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The Story So Far'
REDD-PUR-6054xThe Story So Far
The Story So FarNew album from melodic pop-punk heroes, for fans of The Wonder Years, New Found Glory & Hit The Lights.1. Smile
2. Heavy Gloom
6. How You Are
10. Stalemate$19.99Vinyl LP - Sealed Buy Now
Weezer (Green Album) (Awaiting Repress)Weezer (Green Album) on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Concise, Tightly Played 2001 Power-Pop Album Features Back-to-Basics Approach
Weezer's Fastest-Selling Release Includes "Hash Pipe," "Island in the Sun," "Don't Let Go"
Record Launched One of Most Memorable Return-from-the-Dead Comebacks in History
Mastered from the Original Master Tapes: Smooth, Big-Guitar Sound Resonates Like Never Before
Weezer's self-titled third album, collectively known as the Green Album, nearly never came to pass. The band had all but broken apart, with leader Rivers Cuomo choosing to go back to college and the other members dismayed at the initial reception to 1996's Pinkerton. Persuaded at the turn of the century to return to the concert stage, the foursome launched one of the most enduring comeback stories in history, and in the process, penned 75 songs, the choicest of which grace 2001's concise, tightly played Green Album.
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the music with by far the most dynamic range it's ever enjoyed. Cars icon Ric Ocasek's production comes into fuller relief, with guitar notes ringing with front-to-back depth and superb imaging. Cuomo's singing gains focus and clarity, and the rhythms that help give the tunes their incessant catchiness are better defined, with the low end finally present.
That nearly everything on Green Album-from the cover to the producer to sonics-reflects those of Weezer's blockbuster debut isn't merely coincidence. The quartet, not yet realizing that Pinkerton had already become a cult classic (and, soon after, would be hailed as one of the most prized albums of its generation), intentionally pursued a back-to-basics approach that echoed its roots. Unadorned simplicity, skyscraper-sized hooks, and short-but-sweet arrangements are the hallmarks here, each a signpost on how rock albums can work their way into a listener's head and provide limitless satisfaction.
Of course, however crucial, the music is just one component in Weezer's arsenal. Akin to its sibling efforts, Green Album wouldn't be the same devoid of Cuomo's lyrics, which exude charming personality and boyish awkwardness. Absent is the heart-on-a-sleeve obviousness of the fare of Pinkerton. The material here echoes with a related emotional universality whereby romantic yearning, fear of rejection, and getaway fantasies spark with the winking promise of enthusiasm and attainment. There's a reason every passage remains so accessible; playfulness and wryness abound. Power-pop efforts don't come more perfect.
This title is not eligible for discount.1. Don't Let Go
3. Hash Pipe
4. Island in the Sun
6. Knock-Down Drag-Out
8. Simple Pages
9. Glorious Day
10. O Girlfriend$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Letters HomeA band known for their captivating and comprehensive storytelling just as much as their elaborate and complex music, Massachusetts' Defeater recently wrapped recording their third full-length album, Letters Home, which is their absolute best work yet.
These ten new tracks are heavy and haunting, while lyrically poignant and continuing the story of a working class family living in post-WWII America. Letters Home revolves around the father of two brothers that listeners were introduced to in two of Defeater's prior releases (Travels and most recently Empty Days & Sleepless Nights), giving a background to the character and seeing some of the events from those past albums through his eyes.
Vocalist Derek Archambault commented, Inspiration for this record came from a few places. Much like with Lost Ground, these stories are based around my two grandfathers' service in WWII . He continued, Musically the record hearkens back to Travels and Lost Ground. EDSN was a bit of a departure for us, and I think we took some good chances on that record but Letters Home brings it back to why we started this band in the first place five years ago.
Letters Home is legitimately Defeater's heaviest body of music thus far - featuring powerfully intricate guitar instrumentation, colossal-sounding drums, and Archambault's voice sounding more ferocious than ever before. Guitarist Jay Maas remarked, Letters Home is more focused on sounding dirty and mean, but at the same time we have improved as songwriters so some of these ten tracks are our most accessible.
The album was once again recorded at Maas's own Getaway Recording Studio (where the band's prior releases were also tracked), and features the first recorded appearance by Defeater's new drummer Joe Longobardi who is some kind of drum wizard. His memory for organizing parts is sincerely inhuman, and he has such amazingly tasteful composition skills. Everything he plays just feels meant to be which really lends itself to an easier time for the rest of us, said Maas. Second guitarist Jake Woodruff returns for Letters Home, as well as bassist Mike Poulin, and Derek Archaumbault on vocals and Jay Maas on guitar; all lending their skills to the newest chapter in Defeater's story.1. Bastards
2. No Shame
3. Hopeless Again
4. Blood In My Veins
5. No Relief
6. No Faith
7. Dead Set
8. No Savior
9. Rabbit Foot
10. Bled Out$15.99Vinyl LP - Sealed Buy Now
Please Don't LeaveSeasons Change leaves it all on the table with 'Please Don't Leave,' with eleven stellar tracks, produced by Sam Pura (State Champs, The Story So Far), that bleed vulnerability and passion with a raw honest lyrics set to the tone of upbeat, anthemic pop-punk.1. Clueless
2. Hope This Stains
5. Straight in the Heart
6. The Reasons Why
7. Feel It
8. Sick of It
9. Need to Know
10. Take Time
11. Not Sorry$18.99Vinyl LP - Sealed Buy Now
FreeHundredth are back with their new full length and first for Hopeless Records. The South Carolina quintet continues their melodic hardcore assault that fans have grown to love. This time around the band teamed up Sam Pura (The Story So Far, State Champs, Basement) to create energy akin to their live show.1. ///
3. Inside Out
4. Break Free
7. See Beyond
11. Burdens$18.99Vinyl LP - Sealed Buy Now
BloodlinesIn their short two-year existence, Head North have already shown their ability to challenge themselves and elevate their sound. After self-releasing a championed pop-punk EP with Scrapbook Minds in 2014, the band headed out on a DIY tour with A Will Away, and the bands released a split together that following summer. The two songs Head North deliver on the split bring them another step above prototypical pop-punk. Trading the hardcore-tinged guitars of their first EP for a smoother sound, the band swings between the pop-punk fury of The Story So Far and the dynamic songwriting prowess of Manchester Orchestra. Hailing from Buffalo, NY, Head North has used their indie-influenced pop-punk to break out of the local scene and demand the attention of a national audience. Packing in sentiments as big as their sound, the band hits home with walls of guitars lines, frenetic punk rock drums and an emotional complexity behind their lyrics. Singer Brent Martone hits raspy notes of anger and sadness, knowing when to shriek and when to soften, adding a layer of versatile energy to back up his passion. The band's growth will only become more apparent on an upcoming six-song EP, which will be released via Bad Timing Records in the spring of 2015. With two releases and a full U.S. tour under their belt, 2014 was the first Year of Head North. Their partnership with Bad Timing Records, alongside a spring tour with Have Mercy, hint that 2015 will be another huge step forward for this young and passionate band.1. Brave Hands
3. The Planet
4. The Path
5. Old & Grey
6. Windowless$15.99Vinyl LP - Sealed Buy Now
Soma Records Story: Vol. 3 - A Man's Gotta Be A Man!The record world was a completely different place in 1965.
Kids wanting to take home a piece of the rock 'n' roll action they frugged to at the Armory dance last weekend or a wild tune they heard the local bossjocks spin on the way home from school, inevitably had to deal with seven-inchers made by independent record labels. The single was the thing in the mid-60's, not the album. In even the hippest big city record emporiums, you could thumb through the entire recorded canon of British Invasion-influenced LPs - no more than a hundred or so - in about five minutes. But, ahhh, those singles. And nobody did them better than the shoebox companies sprouting up like bread mold all over the country, labels who could tap into the best local talent and get their show-stopping songs into the local record shops.
Just about every sector of the US had its own scene, red hot local chart entries that kids three hundred miles away were destined to never hear. And that's why the legendary indie labels - from International Artists in Houston or Autumn in San Francisco to Dunwich in Chicago or Etiquette in Tacoma - and hundreds more just as groovy, are revered today more than ever.
The Soma Record Company of Minneapolis caught the national spotlight by releasing hits from the likes of the Castaways and the Gestures. But Liar Liar and Run, Run, Run are just the tip ofthe iceberg. If you've always suspected that thousands of great singles from the '60s that you've yet to hear are lurking in the bushes, guess what? You're right. Step into the dusty Soma vaults with us - brush aside those cobwebs, if you would - point your flashlight towards the strobelight flickering at the far end of the tunnel and keep walking. When the cool Fender 'n Farfisa sounds finally grab you by the shirt collar, just keep telling yourself: This isn't a dream. It's what I was born to do.1. The Chancellors / I Can Tell*
2. The Castaways / A Man's Gotta Be A Man
3. The High Spirits / (Turn On Your) Love Light
4. The Gestures / Don't Mess Around
5. The Del Counts / Let The Good Times Roll
6. The Titans / Reveille Rock
7. The Messengers / My Baby
8. The Gamins / Freeway
9. The Gestures / Run, Run, Run
10. The Chancellors / Surf Beat*
11. The Torres / I've Had It
12. The Shades / Please Please Please
13. The Fabulous Rumbles / I'll Be Gone
14. The Titans / Tchaikovsky Rides Again
15. The Castaways / Should Happen To Me
16. The Sounds Like Us / The Other Side Of A Record$24.99Vinyl LP - Sealed Buy Now
Hardly CriminalCrash's story unfolds with that particularly Southern swagger and with a tale of a Louisiana boy bred on Waffle House breakfasts and monster truck rallies, local Rodeos and the flicker of family bonfires. There was college for a hot minute, there was a move to the Irish Channel, there was the soaking in of all that is New Orleans, wet heat and Sazeracs, the wailing horns of jazz funerals, the teetering handmade floats of Mardi Gras, crawfish and etouffee and howling at the moon. There was work where he could get it, toiling as a PA on the studio sets, Hollywood coming south for the tax credits. It was on these film productions where crash earned his nickname, something to do with a questionable work ethic and repetitive tardiness (he admits you d have to ask one Ms. Rita Wilson for the real deal details). And yet despite his reputation (or perhaps because of it), he was anointed "assistant" to Johnny Knoxville during The!Dukes!of!Hazzard s run. (One can only imagine ) crash later joined the critically adored local act The Deadly Syndrome as lead singer and frontman, bringing his gris gris into the beautiful belly of the L.A. beast. Since then, crash has been barreling ahead, recording prolifically with The Deadly Syndrome, working with famed producer Daniel Lanios, composing a live stage score, acting in a few national commercials, and finally, after Deadly disbanded in 2013, heading out on the road with his pals, Edward Sharpe and The Magnetic Zeros, as percussionist and angelic vocal accompaniment. And somewhere in that heady mix in that combination of the rolling road, of California eucalyptus sway and dark NOLA mysteries, he discovered his true self - the wildaeyed, slyatongued, strutting, winking and wonderful crash of this here solo debut. Produced and engineered by the multitalented Ed Sharpe lead guitarist, Mark Noseworthy, (and featuring friends from the Zeros, Dawes, The Mystic Valley Band and more ) Hardly Criminal is the culmination of all that is strange and sad, hilarious and harmonious, about crash s own true tale. It is story a moving, funny, weird, and stunningly beautiful. You can hear the South, yes, Neville swing and Dr. John juaju, but you can also hear smooth soul, booty funk, and ragged folk, a mix of sounds taken from his past and pushed into the future, all accompanied by a deadpan storytelling prowess and a voice like a Cajun Prince (as in "The Artist Formerly Known As"). Hardly!Criminal! is the sum of crash s best parts - the sonic celebration of his story so far. So, set down a spell, cool yer bones, cher... and listen1. Hardly Criminal
2. Motion Animal
3. All My Friends
4. High Wall
5. Mine Always, Lioness
6. Britches Catch Fire
7. Song For The Birds
9. Mad At The Clouds
10. If God Was A Cajun
11. Almighty Equal$21.99Vinyl LP - Sealed Buy Now
It Came From N.Y.C.
Remastered By Guitarist J. Yuenger
Features Original Artwork
Includes 108 Page Book
Years before Beavis and Butt-head headbanged "Thunder
Kiss '65" and "More Human than Human" into the
eternal rock video canon, there was primordial White
Zombie-a quintessential, diabolically loud byproduct
of Manhattan's underground rock scene, born of artschool
rendezvous and squalid apartment circumstance.
It Came from N.Y.C. is the most exhaustive attempt so
far to document the band's wondrously ugly birth. Get
reintroduced to White Zombie as New York noise-rock,
a grotesque creation that clawed and threatened its way to
crossover metal glory.
Numero resurrects White Zombie's
eternally out-of-print early EPs and LPs as It Came From
N.Y.C. Spread across five LPs , all
39 tracks have been remastered by guitarist J. Yuenger
and packaged alongside the original lurid artwork. The
accompanying 108-page book painstakingly documents
White Zombie's punishing progression through
scores of unpublished photos, period discography, a
T-shirtography, and tales from the terrifying early years
that stitch together the sordid story of a band whose true
power eclipsed its mainstream heyday. White Zombie lives.
Don't be afraid.LP 1
1. Gentleman Junkie
2. King of Souls
3. Tales From The ScareCrow Man
4. Cat's Eye Resurrection
5. Black Friday
6. Dead Or Alive
7. Pig Heaven
8. Scarecrow #2
9. Red River Flow
10. Paradise Fireball
11. Slaughter The Grey
2. Fast Jungle
3. Gun Crazy
7. True Crime
2. Shack of Hate
3. Drowning the Colossus
4. Crow III
5. Die Zombie Die
7. Truck on Fire
8. Future Shock
9. Scum Kill
10. Diamond Ass
2. Disaster Blaster
5. Acid Flesh
6. Power Hungry
1. God of Thunder
2. Love Razor
3. Disaster Blaster - 2$99.99Vinyl LP Box Set + Book - 5 LPs Sealed Buy Now
I Go Back HomeWhen Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life.
Now, as if sent from some righteous deity, comes I Go Back Home, an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.
I Go Back Home manages to replicate that using the finest arrangers writing for the most experienced players, mixed by the most intuitive engineers in the the best studios available. Scott revisited his favourite songs, into which he invested his lived experience, letting the listener feel the story known by far too few.
The creation of I Go Back Home was the subject of an acclaimed documentary of the same name. It depicts producer Ralf Kemper's drive to work with Jimmy and provide him with the best album he can. The film captures the challenges and sacrifices that lead up to the recording sessions, a document that makes I Go Back Home an even richer record.
Hounding Jimmy Scott through the most of his recording career was an oppressive recording contract that prevented him from releasing albums. It wasn't until 1992 that Jimmy, aged 63, recorded the first album over which he had creative control, All The Way. Nominated for a Grammy and finally bringing him to the attention of an audience that wasn't entirely comprised of jazz fans and a few lucky passers-by, Scott began touring and regularly releasing albums. It's not until I Go Back Home that Scott was given the budget that allowed him unfettered control over song selection, personnel and orchestration.
As the album progresses, each song sees another musician or singer join Scott for a fresh interpretation of a beloved song. Long-time collaborators such as Kenny Barron and Joe Pesci, or new, such as actress and singer Reneè Olstead, trumpeter Till Brönner and harmonica player Gregoire Maret. All give Scott the room he needs to slide between phrases, telling his story and living out the world of each song.
As Jimmy explained: "The lyric is so important to me. I feel if you're singing a song or telling the story in a song it should mean something. That's why I protect what I have in it, because that's where I believe it should go. It should mean something. It should make sense."
Dave Nathan wrote on AllMusic that Scott's phrasing moves "beyond mere poignancy and close to reverence". This is truer than ever on I Go Back Home. Scott shifts from speak-singing in album-opener (Sometimes I Feel Like a) Motherless Child to lively bossa nova take on I Remember You to full-throated commitment on If I Ever Lost You.
Expertly interplaying with top tier collaborators I Go Back Home is ultimately a record of collaboration and companionship, and the sound of a singer going out on top. Scott commemorates his highest points, and spars with fresh new talent in a way that suggests that he would have had great albums in him yet. And while we can mourn the decades he didn't record, the tragedies and injustices that never defeated him, I Go Back Home succeeds in capturing the essence of a life that was ultimately triumphant.LP 1
1. Motherless Child FEATURING JOEY DE FRANCESCO
2. The Nearness of You DUET WITH JOE PESCI
3. Love Letters
4. Easy Living DUET WITH OSCAR CASTRO NEVES
5. Someone To Watch Over Me FEATURING RENEE OLSTEAD
6. How Deep Is The Ocean FEATURING KENNY BARRON
1. If I Ever Lost You FEATURING TILL BRÖNNER
2. For Once In My Life DUET WITH DEE DEE BRIDEWATER
3. I Remember You FEATURING MONICA MANCINI & ARTURO SANDOVAL
4. Everybody Is Somebody's Fool FEATURING JAMES MOODY
5. Folks Who Live On The Hill FEATURING JOE PESCI
6. Poor Butterfly FEATURING GREGOIRE MARET$39.99Vinyl LP - 2 LPs Sealed Buy Now
AnthologyAnthology serves as a celebration of The Clean, a band whose influence extends
so far beyond their New Zealand home that even if you have never heard of The
Clean before, you have surely heard of some of the bands (Pavement, Yo La Tengo,
and Superchunk, to name a few) who have been influenced by their unique blend of
homemade garage rock, hook-filled melodies, and psychedelic experimentalism.
The album is a compilation from across The Clean's legendary career, which began in
1981 and continues today. Merge originally released the 2-CD Anthology in 2003, but in
celebration of our 25th anniversary, we felt the time was right to release this essential
collection on quadruple LP.
Anthology kicks off with The Clean's call-to-arms debut "Tally Ho!"; the story of the
infectious track's $60 recording bill is now legendary. It continues with the early EPs
Boodle Boodle Boodle and Great Sounds Great in their entirety. The hits-"Billy Two,"
"Anything Could Happen," "Beatnik," and "Getting Older"-and live favorites like
"Point That Thing Somewhere Else" and instrumentals "Fish" and "At the Bottom"
all serve up memories of the joyous noise that characterized The Clean of that time.
These recordings, mostly made by the band with Chris Knox and Doug Hood at the
helm of the 4-track, capture the bright, raw sound of a classic garage band.
After a brief breakup, the band recorded Vehicle in 1989. Vehicle was made in three days
and engineered by Alan Moulder (Smashing Pumpkins, Nine Inch Nails, My Bloody
Valentine). The sounds of Vehicle and the two albums that followed it, Modern Rock
(1994) and Unknown Country (1996), make up the bulk of discs 3 and 4 of the vinyl
Anthology. In addition to selections from these full-length recordings, Anthology includes
two songs released only on an American 7-inch and two that appeared on a bonus
flexi-disc with the Modern Rock LP.LP 1
1. Tally Ho
3. Billy Two
4. Thumbs Off
5. Anything Could Happen
6. Sad Eyed Lady
7. Point That Thing Somewhere Else
10. Side On
11. Slug Song
2. End of My Dream
3. On Again/Off Again
4. At the Bottom
5. Getting Older
6. Scrap Music
7. Whatever I Do Is Right
8. Two Fat Sisters (live at the Rhumba Bar)
10. Quickstep (live at the Gladstone)
11. At the Bottom (live at the Gladstone)
1. Drawing To A Hole
2. I Wait Around
3. The Blue
5. Big Soft Punch
6. Diamond Shine
7. Big Cat
8. Outside the Cage
9. Safe in the Rain
10. Secret Place
11. Do Your Thing
1. Linger Longer
2. Too Much Violence
3. Trapped in Amber
4. Psychedelic Ranger
5. Late Last Night
7. Wipe Me, I'm Lucky
8. Franz Kafka at the Zoo
11. Indigo Blue
13. Twist Top$47.99Vinyl LP - 4 LPs Sealed Buy Now
Once Upon A Time At King Tubby's (Awaiting Repress)Never Before Released On Vinyl
All of those things happened up at Tubby's - Bunny Lee
'Once Upon A Time At King Tubby's' captures from start to finish the full story of the most well-known, and certainly the wittiest, of all the wars of words that the highly competitive Kingston recording scene ever produced. I Roy and Prince Jazzbo were the principal players aided and abetted along the way by an assorted bunch of onlookers and minor characters who all helped the drama to unfold. Bunny 'Striker' Lee was the catalyst that started this particular schism and the producer of all but one of the tracks.
Ever the entrepreneur 'Striker' hit the musical jackpot once again as he goaded both artists into making records that went 'straight to the head'. What had begun as a joke grew into an entire series of seven-inch singles that set the Jamaican recording scene alight in the mid-seventies. All but one of the tracks on this set were voiced and mixed at King Tubby's Waterhouse studio; I Roy voiced 'Padlock' at Channel One because the competition a get so crabbit and this gave veteran vocalist Derrick Morgan an opportunity to enter the fray. Johnny Clarke, Dirty Harry and Prince Far I also make cameo appearances.
Insults and 'head' games are nothing new in Jamaican music but this album is the first to ever compile all the tracks from one of the best examples ever of these feuds here remastered and complete with full sleeve notes featuring interviews with the main protagonists.1. Do You Love Me? - Johnny Clarke
2. Straight To Jazzbo's Head - I Roy
3. Straight To Jazzbo's Head (Version) - King Tubby & The Aggrovators
4. Straight To I Roy's Head - Prince Jazzbo
5. Straight To I Roy's Head (Version) - King Tubby & The Aggrovators
6. Padlock - I Roy
7. Padlock Version - The Revolutionaries
8. Gal Boy I Roy - Prince Jazzbo
9. The Roots of Dub - King Tubby & The Aggrovators
10. Jazzbo Have Fe Run - I Roy
11. Jazzbo Have Fe Run (Version) - King Tubby & The Aggrovators
12. I Roy The Chiney Commer Around - Derrick Morgan
13. Straight To I Roy's Big Mouth - King Tubby & The Aggrovators
14. Straight To Derrick Morgan's Head - I Roy
15. Straight To Trico Lee's Head - King Tubby & The Aggrovators$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Eyehategod (Awaiting Repress)Legendary New Orleans gods of sludge, excess and mayhem EYEHATEGOD release their new, self-titled album.
Mixed by Sanford Parker, Eyehategod will feature the final recordings of EYEHATEGOD drummer Joey LaCaze, who passed away last August of respiratory failure. He also suffered from severe long-term asthma. He has since been replaced by Aaron Hill, who comes by way of New Orleans' local acts MISSING MONUMENTS and MOUNTAIN OF WIZARD.
In a recent interview with NPR, EYEHATEGOD frontman Mike IX Williams stated about the band's forthcoming album: We started out the recording with Billy Anderson. He recorded the drums, bass and some guitar, but that was a mess. There was a documentary crew in there filming, and it was distracting away from our time recording. Jimmy [Bower, guitar] was having a couple problems at the time too, waiting for his kid to be born, so it was a weird time to be in the studio. We ended up using just Joey's drum tracks from Billy. He's awesome - I love him and there's no hard feelings, but we just wanted to finish it somewhere else. We got Steve Berrigan to come out to where I live two hours outside of NOLA, and redid the bass and the guitars. Phil Anselmo [PANTERA, DOWN] gave me some ideas for the vocals, like how we did the ARSON ANTHEM record; me and him work well together.
Asked if EYEHATEGOD ever considered giving up following Joey's passing, Mike said: It was never an option as far as I'm concerned. I don't think it was for anybody else either.
This all happened at the end of September, when we'd just gotten back from a six-week tour of Europe. He's had pretty bad asthma ever since I've known him, and in Europe he was having these weird sleep apnea things when he was sleeping. It was a breathing issue, a respiratory thing, but I don't know; I'm not a doctor. So when we got back, that's when he passed away, so there was a little bit of time in there when we had to think - 'We've got shows booked. What do we do?' We did have to cancel probably 50% of them, but we still just said, 'Let's keep going, that's what he would want us to do.' We'd even had conversations before, when Joey and I would talk, and he'd ask me, 'Who would you get to replace me?' Things like that, and just be honest with each other. He knew the band would keep going, and he wanted it to.
To me, it's just part of life; it's just the way things happen, what cards you're dealt, how life treats you.
We don't know how to give up. That's been the story of our entire career, our lives, even without the band. We just don't know when to quit. It's just a matter of moving forward.
- Blabbermouth1. Agitation! Propaganda!
2. Trying to Crack the Hard Dollar
3. Parish Motel Sickness
4. Quitter's Offensive
5. Nobody Told Me
6. Worthless Rescue
7. Framed to the Wall
8. Robitussin and Rejection
9. Flags and Cities Bound
10. Medicine Noose
11. The Age of Bootcamp$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
TimelineAvailable For The First Time On 180 Gram 2-Disc Vinyl.
Timeline is the Yellowjackets' 21st official recording, not including special side projects and guest spots. The band's background gleams with various honors, including 17 Grammy® nominations and 2 Grammy® awards to show for their efforts-so far.
Nearly two generations of fans have enjoyed the lasting influence and jazz tradition of Yellowjackets - 30 years of continuous service to America's native art form have made them unique in a business known for faddishness, and important in that ever-changing world of music.
Russell Ferrante - Jimmy Haslip - Will Kennedy - Bob Mintzer. All universally recognized innovators on their own and part of jazz history collectively as Yellowjackets mark this occasion with the appropriately titled Timeline. This is an essential chapter of a story that continues to be written.
Russell Ferrante - piano, keyboards
Jimmy Haslip - bass
Bob Mintzer - tenor, soprano saxophones, bass clarinet
Will Kennedy - drums, keyboardsLP 1
1. Why Is It
6. A Single Step
2. Like Elvin
3. My Soliloquy
5. I Do$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Rated OWith Rated O, Oneida has delivered a monster which happens to be the crowning achievement of their storied creative lives. By producing this colossus they have also created the necessity of its destruction, which within the confines of this tremendous accomplishment, they do so handily and with utter fluency. Perhaps Rated O represents the encyclopedic representation of Oneida music, creativity and insatiability. The music contained within the covers of Rated O must be seen as a gifted wilderness that when traversed will grant the traveler both a fractured mirror and a demolished and worried pathway deeper into the abyss. This album is an attempt to contain the entirety of Oneida and thus it points the way to infinite rebirth and boundless creativity. It is a finite map and the suggestion of unknown worlds.
Oneida has been releasing genre-defying music since 1997. They have nine full-length albums (one as double album, and now one as triple album) and various EPs and singles to their name. The list of great musicians and artists that Oneida have performed or collaborated with is far too extensive to briefly summarize here. They are critical darlings, they have become ambassadors for Jagjaguwar, and they are paying it forward with a label of their own called Brah Records (distributed by Jagjaguwar). For the reductivist in you, consider Oneida the bastard offspring of a Can/Suicide marriage, a band who is not afraid to pluck, tap, bend, synth or crash their way to the various extremes of rock, pop, folk and the avant-garde, and who brilliantly do so without alienating the respective fans of any of these so-called genres.
This triple LP version comes in a beautiful triple pocket gatefold jacket and contains a digital download coupon for free MP3s of all three platters.
1. Whats Up, Jackal?
2. 10:30 at the Oasis
3. Story of O
4. The Human Factor
5. The River
6. I Will Haunt You
7. The Life You Preferred
8. Ghost in the Room
10. It Was a Wall
11. Luxury Travel
13. End of Time
14. Folk Wisdom$29.99Vinyl LP - 3 LPs Sealed Buy Now
Like A RoseAshley Monroe, a member of the critically acclaimed trio Pistol Annies, presents her first Warner Nashville solo album, Like A Rose. Most folks, as soon as they hear Ashley Monroe, instantly recognize one thing: she's the real deal. Her songs resonate so profoundly because they reflect the experiences of an artist who, although she is just 26, has already seen both the best and worst that life has to offer.
Like a Rose has been a long time coming. Monroe has been creating music for more than half of her life-attracting along the way kudos from such music world giants as Dolly Parton, Guy Clark, Vince Gill and Jack White. Her new, full-length album release serves both to fill in the back-story and impart to us who she is today. At times her songs are dead serious, at others utterly hilarious, but always Monroe is an original with a compelling story to share.
Monroe spent her childhood in Knoxville, Tennessee, where she immersed herself in all varieties of music ranging from country-she's not-too-distantly related to members of the legendary Carter Family-to rock, pop, rap and even opera. When she was 11, Monroe won a talent contest singing "I Want To Be a Cowboy's Sweetheart" and two years later her father gave Ashley her first guitar. She developed a passion for writing songs, discovering that she could easily communicate her thoughts and sentiments through a six-string and her dynamic, exceptional voice.
One of the most rewarding artistic adventures for Ashley to date has been the Pistol Annies, a trio she co-formed in 2011 with her friend Miranda Lambert, whose chart-topping hit "Heart Like Mine" Ashley co-penned, and newcomer Angaleena Presley. Pistol Annies have provided Monroe with yet another outlet for her music. Their album, Hell on Heels, garnered rave reviews. The All Music Guide called the trio "a remarkably democratic supergroup" while veteran music critic Robert Christgau gave the album an A grade, citing its "expertly executed tunes."
Despite her list of previous accomplishments, everything she's done so far feels like it's been pointing the way toward Like a Rose. With songs that run the gamut from feel-good to controversial to contemplative, the album, produced by country music titan Vince Gill, offers the full range of Ashley Monroe's songwriting and performing skills. To maintain the honesty of Ashley's songs, Gill and the singer chose to record the album the way most of the greatest albums ever were made: sans gimmickry. "We just got the band in a circle and started playing the songs," Ashley says, "and once we felt like we had a feel for it, I'd do my vocal live-I never went back in to do a second vocal. Everyone put everything we had into the songs. There was a buzz in the room. We all had fun-it felt like a big old family, the way records used to be made."
Some of the songs were newly written for the album; others date back several years and felt right to revisit. The semi-autobiographical title track, one of the uncontestable highlights of the set, was co-written about six years ago with another totem of the American song-crafting community, Texan legend Guy Clark.
One song that is bound to raise some eyebrows refers to the same favored flower of the title tune, but in a much different sense: "Weed Instead of Roses" tells of a woman's desire to get a gift she actually desires from her beau, not just something that smells good.
"You Got Me" was co-written by Monroe and Karen Fairchild. Says Ashley, "It's about an addiction to something-one thing or another, whether you're stuck in a bad relationship or alcohol or whatever it is-and you try to hide it and fight it but you're kind of saying, 'Alright, you got me.'
On a more light-hearted note is "Monroe Suede," based on "a slick character that tries to get away all the time." Another is the self-explanatory "You Ain't Dolly (And You Ain't Porter)," a duet featuring Lambert's husband, CMA Entertainer of the Year Blake Shelton. "Morning After" confronts that uneasy feeling that often follows a too-good time and "She's Driving Me Out Of Your Mind," written with Jon Randall Stewart, comes straight from one of Ashley's many journals. "Two Weeks Late" was suggested by singer-songwriter Shane McAnally, who co-wrote it with Monroe. "He came in and said, 'I heard this phrase at the ATM: I'm a dollar short and two weeks late.' That was another one that just fell out. I grabbed the guitar and we started writing it up.
"Used," another standout, is an update of a song that appeared on Monroe's Satisfied album. "It came to me when I was about 17 and my manager at the time had just bought me this old 1950s Gibson guitar," she says. It came into my mind that things are worth more used, and I thought about my mom, who had lost my dad when she was 38. I was thinking, she had two kids, she's been through a lot, and, bless her heart, it's all gonna be worth it. Vince and I worked up this new version, which made it fresh for me."
And fresh it all is. Like a Rose avoids the trappings of too much contemporary music by sticking to the basics: memorable songs, incredible musicians, a superb voice, all of it captured honestly and without frills. As the saying goes, sometimes we need to stop and smell the roses. Take a whiff of Like a Rose and you'll find it smells pretty darn sweet.1. Like A Rose
2. Two Weeks Late
4. Weed Instead of Roses
5. You Got Me
6. The Morning After
7. Monroe Suede
8. She's Driving Me Out Of Your Mind
9. You Ain't Dolly (And You Ain't Porter) ft. Blake Shelton$15.99Vinyl LP - Sealed Buy Now
The Graduate (Speakers Corner)
With his film The Graduate, which was crowned with an Oscar and five Golden Globes, director Mike Nichols created far more than just the story of the erotic initiation of the college graduate Benjamin. Not only the scenario but also the production modalities were revolutionary. For the very first time the crusted morals of the American upper class were attacked by means of film, an Alfa Romeo - a European car - was advertised most effectively, and a soundtrack was put together from already existent, successful pop numbers. No words are really necessary about the music, since numbers such as Sound Of Silence, Mrs. Robinson and Scarborough Fair have entered into the annals of musical culture ever since they were used in the film. It is astounding to note how seamlessly the various works fit snugly into the film's context, as though they had been specially written for the scenes.
This soundtrack is a monument to Dustin Hoffman, who played his first big role in the film, and it catapulted Simon & Garfunkel right to the top of the list of ballad singers. But it also recalls to memory the peppy, instrumental insertion numbers by Dave Grusin, who virtually fell into oblivion after all the hype about this provocative movie.
- Paul Simon (guitar, vocal)
- Art Garfunkel (vocal)
- Dave Grusin
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.The Sound Of Silence - Simon And Garfunkel
2. The Singleman Party Foxtrot - David Grusin
3. Mrs. Robinson - Simon And Garfunkel
4. Sunporch Cha-Cha-Cha - David Grusin
5. Scarborough Fair / Canticle (Inerlude) - Simon And Garfunkel
6. On The Strip - David Grusin
7. April Come She Will - Simon And Garfunkel
8. The Folks - David Grusin
9. Scarborough Fair / Canticle - Simon And Garfunkel
10. A Great Effect - David Grusin
11. The Big Bright Green Pleasure Machine - Simon And Garfunkel
12. Whew - David Grusin
13. Mrs. Robinson - Simon And Garfunkel
14. The Sound Of Silence - Simon And Garfunkel$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lies & WishesEdward David Anderson is an artist as ancient as he is modern. In a time when the music business desperately flails about, grasping at any new trend that will save its sinking ship, he exists far beyond its confines. Best known for his work with the revered Midwestern rock band Backyard Tire Fire who released a string of acclaimed albums in the previous decade, Anderson returns to the national stage with his highly anticipated solo debut, Lies & Wishes. Produced by Los Lobos' Steve Berlin, it finds Anderson creating his own mythology through a collection of songs that embrace vulnerability, while remaining grounded in his working class roots. Anderson sings, I'm the son of a plumber, from a God fearing mother. The lyric says much about where his story begins as an artist. He was born and raised just west of Chicago and lives a simple life, spending winters in an RV alongside the Gulf of Mexico in lower Alabama. Anderson's an American songwriter on an existential quest who seeks and who searches through song.
I feel like every experience, every mile, every interaction, every tune, sort of got me to where I am at this moment, Anderson recounts while shedding light on the over-arching theme that ties together the 10-track collection. The songs on the record are confessional by nature. They are songs about loss and love and living and hope. Halfway through my life, it's an honest look in the mirror.
Anderson's journey over the last five years and his response to the challenges he faced is what sets the lifers apart from those that concede the artistic pursuit. The dissolution of Backyard Tire in 2011 was the first obstacle to overcome. The band had built a devout cult following around the U.S., counting Cracker, Reverend Horton Heat and Clutch among their fans, all of whom took BTF on the road exposing them to a wider audience. It was around this time that Steve Berlin of Los Lobos was first drawn to Anderson's songwriting.
"Backyard Tire Fire opened a show for us and I remember being backstage and listening to their music and I was like, 'Wow, that song sounds really familiar. Whose cover is that? It's a classic tune,'" says Berlin. "It turns out that they were all Ed's originals. They just had that instantly memorable quality to them. So, I introduced myself at the show and we became buddies and then collaborators. Ed's music is so evocative, so well written. I honestly think he is as talented as anyone in the songwriting world and it is important that he be heard."
Anderson adds: I was just starting to get back on the road again after Tire Fire split, touring with my friend Johnny Hickman and I got inspired to get back in the studio. I had these songs and had something pretty interesting to say based on the experiences I just went through. I knew if I could get Steve Berlin involved, who is an old friend that I've worked with in the past, it could be something special."
It was just prior to this that Anderson's mother passed away, while the previous winter his wife lost her mother, both to extended illnesses. It was a defining moment for the 40-year old artist and culminated in a torrent of songwriting. Indeed, songs like Lies & Wishes Lost & Found and Chain Reaction delve deep into the human condition, asking difficult questions of both himself and his loved ones.
"A lot of the subject matter on this record came from reflecting on these painful experiences" says Anderson. After losing my mom, I decided I've got to make a record and dedicate it to her and make a statement here on my own.
Musically speaking, the core of Lies & Wishes is built around refined melodies, acoustic guitars and sparse arrangements, yet Berlin's production colors the tracks with squalls of electric guitar, affected vocals, drum loops and assorted analog keyboard flourishes. It should also be noted that fans of Anderson's vintage rock and roll songwriting from his Backyard Tire Fire days will find plenty to love on tunes like "Nothing Lasts Forever," "Taking It Out On You" and "The Next Melody," which deliver the big hooks and classic refrains on which he so effortlessly hangs his hat.
This is where we find Edward David Anderson today. His heart's on his sleeve and it's that of an artist. Nobody ever said it was going to be easy, but as the songs on Lies & Wishes bare out, when the muse calls, he will be there to answer.
I needed to make this album, he concludes. I feel like it's undoubtedly my finest work to date, the beginning of the next chapter for me.1. Lies & Wishes
2. Lost & Found
3. Son Of A Plumber
4. Pins & Needles
5. Taking It Out On You
6. I Missed You
7. Nothing Lasts Forever
8. Chain Reaction
10. The Next Melody$16.99Vinyl LP - Sealed Buy Now
KIN (Awaiting Repress)1st full length release from the Atlanta-based sisters.
We have a very colorful family history," explains lead singer/guitarist Rebecca, 23, who also plays mandolin and violin. "There were a lot of creative, hot-headed, and intelligent branches that went against the grain in our family tree. Our paternal grandfather suffered from schizophrenia, while our great,
great, great, great grandfather, Larkin Poe, was a Civil War wagon driver turned historian and a distant cousin to Edgar Allen Poe. Growing up with their
crazy stories definitely shaded our perception of normal. As artists, I think some of those innate eccentricities, passed down from generation to
generation, have been even further exaggerated in us!" Megan, 25, who contributes lapsteel and dobro to the line-up, chimes in, "As sisters, we just
wanted to pick a band name that had familial significance, so we decided to tip a nod to our ancestors and take on the name Larkin Poe."
The Atlanta-based sisters celebrate that unique genealogy and their own eccentricities with their debut full-length album, Kin, on RH Music, produced by
Chris Seefried (Fitz and the Tantrums, Lana Del Rey) in Los Angeles and Damien Lewis (Rihanna, Rita Ora) in Atlanta.
After years of being fiercely independent (i.e., they self-released five EPs and toured for three years without label support), they decided to sign with RH
Music. We signed with RH Music because they believe in our authenticity. They understand that we make music for no other reason than our need to
make music and want to support that need, explains Megan. They see our passion! Others are clearly taking note of this passion as well, including Elvis
Costello and Kristian Bush (of Sugarland). Both legends have taken the sisters out on the road to serve both as opening bands and backing bands; with
Elvis Costello calling them gifted instrumentalists, while Bush praises the poetry they make with their strings, words, and voices.
With years of domestic and international touring under their belts, and a large and loyal fan base already in place, the sisters want their fans to know that
Kin is truly their coming of age project. This is by far the most genuine piece of work we've ever released as a band, says Rebecca. It's our story,
written in our way, played and sung by us. We call it roots-rock'n'soul. It's our whole heart and soul mashed up into a musical form.1. Jailbreak
3. Stubborn Love
5. Crown Of Fire
7. High Horse
8. Sugar High
10. Banks Of Allatoona
11. We Intertwine
12. Overachiever$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ADAD-NOQ-1802xCian Nugent & The Cosmos
Born With The CaulCian Nugent's rst widely available album Doubles was released in the summer of 2011
to great acclaim from Pitchfork, NPR and The Wire, and rightly so. Nugent's playing is a
lorious thing - it twists and turns as if telling a story, with each chord change revealing
something new. Over the past year, the young Dublin-based guitarist linked up with a
4-piece band called The Cosmos, a motley bunch interested in mining the same far out
musical styles. Born With The Caul is their rst studio album and the group is a force,
existing some place out of time. Not only is their sound an era-less one but the songs
themselves are never in a hurry as they build and unfold, never wasting a note. Tours of
the United Kingdom and Europe have clearly tightened them up, though the looseness and
uidity of their playing is an envious thing. Born With The Caul captures an artist and a
group at a peak moment.1. Grass Above My Head
2. Double Horse
3. The Houses of Parliament$15.99Vinyl LP - Sealed Buy Now
The Best OfDespite great acclaim at the time The Czars remain one of Denver's best-kept secrets. Over the course of their career they couldn't quite turn critical salvos into commercial success. Then, when the band split up in 2004 after their fifth album - the presciently titled Goodbye - nothing was heard from any member for six years. So when John Grant reappeared in 2010 with his landmark solo debut Queen Of Denmark, some thought he was a new artist, without a back-story that stretches as far back as 1994 when the band originally formed.
The Best Of The Czars is made up predominantly from the run of three studio albums that Bella Union released between 2000 and 2004. Before But Longer donates the first four songs, 2002's The Ugly People Vs The Beautiful People the next six, and Goodbye the next five. The final track is an exquisite reading of Tim Buckley's signature standard Song To The Siren taken from 2005's B-sides/covers compilation Sorry I Made You Cry.
Grant is his own fiercest critic, and says of all Czars albums he only stands by Goodbye. It's the only one that came anywhere close to being what I'd hoped for, he reckons. Out of the five albums we made, there's one good solid album of material. Well, John, here it is. But The Best Of The Czars isn't merely good; it's magnificent. At their best, The Czars mastered a luminous and stately country-folk'n'western noir shot through with a classic songwriting twist.
On various tours since his solo debut, Grant has performed three old Czars tracks: Drug (from The Ugly People ), Paint The Moon and Little Pink House (from Goodbye). They're the Czars songs I most connect to in performance, that I'm proudest of, that flowed out of me as complete products, says Grant. As a whole, though, the band remains a conflicted memory for the singer. I had so much fear at the time, I wanted to try and control everything around me, which I feel affected my voice, he admits. Only now do I feel that voice is coming out of its shell, and that I'm comfortable in my own skin. But the music is an important part of my history, so it deserves to be heard.1. Val
3. Get Used To It
4. Dave's Dream
5. Roger's Song
7. Side Effects
10. Lullaby 6000
11. Paint The Moon
13. My Love
15. Little Pink House
16. Song To The Siren$22.99Vinyl LP - Sealed Buy Now
Funky Was The State Of AffairsFergus and Geronimo's leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well. But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.
Founding member Andrew Savage is very conscious of the risks the band took, the changes that were made in order to avoid being marginalized. Says Savage: "Jason (Kelly) and I had no interests in becoming lost in the indie rock/garage rock milieu. The nature of those early singles was that they were instantaneously gratifying, and we both wanted to make a record that was ultimately gratifying, but not necessarily instantaneous."
Now we have an idea of how far Fergus and Geronimo are continuing to take their gradually conceptual ambitions, in the form of their second full-length record, Funky Was The State of Affairs.
Like some of history's most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do: making an album that actually plays like a cohesively complete statement. "I feel like bands aren't really making albums anymore. By that I mean, a start to finish concept meant to be listened to in its entirety. Labels are more interested in singles, which is in a tail-wags-dog sort of way.
And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include, "aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement." At times the story seems filtered through the earthling point of view; in the next, extraterrestrials listen to phone-tapped conversations by some understandably paranoid humans.
Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo. Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, "No Parties," contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent: "Collecting devices, you're paying the prices/Of over consumption, with mental destruction."
"Basically, its a dystopian sound-scape of our civilization's collapse," says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve "the tightness that can only come from recording with a live core," as "musicianship is extremely important to Jason and I."
Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band, which evolved out of the equally experimental Jackie-O Motherfucker, there is an expansion in the group's improvisational capabilities that wasn't as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul ("Wiretapping Muzak I and II") to early '80s New York dance rock ("Marky Move") with an immodest ease.
"Hi, I'm Heather Strange, and I'm a 23-year-old human earthling female" says a woman between the first and second track. "Really, I'm just looking for a man whose cerebral capabilities haven't been fried by LCD screens yet." Most people reading this might be able to relate to Heather's plight, or worse yet, sink under the weight of being the type of person she's desperately seeking to avoid. But such is the genius of Fergus and Geronimo. They have made all of these variously opposing forces; dark and light, alien and earthling, melody and noise, condemning and being condemned, something that you feel like listening to over and over again. If only to hear what happens next.1. Planet Earth is Pregnant for the 5th Time
2. No Parties
3. The Strange One Speaketh
4. Roman Tick
5. My Phone's Been Tapped, Baby
6. Roman Nvmerals/Wiretapping Muzak I
8. Earthling Men
9. The Uncanny Valley
10. Earthling Women
12. Wiretapping Muzak II
13. Off the Map
14. The Roman Stuff is Where it's At
15. Marky Move
16. Funky Was the State of Affairs$14.99Vinyl LP - Sealed Buy Now
AudioQuest Conductive Record Brush
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Back in 1973, I became a dedicated user of the Decca Carbon Fiber Record Brush. The British Decca Brush was so wonderfully more effective than any of the wet-cloth-pad cleaners that smeared dirt around on one's records.
As often happens to truly superior products, the Decca Brush was mostly ignored - the overall record-cleaning market was dominated by cleaning pads attached to wood handles - not because they worked well, but because many hi-fi stores preferred to sell a cleaner that forced customers to come back to buy "special" fluid, again and again.
After creating AudioQuest in 1980, and with the wild success of the AQ 404 phono cartridge in 1982, and because I personally used a Carbon Fiber record brush every single day - AudioQuest began making the AQ Carbon Fiber Record Brush - now a 35-year old success story, and maybe the world's favorite way to respect and care for LPs.
Except - we eventually learned that the AQ Record Brush (and every other brand of carbon Fiber brush), doesn't have a good electrical path between the fibers and the handle, and that the print-protecting coating on the metal handle prevents a proper electrical connection to the user's hand. The user is the "ground" for static electricity, so having a good electrical contact from fibers-to-hand is a big deal!
In creating AQ's new Conductive Carbon Fiber Brush, AudioQuest created new tooling for every part of our new design. AQ's reborn Brush has ideal conductivity from the Carbon Fibers, through the internal parts of the brush, to the conductive Gold Contacts placed right where your fingers need them.
We also reinvestigated what is possible with Carbon Fibers, finally choosing for our new Brush a far greater quantity of new smaller fibers in order to more effectively sweep away micro-dirt, not just the less relevant visible dust.
To everyone who has an AQ Record Brush (thank you), or any brand of Carbon Fiber brush, and to everyone who hasn't yet discovered how simple it is to keep records clean:
We invite you to experience the reborn AudioQuest Conductive Record Brush.
Your records will thank you!
$19.95Record Cleaner Brush Buy Now
- Safe, fast, and effective tool for removing dust and debris from vinyl records
- Conductive carbon fiber bristles and conductive gold contacts remove microscopic dust before it becomes embedded in the vinyl
- Keeps records sounding like new
- Also perfect for computer keyboards and much more
- Safe, fast, and effective tool for removing dust and debris from vinyl records
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now