long Gone and Moved On
2. Dead Man Walking
3. This = Love
4. Walk Away
5. Exit Wounds$23.99Vinyl LP - Sealed Buy Now
Dunkirk SoundtrackFirst Pressing Of 4000 Numbered Copies On Transparent Blue Vinyl, Black Vinyl Thereafter
180 Gram Audiophile Vinyl
PVC Protective Sleeve
Music Composed By Hans Zimmer
Brand New Movie, Directed By Christopher Nolan
Dunkirk is a 2017 English-language war film written, co-produced and directed by Christopher Nolan. The film stars Fionn Whitehead, Tom Hardy, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard and James D'Arcy. The movie focusses on the evacuation of Allied soldiers from Belgium, the British Empire, Canada, and France, who were cut off and surrounded by the German army from the beaches and harbor of Dunkirk, France, between May 26- June 04, 1940, during the Battle of France in World War II.
The score is composed by multiple award winner Hans Zimmer. On 5 April 2017, Zimmer revealed that he was nearly finished with the score and that it would be complete by the start of his Hans Zimmer Live on Tour shows in May.
For the purpose of intensity, the script was written to accommodate the auditory illusion of a Shepard tone, which had previously been explored in Nolan's 2006 film The Prestige. This was coupled with the sound of a ticking clock, that of Nolan's own pocket watch, which he recorded and sent to Zimmer to be synthesized.
The collaborative careers of Christopher Nolan and Hans Zimmer have proven to be a success in the last decade, with examples such as Interstellar, The Dark Knight, and Inception. This score turns out to be epic once again.LP 1
1. The Mole
2. We Need Our Army Back
3. Shivering Soldier
5. The Tide
6. Regimental Brothers
3. The Oil
4. Variation 15 (Dunkirk)
5. End Titles$43.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The ScriptThe Script is made up of three Irish lads from Dublin who are now currently based out of London, England.
The trio's music boasts the kind of artful twists sure to turn all preconceptions on their head. This is a whole new brand of Celtic Soul, blending Hip Hop lyrical flow with Pop melodiousness, state-of-the-art R&B production with anthemic Rock dynamics, classic song construction with gritty contemporary narratives.
It's got all the emotion and passion you would expect from across the Irish sea, but it is glittering in its modernity, universal in its singalong addictiveness and global in its syncopation, music for the feet, heart and head.
This 11 track album showcases the band's fine talent with a batch of beautifully written songs.1. We Cry
2. Before the Worst
3. Talk You Down
4. The Man Who Can't Be Moved
6. Rusty Halo
7. The End Where I Begin
8. Fall For Anything
9. If You See Kay
10. I'm Yours$23.99Vinyl LP - Sealed Buy Now
NoiseBORIS has always demolished expectations of what a band can do musically and aesthetically. In keeping with that tradition, they again flip the script for the band's first official release in three years buy serving up their most all-encompassing effort to date. Noise is an amplification of BORIS' endless pursuit of musical extremes while moving aggressive, intense rock into new territories.1. Melody
3. Ghost of Romance
4. Heavy Rain
5. Taiyo no Baka
8. Siesta$24.99Vinyl LP - 2 LPs Sealed Buy Now
My Fair Lady (Expanded)
First Pressing Of 750 Copies On 180 Pink Vinyl, Black Vinyl Thereafter
Includes 11 Bonus Tracks
PVC Protective Sleeve
The eponymous stage musical My Fair Lady (1956) got a very successful film adaption in 1964 starring Audrey Hepburn and Rex Harrison. Based on the original script by Frederick Loewe, the film won eight Oscars and three Golden Globes. Composed by Alan Jay Lerner (lyrics) and Frederick Loewe (music), the songs were performed by both the film cast and guest singers Marni Nixon & Bill Shirley and were supervised by German pianist, conductor and composer AndrÉ Previn.
The story about Eliza Doolitte, a Cockney flower girl who takes speech lessons so the she may pass as a lady, now gets an expanded Music On Vinyl At The Movies release.LP 1
2. Why Can't The English?
3. Wouldn't It Be Loverly
4. The Flower Market
5. I'm An Ordinary Man
6. With A Little Bit Of Luck
7. Just You Wait
8. Servants' Chorus
9. The Rain In Spain
10. I Could Have Danced All Night
11. Ascot Gavotte
12. Ascot Gavotte (Reprise)
13. On The Street Where You Live
1. The Transylvanian March
2. The Embassy Waltz
3. You Did It
4. Just You Wait (Reprise)
5. On The Street Where You Live (Reprise)
6. Show Me
7. The Flowermarket
8. Get Me To The Church On Time
9. A Hymn To Him
10. Without You
11. I've Grown Accustomed To Her Face
12. End Titles
13. Exit Music$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Ghettoville - Box SetBox Set Includes:
Ghettoville (3LP + CD)
Hazyville (White Vinyl 2LP + CD - Exclusive To Boxset)
32-Page Art Book
Ghettoville is the bleached out and black tinted conclusion of the Actress image.
Where the demands of writing caught the artist slumped and reclined, devoid of any soul, acutely aware of the simulated prism that required breakout.
Four albums in and the notes and compositions no longer contain decipherable language.
The scripts now carry tears, the world has returned to a flattened state, and out through that window, the birds look back into the cage they once inhabited.
Spitting flames behind a white wall of silence.
The machines have turned to stone, data reads like an obituary to its user.
A fix is no longer a release, it's a brittle curse. Zero satisfaction, no teeth, pseudo artists running rampant, but the path continues.
R.I.P Music 2014.1. Forgiven
2. Street Corp.
16. Rule$107.99Vinyl LP + 2 CDs Box Set - 5 LPs Sealed Buy Now
Hellbilly DeluxePicture Disc
Just as White Zombie was on the verge of becoming the most popular metal band in the land, Rob Zombie decided he was an auteur. Stopping short of breaking up the band, Zombie set out to make sure everyone know that he was the main force in the band, as if there were any doubt in the first place. He did extracurricular animation, managed a band, started a record label, drew a sequence in Beavis & Butt-Head Do America, appeared in films, wrote the script for The Crow 3 (which he planned to direct), and most tellingly of all, he recorded a solo album, Hellbilly Deluxe. Since White Zombie was always his baby, it seems a little strange that he had the need to break away from the group, especially since the album sounds exactly like a White Zombie record, complete with thunderous industrial rhythms, drilling metal guitars, and B-movie obsessions. For most listeners, it doesn't matter if Hellbilly Deluxe is technically a White Zombie or Rob Zombie album, since it delivers the goods, arguably even better than Astro-Creep: 2000. To outsiders, the entire schlock enterprise may seem ridiculous or sound monotonous, but even the weak cuts here hit hard and give fans exactly what they want.
-Stephen Thomas Erlewine (All Music)1. Call of the Zombie
4. Living Dead Girl
5. Perversion 99
6. Demonoid Phenomenon
7. Spookshow Baby
8. How to Make a Monster
9. Meet the Creeper
10.The Ballad of Resurrection Joe and Rosa Whore
11.What Lurks on Channel X?
12.Return of the Phantom Stranger
13.The Beginning of the End$35.99Vinyl LP Picture Disc - Sealed Buy Now
Good Times AheadAfter years of cultivating songs, mixes and remixes, and overall vibes for festivals and tours, Matt Toth and Julio Mejia - better known as GTA (short for GOOD TIMES AHEAD) - will release their full length debut Good Times Ahead via Warner Brothers.
Featuring Tinashe, Vince Staples, Tungi Ige, Iamsu, Wax Motif, What So Not and more, the long-waited debut is a testament to their multiple influences and highlights their eclectic production ear.
For the last few years we've been feeling like things have been getting repetitive. We've always had goals of ascending beyond the festival bangers we're known for, so around a year ago we set out to create a body of work that reflected our depth and growth as producers, they explained to The FADER.
We've always had bigger aspirations than just the dance space which came hand in hand with our 'Death To Genres' mentality. To us, music was more about what made you move rather than what type of music was playing. With this album we're able to explore all facets of music that we love, flip the script and bring everything together into one fluid album that we're really proud of.1. True Romance (feat. Jarina De Marco)
2. Lil Bit of This (feat. Vince Staples)
3. Feel It (with What So Not) [feat. Tunji Ige]
5. Get It All (with Wax Motif)
6. All Caught Up (feat. Tinashe)
7. In My Nature (feat. Karina)
8. Pressure (feat. RKCB)
9. Contract (feat. Iamsu!)
10. Illuminate$17.99Vinyl LP - Sealed Buy Now
Call Me By Your Name Soundtrack (Pre-Order)
First Pressing Of 1,000 Numbered Copies On 180 Gram Blue Vinyl, Black Vinyl Thereafter
Call Me By Your Name, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by AndrÉ Aciman.
Summer of 1983, Northern Italy. An American-Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.
The film received critical acclaim upon its release, being already positively compared to Brokeback Mountain and Moonlight. Critics praised in particular Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction and the screenplay. It will be released in the United States on November 24, 2017. It was released in the U.K on October 27, 2017.
Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces in order to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and the kind of canon they would be a part of.
Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: Visions of Gideon, which was used at the end of the film, Mystery of Love, which was featured in the film's first trailer and a new rendition of Futile Devices with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.
The soundtrack also features songs by Ryuichi Sakamoto, Giorgio Moroder, The Psychedelic Furs and many others.
The vinyl package of Call Me By Your Name includes a poster, an insert and the 180 gram records are housed in 2 exclusive printed innersleeves.LP 1
1. Hallelujah Junction - 1st Movement - John Adams
2. M.A.Y. In The Backyard - Ryuichi Sakamoto
3. J'adore Venise - Loredana Bertè
4. Paris Latino - Bandolero
5. Sonatine Bureaucratique - Frank Glazer
6. "Zion Hört Die WÄchter Singen"- Alessio Bax
7. Lady Lady Lady - Giorgio Moroder & Joe Esposito
1. Une Barque Sur L'ocÉan - AndrÉ Laplante
2. Futile Devices (Doveman Remix) - Sufjan Stevens
3. Germination - Ryuichi Sakamoto
4. Words - F.R. David
5. È La Vita - Marco Armani
6. Mystery Of Love - Sufjan Stevens
7. Radio Varsavia - Franco Battiato
8. Love My Way - The Psychedelic Furs
9. Le Jardin FÉerique - ValÉria Szervánszky & Ronald Cavaye
10. Visions Of Gideon - Sufjan Stevens$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
ADAD-MIL-9407xNick Cave & Warren Ellis
Hell Or High Water SoundtrackDirected by David Mackenzie Hell or High Water is a heist film starring Ben Foster, Chris Pine and Jeff Bridges. Based on the infamous 2012 Black List script, the film is set in West Texas, in an area formerly known as Comancheria, and tells the story of two brothers who plan a bank robbery to save their family farm. The film was extremely well-received during its Premiere at the Cannes Film Festival in May.
Critics praised and applauded the film's archetypal Americana, along with the memorable performances of its main protagonists and the composers' moody and minimalist score. Nick Cave of the Bad Seeds and his musical partner Warren Ellis deliver a ravishing score perfectly fitting the dry and arid landscape in which the characters strive to survive. The soundtrack album also includes Sleeping On The Backtop (Colter Wall), Outlaw State Of Mind (Chris Stapleton) and many more country music infused titles.1. Comancheria
2. Dollar Bill Blues - By Townes Van Zandt
3. Mama's Room
4. Dust of the Chase - By Ray Wylie Hubbard
5. Texas Midlands
7. You Ask Me To - By Waylon Jennings
8. Mountain Lion Mean
9. From My Cold Dead Hands
10. Lord of the Plains
11. Blood, Sweat and Murder - By Scott H. Biram
13. Comancheria II
14. Outlaw State Of Mind - By Chris Stapleton$22.99Vinyl LP - Sealed Buy Now
409Purple play pop music. Messy, dirty, raucous, grit-spitting, tequila-glugging pop music. They do not apologise for this. They have a big streak of it running skunk-like up their backs and through urgent tunes full of indie-punk snarl and piss and vinegar, but driven by grooves deep enough to rival any hop-hop classics. They are wrestling pop away from the world of vocoders, slick dance routines and coquettish airheads and bringing back to where it belongs: to the beach, to the house party, dancing on the table in that bar you need a fake ID to get into. They like to bare flesh and play until they bleed. Good things followed: a huge local following, two managers and endless touring.
'(409)' is the name of the area code for their East Texas neighbour and the name of Purple's debut album produced by Chris 'Frenchie' Smith (...Trail Of Dead, Jet ). Recorded in El Paso, '(409)' is an album that's borne out of endless jams and no shortage of live shows where Purple offer a combination of the explosive and the celebratory. Instruments are abused and crowds are surfed; their shows are somewhere between the wild, fleshy abandonment of early White Stripes. "We're positive people," shrugs Busby. "We're always looking for the party somewhere. Or maybe we are the party."
Pop is there in the 60s garage-influenced brilliance of 'Beach Buddy', a song propelled by a dual girl/boy vocal and the same endless summer joie de vivre of Ramones, Black Lips and Weezer . The chorus is an earworm that burrows deep. It's there too in 'Wallflower', a joyously uplifting song that flips the usual script and sees a girl ardently - some might say aggressively - pursuing an admirer through the upended bottles, overflowing ashtrays and tangled limbs of a party: "I'm a girl - you're supposed to be chasing me!" With definite shades of Bikini Kill and No Doubt it's the best femme-punk song we've heard in an aeon. 'Head On The Floor' meanwhile is a proto-grunge song that swings like early Hole and has a whole of soul.
'(409)' is certainly an album with sand in its shoes and a rocket up its ass. It transports you to a better place. Listening to Purple quickens your pulse. Gives you the sweats. Has you reaching for a cold one. And then another. And then ten more. They make you feel alive. They are good for you.1. Wallflower
2. Double Nickels
3. Leche Loco
4. Beach Buddy
7. Head On The Floor
9. New Born
10. DMT$22.99Vinyl LP - Sealed Buy Now
Better Call Saul (Original Score - Seasons 1 & 2)First Pressing Of 1000 Numbered Copies On Red Vinyl, Black Vinyl Thereafter
180 Gram Audiophile Vinyl
Etched D-Side With Certified Replica Of Jimmy's Law Degree - No Music
Gatefold Sleeve / Includes 4-Page Booklet
Including 2 Printed Innersleeves
PVC Protective Sleeve
Secret Inscriptions In Run Out Groove
Score Of Multiple Award Winning Spin-Off Of Breaking Bad
Score By Dave Porter
Better Call Saul is a television crime drama series created by Vince Gilligan and Peter Gould. It is a spin-off prequel of Gilligan's prior series Breaking Bad. Set in 2002, Better Call Saul follows the story of small-time lawyer Jimmy McGill, a lawyer and a former scam artist, who becomes involved with the criminal world, six years before his appearance on Breaking Bad as Saul Goodman.
Like its predecessor, Better Call Saul has received critical acclaim. It has garnered several nominations, including fourteen Primetime Emmy Awards, seven Writers Guild of America Awards, five Critics' Choice Television Awards, a Screen Actors Guild Award and two Golden Globe Awards. The series premiere held the record for the highest-rated scripted series premiere in basic cable history at the time of its airing.
Dave Porter, the composer of the score, has also written the opening theme and complete score of Breaking Bad. For his work on Breaking Bad, Porter has won an ASCAP Award. The Better Call Saul score features songs from the first and second series.
Strictly limited, the first 1,000 numbered copies of the Better Call Saul score are pressed on red vinyl. The package contains 2 printed inner sleeves with images of Jimmy, Nacho, and Mike. It also contains an exclusive 4-page booklet with additional pictures and liner notes. The etch on the D-side is a certified replica of Jimmy McGill's law degree he received from the University of American Samoa.LP 1
1. Shared Smoke
2. Ass Over Tea Kettle
3. One Leg Each
4. Sex Robot Voice
5. Payphone Dilemma
6. Billboard Stunt
7. Chuck's Theme
8. Elevator Exchange
9. One Last Gift
10. Jimmy's Choice
11. Davis & Main
12. Pretend I'm Not Here
14. Magic Hands
15. Weary Mike
1. Border Crossing
2. Watching And Waiting
3. Reciprocating Saw
4. Three Moves Ahead
6. Better Call Saul End Credit
(Etched D-Side With Certified Replica Of Jimmy's Law Degree - No Music)$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-XLR-6414xWillis Earl Beal
Acousmatic SorceryAcoustmatic Sorcery is the debut album from Willis Earl Beal, to be released courtesy of XL Recordings. The albums 11 songs are taken from a series of recordings Beal made while living in Albuquerque, NM. He arrived in Albuquerque without a plan, a place, or enough money to live off and began singing warm, visceral and moving tunes to help him cope while sleeping rough. He spent days drawing and printing up flyers, distributing them all over his new city. Eventually Beal found work as the night porter at a motel. It was during the late-night shifts that the 27-year-old musician from the south side of Chicago taught himself to make music. As the Summer came to an end, Willis plotted his journey back to Chicago. While he traveled across America he continued to receive phone calls as the flyers made their own journey. One caller introduced himself as Mos Def and together they plotted to write a script based on Willis life, with Mos playing the lead. Limited edition vinyl of only 1,500 copies.1. Nepenenoyka
2. Take Me Away
3. Cosmic Queries
4. Evenings Kiss
5. Sambo Joe From The Rainbow
6. Ghost Robot
7. Swing On Low
9. Bright Copper Noon
10. Away My Silent Lover
11. Angel Chorus$18.99Vinyl LP - Sealed Buy Now
REDD-RAM-6798xTimothy Seth Avett As Darling
IVLETTER CONCERNING THE RECORD 'IV' AND A POST SCRIPT TO FANS
A lot can happen in twelve years. It is beyond probable (if not brutally unavoidable) that such a period of time could render a man nearly unrecognizable to his older self. I would not categorize the young man who made three records under the pen name 'Darling' (incidentally, me) as unrecognizable, but I can say perhaps that we are vaguely disassociated. Those 3 albums, written between 1999 and 2005 and recorded anywhere except a recording studio (the bulk being tracked in my bedroom and parents' garage) follow the exceedingly lonesome course of a kid barely out of high school through a shaky introduction to manhood. They were recorded alone (with cheap microphones) composed alone (with expensive sentimentality), defined by loving befuddlement, and darkened by an all-consuming breakup. I look at them now with an appreciation for where I was, with no small measure of gratitude that I am no longer there. What has not changed however, is that there are still songs that come along which make sense in my mind as fitting only on a 'Darling' record. Truthfully, in the decade-plus that has passed since I last released a solo piece, there have been many songs of this nature. Consequently I have written, designed, edited, and put this record out many times in my mind. Inevitably, however, life would change and the conceptual direction would change with it. It is changing now as I write this. But after twelve birthdays, twelve New Year's Eve's, and twelve winters, I have a portrait I am compelled to commit to the canon of self-portraits.
I am no longer the kid with all that worry, that blaring hurt and rum-fueled uncertainty. I am somewhere else now. But I still sit in my bedroom, quietly following songs where they take me, using them to process what is happening in my life. I have often declared to myself, that I would not leave the 'Darling' moniker forever tied to what I now regard as a time of young (albeit sincere) melancholy. And while this fourth installment is by no means an offering of pure and bright optimism, it is a statement less heavy with heartache, and hopefully a bit more even-keeled in its manner - whatever the emotional narrative. More importantly, it is a honest glimpse into my story alone and a faithful rendition of what I believe to be a notable chapter.
For those interested in the Darling project:
To say that activity of one form or another relating to my solo work is infrequent would be a bit of an understatement. In truth, as time goes, I am thankfully occupied primarily by the joys of my family and the pleasure of making music with my brother and some of my dearest friends. When, however, there are endeavors of the Darling variety on the horizon, I would be honored to let anyone interested know about it. If you count yourself among this set, please feel free to share your email address below. I can say, as someone who religiously declines giving my email out when a cashier asks for it, and as someone who somehow spends more time unsubscribing from email lists than answering emails, I will ONLY pass the word along when there is a word to pass meaning something significant like an upcoming album or confirmed performance(s). Once again, I realize that giving any part of your contact information out is a significant action, and I believe it should be seen as such. In other words, I won't be arranging for emails to go out about anything but relevant 'Darling' news. As always, thank you for your time and care.
Timothy Seth Avett1. Disappointing You
2. Should We Move
3. Samuel And The Baler
5. Weakness And A Strength
6. Faith Undefined
7. Your World
8. Are You Thinking Of Me
9. In These Boots
10. My True Story/A Life To Live
11. Waiting For Something To Die$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDI-BAR-2114xDeath Cab For Cutie
The Photo Album
Newly Reissued 180 Gram Version
Released in 2000, We Have the Facts and We're Voting Yes delivered on the promise of You Can Play These Songs with Chords and Something About Airplanes. For once, a band's popularity grew commensurate with its maturation. Despite the heightened attention, singer/songwriter/guitarist Ben Gibbard next let loose Death Cab for Cutie's finest moment, Photobooth, the lead track on the sparkling Forbidden Love EP. New fans worldwide swooned under its beguiling romantic rise 'n' fall and its lingering, bittersweet, wallet-sized artifact. And though it wouldn't have killed them to include Photobooth here -- for its spotless greatness and thematic likeness -- The Photo Album's ten tracks are of the EP's heightened caliber. Gibbard's words screen intriguing mini-films of the mind, stoked by corresponding daydreamy music. An exquisite liaison of the British penchant for ringing, knelling, subconscious guitars and direct/grittier American drive, the band is tight, evocative, and inventive. Bassist Nick Harmer and drummer Michael Schorr lock in creative rhythmic bases, while Gibbard and Chris Walla's guitar work gives the band climactic, cinematic coloring shades. And, in the end, it's Gibbard's remarkable abilities as a writer and singer that are on display most. Each word draws you in via his sweet, thoughtful guy voice. The solo 1:47 opener, Steadier Footing, is merely a starter course, but it feels like an entrÉe: And this is the chance I never got/To make a move, but we just talk is only one measure of the chances/plans/dreams/connections and relationships that have eluded him or fizzled. Reeled in, one is left to look back over one's own smoldering wreckage, of opportunities or attachments lost -- much as A Movie Script Ending's abrupt turn Passing through unconscious states/When I awoke I was on the highway somehow segues into the couplet With your hands on my shoulders/A meaningless movement, a movie script ending. Like Photobooth, it's a typically sobering, adverse assessment of how unromantic the romanticized can become. That it's a great pop song, arresting in its jerky wobble, is just another point in its, and this LP's, favor. The world needs more superb pop with brains and heart and emotional complexity.
- Jack Rabid (All Music)1. Steadier Footing
2. A Movie Script Ending
3. We Laugh Indoors
4. Information Travels Faster
5. Why You'd Want To Live Here
6. Blacking Out The Friction
7. I Was A Kaleidoscope
8. Styrofoam Plates
9. Coney Island
10. Debate Exposes Doubt$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Nite-GloNite-Glo is the new offering from Stellar OM Source, the outrÉ-minded music venture of Christelle Gauldi. Tempering the freneticism unleashed on Stellar OM Source's 2013 album Joy One Mile, Nite-Glo guides Gauldi's rhythms to unexpected places of emotive and meditative power.
The four tracks of Nite-Glo were written during a transient time for Gauldi. Loss and processing the associated emotions informed those moments in which Gualdi could escape to her mobile studio set up. Recorded solely with her live hardware, Nite-Glo tears down any ornamental tapestry to uncover a core of luminescent synths, glowing 303 lines, and a burning awareness.
Nite-Glo continues an off-script musical journey informed by Gualdi's formal training in electro-acoustic composition at the Conservatoire de Paris and an ascent from the DIY synth scene of the mid-aughts to a global dancefloor. Rewarding listeners keen on conscious listening, the passages of Nite-Glo crystalize as tracks unfurl and sequences reveal an absolute power over time.
Transcending its cathartic context, Nite-Glo finds Christelle Gauldi abstracting the ebullience of Stellar OM Source's sound in favor of remote spaces and roiling tempos. A snapshot of Gualdi's personal and creative transition, Nite-Glo beams through a mournful context, visible only as eyes have adjusted in the shadows.1. Sudden
4. Sure$12.99Vinyl EP - Sealed Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
ADAD-LEX-2917xI Speak Machine
The SilenceLimited To 500 Copies
I Speak Machine are filmmaker Maf Lewis plus vocalist and synth-nerd Tara Busch. Together they make brooding soundtracks and sci-fi horror films, creating audio and visual in unison and giving both elements equal prominence. Their approach is inspired by Spaghetti Western cinema duo Ennio Morricone and Sergio Leone, who used to play with score ideas for scenes while scripts were being written. I Speak Machine's debut offering is The Silence, an eerie and synth heavy journey to accompany their short film of the same name. Early supporters of I Speak Machine include new wave pioneer John Foxx (Ultravox) and soundtrack composer Clint Mansell (Requiem For A Dream, The Wrestler, Black Swan). I Speak Machine and illustrator Tommy Lee Edwards are currently working together on further developments to The Silence project.1. Run
2. The Silence
3. Hell is Other People
4. Heart is Not a Home
6. Experiment 2
7. Just One Day
10. Dead Man, Come Home
11. Be Careful What You Wish For
12. Crawl Home$19.99Vinyl LP - Sealed Buy Now
LoyaltyThe record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
"a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
discerns in "I Mined," "through which the whole world bends.")
"Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively-what
Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life's Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height$21.99Vinyl LP - Sealed Buy Now
We Are Miracles
Sarah Silverman: We Are Miracles, the acclaimed performer's
Emmy-nominated and first headline special for HBO, will be available
for the first time on LP via Sub Pop Records. We Are Miracles',
recorded at the famed Largo in Los Angeles, California, was written by
Silverman, directed by Liam Lynch and produced by Funny Or Die and
Black Gold Films. The special was executive produced by Heidi Herzon,
Mike Farah, Anna Wenger, Betsy Koch, Amy Zvi and Silverman.
Emmy winner Sarah Silverman is as versatile of a performer as they
come. Her repertoire includes everything from film and television,
stand-up comedy, to iconic online videos. She voiced the role of 'Vanellope'
in the Oscar nominated Disney animated film Wreck It Ralph, alongside
John C. Reilly, and recently co-starred in Seth McFarlane's A Million
Ways to Die in the West. She stars as the lead in the drama feature, I
Smile Back, a film adaption of a novel by Amy Koppelman and was
previously seen starring in Take This Waltz. In 2004 Silverman made
an impressive splash with her concert film "Sarah Silverman: Jesus is
Magic," which garnered major attention at the Toronto Film Festival,
and she also received critical praise for her work on the documentary
feature, The Aristocrats.
Silverman was nominated for a 2009 Primetime Emmy in the
Outstanding Actress in a Comedy Series category for her work on the
Comedy Central series The Sarah Silverman Program. This marked
Comedy Central's first ever Emmy nomination in a scripted acting category.
She also received a WGA nomination for her work on the show. Silverman
won a Primetime Emmy in 2008 in the Outstanding Original Music and
Lyrics category for her musical collaboration with Matt Damon. In addition,
she was honored with a Best Actress Webby Award for her online video
"The Great Schlep." She is now a part of JASH, a comedy collective on
YouTube featuring original content by Silverman and friends. She has
guest starred in a slew of acclaimed and notable television shows such
as the Emmy nominated drama The Good Wife, and Monk, which earned
her an Emmy nomination in 2008 in the Guest Actress category, and
she has lent her voice to Fox's Emmy nominated animated series, Bob's
Burgers. She also released a book in 2010, New York Times Bestseller,
The Bedwetter: Stories of Courage, Redemption, and Pee. Silverman
was dubbed "the most outrageously funny woman alive," by Rolling
Stone. She grew up in New Hampshire and attended New York University.
In 1993 she joined Saturday Night Live as a writer and feature performer
and has not stopped working since.1. Nighttime Rituals
2. Speaking of Cum, My Mother's Been Sick
3. Killing Jesus
4. Planting the Seeds of Insecurity
5. Looking Inward
6. A Heartbreaking Story
7. Rape Jokes, Comedy's Hidden Gem
9. Senator Obama
10. Human Puppies
11. Diva$18.99Colored Vinyl LP - Sealed Buy Now
Sings Lonely And Blue
Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!
Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!
Roy Orbison's first album recorded for Monument was released in 1961 and features Come Back To me (My Love) and Only The Lonely.
• Numbered Deluxe Laminated Double Gatefold Jackets
• Only 2500 Numbered Limited Edition Copies Worldwide!
• Audiophile 180g, 45rpm Vinyl
• Double LP
• Pressed at RTI
• Mastered by Bernie Grundman from the Original Analog Master Tapes!
Time and familiarity -- through multiple reissues -- may have muted the seeming significance of some of what's here, but in 1960 Sings Lonely and Blue was not only a breakthrough for Roy Orbison as his debut LP, but also for rock & roll. Up to that point, apart from Elvis Presley -- who was in a class by himself -- few white rock & rollers had even tried to make as bold a use of the LP as what we hear on this record. Orbison, his collaborator Joe Melson, and producer Fred Foster turned the singer's debut long-player into a huge canvas for a sound that combined rock & roll's beat, Nashville's countrypolitan sound, and the singer's unique multi-octave range and operatic intensity into something unique in music.
The single Only the Lonely may have been the most accessible and commercial side of this new sound, but the whole album was packed with great moments and different permutations of that sound: the powerful lead vocal and the Boots Randolph sax break on I'll Say It's My Fault; the haunting Orbison-Melson Come Back to Me (My Love), which was like a mini-movie script, a vest-pocket romantic melodrama sung with operatic depth and played to a light rock & roll beat; Don Gibson's I'd Be a Legend in My Time, and I Can't Stop Loving You, both filled with larger-than-life musical attributes and emotions behind Orbison's extraordinary singing, Orbison treating the former almost like a Verdi aria while a sax solo, the Anita Kerr Singers, and a dense string section hold it in the realm of pop music; and Bye Bye Love given the new Orbison treatment and sounding like a country-pop symphony.
The material was uniformly strong and consistent, probably due, in part, to the fact that Fred Foster was able to draw from nearly a year's worth of recording activity to assemble the contents of the album, and he also took advantage of the album's stereo release to devise a crisp, discreet, two-channel mix that brought out all of the details of this sound in notably sharp relief, creating one of the earliest stereo rock & roll albums that was actually superior to its mono equivalent. Indeed, Sings Lonely and Blue was among the first rock & roll LPs to attract the interest of serious audiophile enthusiasts.
- Bruce Eder (All Music Guide)
This title is not eligible for discount.1. Only the Lonely
2. Bye Bye Love
4. Blue Avenue
5. I Can't Stop Loving You
6. Come Back To Me (My Love)
7. Blue Angel
9. (I'd Be) A Legend In My Time
10. I'm Hurtin'
11. 22 Days
12. I'll Say It's My Fault$54.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now