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This Old Dog'
Prestige Series Gold Cartridge
The Prestige (and upscale Reference) cartridges from Grado are the first released since the elder Grado's retirement, but they mark an evolution, not dramatic change, of the classic Grado style. There are three basic levels in the Prestige lineup: Black/Green, Blue/Red, and Silver/Gold. In each of these pairings, the latter model is the same as the former, but is able to meet more astringent test specifications. The Green, for instance, is taken from the top 15% of the Black models production.
The newly redesigned Silver1 and Gold1 have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. The Silver1 and gold1 models use a four piece OTL cantilever technology, ultra-high purity long crystal (UHPLC) oxygen free copper wire in the coils and Grado's specially designed elliptical diamond mounted on a brass bushing. The Gold1 model is selected from the Silver1 production run and meets higher test specifications. Approximately 5% of the production run meet these standards and become Gold1 models.
What People are saying about the Gold... "The Prestige Gold's sound was readily identifiable, but after just a few seconds it didn't matter much, so engaging were the results."
- Wayne Garcia - The Absolute Sound
"It's a definite Best Buy!"
- Hi Fi Choice / Alan Sircom
"Beefheart's Clear Spot, the undoing of many an under-performing cartridges, didn't faze the Grado." - Hi Fi Choice / Alan Sircom "It was lively and detailed but never edgy on vocal sibilants, and didn't over-emphasis leading edges on acoustic guitar."
- Hi Fi Choice / Alan Sircom
"While the Prestige Gold cannot provide quite the same ultra-refined, take-you-to-the-mountaintop listening experiences that big buck moving coils can, it takes you a long way up the path toward analog excellence, and for a pennies-on-the-dollar price."
- Chris Martens / The Absolute SoundFrequency Response: 10-60Principal: MI
Channel Separation at 1KHz: 35
Input Load: 47K
Output at 1KHz 5CM/Sec.: 5mV
Recommended Tracking Force: 1.5
Stylus Type: E
Compliance CUs: 20
Stylus Replacement F: U
This product is not eligible for discount.$260.00Cartridge Buy Now
Prestige Series Gold (Replacement)
For use with the Prestige Series Gold
This product is not eligible for discount.$150.00Cartridge Replacement Buy Now
Great Gonzos - The Best Of Ted Nugent (Pre-Order)The Ted Nugent - Friday Music 180 Gram Audiophile Vinyl Series Continues!
His Greatest Hits - First Time 180 Gram Translucent Gold Vinyl
First Time Gatefold Cover & Poster
Mastered Impeccably By Joe Reagoso & Pressed At R.T.I.
Features Smash Hits: Cat Scratch Fever, Stranglehold, Wango Tango, Baby Please Don't Go, Dog Eat Dog, Wang Dang Sweet Poontang
Ted Nugent is truly one of the finest guitarist and hard rock recording acts of all time. Forever associated with his sophisticated trailblazing guitar work and platinum plus recordings, the legendary artist continues to garner both new and old fans alike with his amazing output of top charting hits and fine albums recorded over the years.
After years of solid hit singles and great albums with Epic Records, the label awarded the superstar with a terrific greatest hits collection appropriately titled Great Gonzos!-The Best Of The Ted Nugent Featuring a plethora of his most time-honored hits like the smash rocker Cat Scratch Fever, the blues belting live version of Baby Please Don't Go, and of course his hard & heavy metal classic Stranglehold
The multi-platinum superstar continues this awesome collection with more classics like his masterful Dog Eat Dog, the pile driver Wango Tango, and his brilliant tribute to Detroit: Motor City Madhouse, all which became mega hits for this legendary rock artist.
Friday Music is no stranger to the music of the Motor City Madman Ted Nugent that is why we are so very proud to announce our second installment in The Ted Nugent/Friday Music 180 Gram Audiophile Vinyl Series with his masterpiece Great Gonzos!-The Best Of The Ted Nugent
The original Epic Records classic is now mastered impeccably by Joe Reagoso (Deep Purple/Alice Cooper) and pressed for a very limited time on stellar 180 Gram Audiophile Translucent Gold vinyl at R.T. I.
To further enhance your hard rock listening experience, this first-time audiophile Ted Nugent hits collection will also be presented in a first-time gatefold cover and will also include a rare 12 x 12 poster of Ted Nugent from the Sony Music Archives.1. Cat Scratch Fever
2. Just What The Doctor Ordered
3. Free For All
4. Dog Eat Dog
5. Motor City Madhouse
8. Baby Please Don't Go
9. Wango Tango
10. Wang Dang Sweet Poontang$32.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Tears Lies And AlibisTears, Lies, And Alibis, marks the first release on Shelby Lynne's own newly founded label, Everso Records. Coming on the heels of Just a Little Lovin', Lynne's critically acclaimed 2008 tribute to Dustry Springfield, Tears, Lies, And Alibis affirms her position as a visionary, iconoclastic artist who deftly weaves country, soul, rock, blues, pop and folk influences to forge her own unique style.
Like Identity Crisis (2003) and Suit Yourself (2005), this sparse, unquarded collection was produced by Lynne, who evokes a live-in-the-studio vibe from a stellar group of musicians. From the exuberant Rains Come and dreamy Something To Be Said, her ode to the iconic Airstream trailer, to the restless, bluesy Old Dog and poignant Alibi, her evocative imagery brings to life the scarred yet determined group of survivors whose stories are told in Tears, Lies, And Alibis.1. Rains Came
2. Why Didn't You Call Me
3. Like A Fool
5. Something To Be Said About Airstreams
6. Family Tree
7. Loser Dreamer
8. Old #7
9. Old Dog
10. Home Sweet Home$17.99Vinyl LP - Sealed Buy Now
A Flourish And A SpoilThe Districts deliver raw, rollicking power on 'A Flourish And A Spoil' out February 10 on Fat Possum Records. John Congleton (St. Vincent, Angel Olsen, Swans) produced/engineered/mixed the album at Seedy Underbelly Studio (formerly Pachyderm Studio) in Cannon Falls, MN. The resulting 10 tracks capture the boisterous live performances from the quartet, who are all between 19 and 20 years old. The Guardian UK says, The Districts will be your new favourite band.
The four-piece band formed in 2009 while the members were still in high school in Lancaster County, PA. 'A Flourish And A Spoil' features singer/guitarist Rob Grote's vocals front and center, combining equal parts ferocity and yearning as when he reflects on leaving behind suburban childhood on Suburban Smell. The album credits original members Grote, Connor Jacobus on bass and Braden Lawrence on percussion with Pat Cassidy joining on guitar.
The Districts have toured with bands including Deer Tick, White Denim, Dr. Dog and Temples and won over fans on both sides of the pond with 2014 sets at Lollapalooza, ACL and Reading Festival, among others. Consequence of Sound says, As performers, they're naturals, having the confidence and stage presence of bands twice as old and twice as popular and Interview Magazine dares, just try not to bob your head.1. 4th And Roebling
5. Sing the Song
6. Suburban Smell
8. Heavy Begs
9. Young Blood
10. 6 AM$18.99Vinyl LP - Sealed Buy Now
Get Thy BearingsRobert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.
Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.1. Hunk
2. Little Business
3. Get Thy Bearings
5. Dog Party
6. Inversion Layer
8. Don't Chin The Dog
9. Up From The Skies$16.99Vinyl LP - Sealed Buy Now
Signs & SignifiersNamed as an artist you should know in 2011 by NPR, singer/songwriter JD McPherson makes his Rounder Records debut with the release of Signs & Signifiers which All Music calls a rockin', bluesy, forward-thinking album that subtly breaks the conventions of most vintage rock projects. McPherson is an artist with an unaffected take on vital American music and a voice that channels the spirit of Little Richard and James Brown.
The seductively kickass 12-song set finds this renaissance man/hepcat seamlessly meshing the old and the new, the primal and the sophisticated, on a work that will satisfy traditional American rock 'n' roll and R&B purists while also exhibiting McPherson's rarified gift for mixing and matching disparate stylistic shapes and textures. Recorded on analog equipment through vintage microphones and a 1960s Berlant 1/4 inch tape machine, Signs & Signifiers marks the arrival of an authentic, gutsy American artist.
Featuring JD McPherson (lead and backing vocals, guitar), Jimmy Sutton (bass), and Alex Hall (drums, piano, organ), the album also hosts an array of guest musicians, including Scott Ligon on piano (NRBQ's Terry Adams Rock & Roll Quartet); Jonathan Doyle (Nick Curran & the Lowlifes, White Ghost Shivers); Chicago's Josh Bell (The Del Moroccos) on tenor and baritone saxophones; Susan Voelz (Alejandro Escovedo, Poi Dog Pondering) on violin; Allison Chesley (Helen Money) on cello; and Joel Paterson (The Modern Sounds) lends choice guitar work to the Joey Simone classic Your Love (All That I'm Missing).1. North Side Gal
2. Country Boy
3. Fire Bug
4. Signs & Signifiers
5. Wolf Teeth
6. Scratching Circles
7. A Gentle Awakening
8. Dimes for Nickles
10. I Can't Complain
11. Your Love (All That I'm Missing)
12. Scandalous$24.99Vinyl LP - Sealed Buy Now
Profile: Best Of Emmylou HarrisAlready celebrated as a discoverer and interpreter of other artists' songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs-three of them co-written with Grammy- and Oscar-winning composer Will Jennings-that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons ("The Road") and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle ("Darlin' Kate") and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On "My Name Is Emmett Till" she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim's perspective; on "Goodnight Old World," she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up's world-weariness with a baby's wide-eyed wonder. "Big Black Dog," with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte's Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: "She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I'm making up for lost time now, that's for sure."Few in pop or country music have achieved such honesty or revealed such maturity in their writing.
Forty years into her career, Harris shares the hard-earned wisdom that-hopefully if not inevitably-comes with getting older, though she's never stopped looking ahead. The candor of Harris's words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she'd previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris's acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves-employing piano, pump organ, and synths as well as playing percussion-conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, "a floaty, dreamy quality.""It's such a beautifully realized sound," says Harris. "We didn't have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on 'My Name Is Emmett Till.' It's a simple part but it just breaks my heart whenever I hear it. It's like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I've been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable."On "The Road,"1. One Of These Days
2. Sweet Dreams
3. To Daddy
4. (You Never Can Tell) C'est La Vie
5. Making Believe
6. East From Now On
7. Together Again
8. If I Could Only Win Your Love
9. Too Far Gone
10. Two More Bottles Of Wine
11. Boulder To Birminham
12. Hello Stranger$21.99Vinyl LP - Sealed Buy Now
Screaming Life/FoppFrom the depths of the Sub Pop archives comes a reissue of
Soundgarden's thunderous opening salvo, Screaming Life, plus bonus
tracks from the Fopp EP and Sub Pop 200 compilation. This reissue
marks the first time these tracks will be available digitally, and their first
appearance on vinyl since the original, late-80s pressings (notwithstanding
a long-gone, late-'90s repress of Screaming Life). All tracks have been
remastered by Seattle studio wizard and producer of the original Screaming
Life and Sub Pop 200 sessions, Jack Endino, who had this to say about
"Ah, Screaming Life, Soundgarden's debut, and one of the first real
records I made for anyone outside my own band. I already knew
Soundgarden pretty well, since they and Skin Yard had shared the stage
many times in Seattle's tiny club scene circa 1985-1986. Soon after
opening Reciprocal Recording in July 1986, there I was with Soundgarden,
trying to make the most of our eight tracks. Somehow, we found room
for all of Matt Cameron's 'bonus tubs,' Hiro's primordial Fender bass,
and a whopping four tracks to share between Kim Thayil's mad guitar
psychedelia and Chris Cornell's still-expanding voice. 'Nothing To Say'
was the song that made us all look at each other and go, 'uh, holy crap,
how did we do this?'
Stuff started happening. A&M came calling. SST agreed to put out
their next record. But Soundgarden was not finished with Sub Pop. They
contributed 'Sub Pop Rock City,' about Seattle's then-rising 'grunge'
scene, to the Sub Pop 200 comp; and they threw everyone a curveball
with Steve Fisk-produced Ohio Players and Green River covers on the
The glorious vistas of a major label future awaited them. To quote Kim
from an old interview, 'It was karma, it was dogma, it was dog breath.'"1. Hunted Down
3. Tears to Forget
4. Nothing to Say
5. Little Joe
6. Hand of God
7. Sub Pop Rock City
9. Fopp (Fucked Up Heavy Dub Mix)
10. Kingdom of Come
11. Swallow My Pride$18.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-ATO-3713xLes Claypool's Duo De Twang
Four Foot ShackHow "deconstructed" can a group get? How about just one vocal, one bass, one guitar, and a basic beat supplied by stomping on a mini-tambourine-doohickey? That's exactly what everyone's favorite storyteller/narrator, Les Claypool, is incorporating in his new band, Duo de Twang. While Les is still pulling double duty with the Primus lads, he has also found the time to unite with his old buddy, Bryan Kehoe, who fans will recognize from several past Claypool projects, and also as one of the main actors from Les' hilarious jam band mockumentary, 'Electric Apricot: Quest for Festeroo.' But unlike Primus, DDT focuses more on the Americana/rootsy side of things - as heard throughout the band's debut recording Four Foot Shack, to be released via ATO Records.
And as evidenced by DDT's live shows and debut, Les and Bryan mostly mix traditional tunes, popular covers, and readings of Primus classics (all of which are usually barely recognizable when compared to the original versions). Case in point, the inclusion of "Battle of New Orleans," "Stayin' Alive," "Man in the Box," "Wynona's Big Brown Beaver," and "Jerry Was A Race Car Driver" on DDT's debut disc. "A lot of it is just stumbling across it," explains Les about how a tune is selected to be twang-ified. "You're twanging away, and then all of a sudden, something just comes out. And then you laugh about it or you don't. And then you move on. There are tons of songs that we've stumbled across, and these ones just happened to be the ones that stuck."
Upon hearing Four Foot Shack you'll quickly discover that Les and Bryan made it a point to keep things as live-sounding as humanly possible. "It was very live," admits Les. "In fact, it was a little difficult, with all the bleed of the stomping and the bass and the vocals. Every now and again you can hear the studio refrigerator come on or the dog barking at something outside in the background. Once it was there, you had to kind of leave it."
Les added, "The Twang project is me exploring a lot of stuff that I personally listen to; Johnny Horton, Vernon Dalhart, Jerry Reed, Bob Wills, Eddy Cochran stuff like that - it's another door for me to open. I'm doing this sort of Luther Perkins, Johnny Cash guitar-ish type part on my bass, by doing the old ding-dinka-ding, dinka-ding-dinka-ding on a lot of the stuff. It took me a little bit to get that. Now that I've gotten it, I can pull songs out of the air and it's surprising how many songs easily succumb to the twang, and can be complimented by the twang. When all is said and done, it's just a hell of a fun project for me right now. I'll do it 'til it's not fun anymore."1. Four Foot Shack" (Les Claypool's Duo de Twang)
2. Wynona's Big Brown Beaver" (Primus)
3. Amos Moses" (Jerry Reed)
4. Red State Girl" (Les Claypool)
5. The Bridge Came Tumblin' Down" (Stompin' Tom Connors)
6. Boonville Stomp" (Les Claypool)
7. Stayin' Alive" (Bee Gees)
8. Rumble of the Diesel" (Les Claypool)
9. Pipe Line" (The Chantays)
10. Buzzards of Green Hill" (Les Claypool's Fearless Flying Frog Brigade)
11. Hendershot" (Les Claypool's Fearless Flying Frog Brigade)
12. Man in the Box" (Alice in Chains)
13. D's Diner" (Les Claypool's Fearless Flying Frog Brigade)
14. Battle of New Orleans" (Johnny Horton)
15. Jerry Was a Race Car Driver" (Primus)$21.99Vinyl LP - 2 LPs Sealed Buy Now
Title"'All About That Bass' doesn't sound like anything else that's on pop radio
right now - especially the chorus, which has a doo-wop feel." - Billboard
"All About That Bass is a sweet delight on every level - from its pro-curves lyrics to its lilting,
island-tinged groove, to Trainor's girl-group-era delivery that will make you
miss Amy Winehouse all over again." - Newsday
"With its throwback soul beat, its body-positive message couched in a cute metaphor,
and its dance-filled, candy-colored video, Meghan Trainor's "All About That Bass"
couldn't have been better designed to go viral." - Entertainment Weekly
"She's a cheeky one, but the up-and-coming pop star has a charm that's hard to resist.
Her bubblegum hit is burning up the Billboard top 10 and the 20-year-old singer
could end up being the next Katy Perry." - New York Post
When she was still in high school, singer/songwriter MEGHAN
TRAINOR landed a deal with Nashville music publishing
company Big Yellow Dog and started writing songs for artists
from all corners of the music world. A multi-instrumentalist who
put out three albums on her own by the age of 17, the 20-yearold
Nantucket, Massachusetts native has penned tracks for
everyone from Grammy-winning country superstars RASCAL
FLATTS and Grammy-nominated country artist HUNTER HAYES
to reggae/rock/R&B group COMMON KINGS and Hot Chelle
Rae singer RYAN FOLLESÉ. Recently signed to Epic Records,
Meghan joined forces with Grammy-nominated producer/
songwriter Kevin Kadish (Miley Cyrus, Jason Mraz) for her
infectious debut single, "ALL ABOUT THAT BASS," a playful,
empowering and unapologetic pop anthem that encourages
girls to ignore the Barbie doll standard of beauty and love
themselves inside and out.1. Intro/The Best Part
2. All About That Bass
3. Dear Future Husband
4. Close Your Eyes
6. Like I'm Gonna Lose You
7. Bang Dem Sticks
10. What If I
11. Lips Are Movin$22.99Vinyl LP - Sealed Buy Now
Check 'Em Before You Wreck 'EmThe Admiral Sir Cloudesley Shovell are the last of a dying breed of Grease Rock Bastard musicians who somehow, despite and in spite of the last 3 decades trying their best to kill off balls out, non-bullshit rock'n'roll music, somehow, against all the fucking odds, still exist, surviving on a steady diet of God sent gigs, hire vans, broken down amps, split drum skins, greasy spoon fry ups, patched up jeans, roll-ups, cheap leather jackets, booze, weed and bathtub speed.
Spare them your sympathy - no-one made the silly bastards do it. They just NEED to!! Right??
Facts to face - the Shovell are named after a 17th century English naval commander; Bill Darlington plays drums, Louis Comfort-Wiggett plays bass and Johnny Gorilla plays guitar and sings, they have been together as a band since 2008.
Their debut 2011 Rise Above 7, Return To Zero'/'Day After Day, sold out instantly and now commands £100 plus a copy; their 2012 debut long-player DON'T HEAR IT FEAR IT received unilateral rave reviews and was described pretty accurately by one scribe as 'the aural equivalent of stumbling into an 18 year-old male's bedsit in 1973 - the kind of greasy hard-rock thrills rarely heard in this climate of blind nostalgia and misjudged authenticity. It's hard 'n' heavy, without the marshmallow; it's old-fashioned yet so NOW that it hurts!''
They've toured and played with the likes of Orange Goblin, Uncle Acid and the Deadbeats, Incredible Hog, Gentlemans Pistols, Graveyard, Gonga and countless more, toured Europe and had chief Groundhog Tony McPhee playing on their first LP!
On their new LP CHECK 'EM BEFORE YOU WRECK 'EM the Shovell somehow carry on the lineage of the truly golden age of British heavy rock whose dog shit stained road was paved by the likes of Budgie, Sabbath, early Motorhead, Quo, Lizzy, The Groundhogs, Stray etc. Chuck in a healthy chunk of U.S. and Aussie proto metallurgists Sir Lord Baltimore, Dust, Bang, The Litter and Buffalo, as well as a healthy Vertigo 'Swirl' of dew picked mushrooms bad trip psych.
The Shovell thinks the world could do with another slice of no-nonsense re-gressive proto-rock 'n'metal - one that you don't need a Degree in doom-rock or a Masters in metal to appreciate - just a love of when music was F U N !!!!
Remember kids - CHECK 'EM BEFORE YOU WRECK 'EM!!!1. Do It Now
2. 2 Tonne F*ckboot
3. Captain Merryweather
4. Running From Home
5. Happiness Begins
6. Shaker Your Head
7. Don't Hear It ... Fear It!
9. The Thicker The Better
10. Late Night Mornings$16.99Vinyl LP - Sealed Buy Now
ADAD-PAR-5849xThe Weather Station
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
FiveThe number five holds a deep significance. We have five senses. Five points adorn a star. Five represents man in theology. For the five members of Hollywood Undead-Johnny 3 Tears, J-Dog, Charlie Scene, Funny Man, and Danny-the digit perfectly encapsulates their fifth full-length offering- V (FIVE).
The band recently announced the album's first single, California Dreaming. Powered by neck-snapping guitars and fast and furious bars, the song cycles between guttural rapping and quick quips. Everything culminates on the choral chant We never sleep, in California we're dreaming.
It dissects both sides of California, J-Dog reveals. You've got the glitz, glamour, sun, and surf. Then, you've got the super fucked side of people not being able to afford rent, celebrities being assholes, and that fake façade. We wanted to do a heavy song with a Red Hot Chili Peppers-esque chorus. It's an old school vibe explored in a new way.
We're five brothers, and this is our fifth record, affirms Johnny 3 Tears. Nothing gets to the essence of the music like this number does. Numerology has a lot of power. When we said Five, it just made sense. The fact that we could all agree on one word codifies who we are. It also nods back to 'No. 5' from our first album, because it was our fifth song. Moreover, it hints at this secret society of fans supporting us for the past decade. The number is significant, and this is a significant moment for us.1. California Dreaming
2. Whatever It Takes
3. Bad Moon
4. Ghost Beach
5. Broken Record
6. Nobody's Watching
8. Black Cadillac (ft. B-Real)
9. Pray (put em in the dirt)
10. Cashed Out
12. We Own The Night
13. Bang Bang
14. Your Life$21.99Vinyl LP - Sealed Buy Now
Pain In My HeartThis album works on so many different levels, that it's essential listening for at least three categories of buyer -- fans of Otis Redding and Stax Records (natch), and more general soul listeners, and also anyone serious about their devotion to the work of the Rolling Stones and any other British invasion bands that covered American soul. Pain In My Heart was practically a road map to Mick Jagger and any number of other would-be white soul shouters in the UK, not just on the title track but also numbers like the hard rocking Hey Hey Baby. For someone only 22 years old at the time of these sessions, and just two years past his first 45 rpm record, Redding exudes astonishing power, energy and boldness, though it's all packaged with greater restraint than his subsequent records did. This was the only LP that Redding recorded during the lifetime of his idol, Sam Cooke, and his version of You Send Me is the least stylized of any of his renditions of Cooke's songs -- later on, after Cooke's death, he would throw more of himself into it. The very fact that he was covering Cooke's soul classic shows an essential difference between Redding's and Cooke's early LPs; as Redding was on a soul label, no one tried to make him into a pop singer as that'd done at RCA with Cooke -- thus, he was running on all cylinders right out of the starting gate, though he wouldn't get really interesting or show his full depth until two albums later. But even covering Rufus Thomas's The Dog, Richard Berry's Louie Louie, Little Richard's Lucille, or Ben E. King's Stand By Me, he's already doing 70% of what we came to expect from Otis Redding in the years ahead -- his writing, apart from Security, These Arms Of Mine and That's What My Heart Needs, was still somewhat less than memorable, but this is still a first-rate debut.
-All Music Guide1. Pain In My Heart
2. The Dog
3. Stand By Me
4. Heh Heh Baby
5. You Send Me
6. I Need Your Lovin'
7. These Arms Of Mine
8. Louie Louie
9. Something Is Worrying Me
11. That's What My Heart Needs
12. Lucille$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-ROU-1291xFarrar, James, Johnson, & Parker
New MultitudesNew Multitudes is an intimate interpretation of American icon and musical legend Woody Guthries previously unrecorded lyrics from a dream team of Americana torchbearers: Jay Farrar (Son Volt), Will Johnson (Centro-matic), Anders Parker (Varnaline) and Jim James (My Morning Jacket). What makes this album such a rarity in todays music world is the allowance of the songs infectious simplicity to stand alone in all their glory. In doing so, Farrar, Johnson, Parker and James, pay the greatest compliment to Woody Guthrie and the collaborative spirit he so greatly embodied. This is an album which seamlessly converges the sepia-toned essence of the time honored past with the risks needed to forge the future.
Under the invitation of Nora Guthrie, Woody's daughter, to tour the Guthrie archives, each of the four songwriters were offered the chance to plumb and mine the plethora of notebooks, scratch pads, napkins, etc. for anything that might inspire them to lend their voices and give the words new life.
These guys worked on an amazing group of lyrics says Nora. Much of it was culled from Woody's times in L.A. Lyric wise, it's a part of the story that is still mostly unknown. From Woody's experiences on L.A.'s skid row to his later years in Topanga Canyon, they are uniquely intimate, and relate two distinctly emotional periods in his life.
Musically, it is the sense of collaboration that makes New Multitudes not just another trite and traditional acoustic regurgitation of back porch blues. From the ragged jangle of its opening track, Hoping Machine, the loping lilt of Fly High, the floorboard stomp of No Fear, to the lush warmth and sudden sonic gut punch of My Revolutionary Mind, the cohorts deliver a lesson in discovering a song's sweet spot time and time again. It's the function and preparedness of each artist's dogged work ethic gleaned the old-fashion way; veracious songs, road weary odometers and sweat stained live shows, all attributes of the man they are honoring.1. Hoping Machine
2. Fly High
3. My Revolutionary Mind
4. VD City
5. Old L.A.
6. Talking Empty Bed Blues
8. Careless Reckless Love
9. Angel's Blues
10. No Fear
11. Changing World
12. New Multitudes$21.99Vinyl LP - Sealed Buy Now
Carney (200 Gram Vinyl)Hit Maker And Musician's Musician Struck Chart Gold With 1972 Album Carney
Analogue Productions Reissue On 200-Gram Vinyl
Mastered By Kevin Gray At Cohearent Audio From The Original Master Tapes
Plated And Pressed At Quality Record Pressings
Heavyweight Tip-On Old-Style Jacket From Stoughton Printing
With his trademark top hat, hair well past his shoulders, a long, lush beard, an Oklahoma drawl and his fingers splashing two-fisted barrelhouse piano chords, future Rock and Roll Hall of Fame inductee Leon Russell cut a flamboyant figure in the early 1970s. He recorded his first hit single Tight Rope with the release of his third, and most successful album Carney, in 1972, which peaked at No. 2 on the Billboard Hot 200.
Two years earlier Russell had already played on hundreds of songs as one of the top studio musicians in Los Angeles. The Oklahoma-born pianist, guitarist, songwriter and bandleader led Joe Cocker's band Mad Dogs & Englishmen, appeared at George Harrison's 1971 Concert for Bangladesh in New York City and composed numerous hits of his own. He was in Phil Spector's Wall of Sound Orchestra and played sessions for Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures and the Monkees, among many others.
But it was the top-rated Carney, reissued here on an audibly exquisite 200-gram LP from Analogue Productions, that put Carney into the league of extraordinary musicians. Soulful roots-rock yields to dizzying psychedelia on this, Russell's most famous album. His all-time biggest hit, Tight Rope, leads to Out in the Woods, Cajun Love Song, This Masquerade, and more! No link in the reissue chain was sacrificed, making this outstanding reissue a true audiophile masterpiece. Kevin Gray at Cohearent Audio remastered the album from the original master tapes; plating and pressing took place at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, as benefits a stellar reissue, we packaged our version in a heavyweight old-style tip-on jacket from Stoughton Printing.
Russell wrote scores of hits for others, among them Superstar, (written with Bonnie Bramlett) for the Carpenters, Delta Lady for Joe Cocker and This Masquerade, for George Benson. His own version of This Masquerade is featured on Carney. More than 100 acts recorded A Song for You, which Russell said he wrote in 10 minutes. Ray Charles' recording of the song in 1993 received a Grammy Award.
Sadly, Russell's life as a musical muse and performer ended with his death at 74 on Nov. 13, 2016, at his home in Nashville. He will be forever remembered for making a broad, sophisticated palette of American music sound down-home and natural.
This title is not eligible for discount.1. Tight Rope
2. Out in the Woods
3. Me and Baby Jane
4. Manhattan Island Serenade
5. Cajun Love Song
6. Roller Derby
8. Acid Annapolis
9. If the Shoe Fits
10. My Cricket
11. This Masquerade
12. Magic Mirror$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Studio Rio Presents: The Brazil ConnectionLegacy Recordings, the catalog division of Sony Music Entertainment, will release Studio Rio Presents: The Brazil Connection, an innovative new collection of 12 beloved vocal recordings re-experienced through new samba and bossa nova arrangements created by iconic Brazilian musicians and The Berman Brothers.
Embracing the All In One Rhythm™ Theme of the 2014 FIFA World Cup, Studio Rio Presents: The Brazil Connection blends 12 iconic performances--from Bill Withers, Aretha Franklin, Marvin Gaye, Billie Holiday, Sly & The Family Stone, The Isley Brothers, Mel TormÉ, Nina Simone, Johnny Nash, Dave Brubeck with Carmen McRae, Andy Williams and Sarah Vaughan--with new, samba and bossa nova arrangements and production inspired by the spirit of Brazilian music.
Working on Studio Rio Presents: The Brazil Connection project, the Berman Brothers sought out the original multi-track masters and utilized an all-new, state-of-the-art separation technology from Science of Sounds to extract exquisitely pristine and detailed vocals. The newly isolated vocals were then melded with brand-new, authentic backing arrangements played by Studio Rio, an all-star cast of Brazilian musical pioneers from the bossa nova and samba genres, including Latin Grammy Lifetime Achievement Award winner Roberto Menescal and Brazilian musical legend Marcos Valle.
Studio Rio Presents: The Brazil Connection is the latest innovative musical project from the Berman Brothers (Frank and Christian), a production team whose previous work includes Rhythms Del Mundo (2006), a cross-cultural album summit which which fused an all-star cast of Cuban musicians including Ibrahim Ferrer and Omara Portuondo of the Buena Vista Social Club with US and UK artists and superstars such as U2, Coldplay, Sting, Jack Johnson, Maroon5, Arctic Monkeys, Franz Ferdinand, Kaiser Chiefs and others. Rhythms del Mundo was released in more than 61 countries and received multiple sales awards worldwide.
During the past 20 years, the Berman Brothers have received more than 90 gold and platinum awards, two BMI Awards, a Golden Globe nomination, a Grammy nomination (for Love One Another, recorded by Cher) and a place in history for their production and remix of the Baha Men's colossal hit, Who Let the Dogs Out. As producers, writers and publishers, the Bermans have worked with an array of international superstars including Coldplay, Sting, Cher, Real McCoy, Dido, Maroon5, Sophie B Hawkins, Reamonn and members of the legendary Buena Vista Social Club.
Music is the heart and soul of Brazil, celebrating with syncopated beats and beautifully expressive melodies. It's the life force of the entire culture, wrote the Berman Brothers in their notes for Studio Rio Presents: The Brazil Connection. We have always had a huge appreciation of Brazilian music. Between us, we have a massive collection of bossa nova and samba recordings, new and old, a lot which we found in flea markets in Amsterdam, Paris, and London.... Once you get into this music, there really is no way to stop. It was this joyful and timeless music that inspired the idea for this collection. Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known American artists like Billie Holiday, Aretha Franklin, Marvin Gaye, The Isley Brothers, and many others. What would these classic songs sound like had they been recorded in the studios of Rio De Janeiro in the first place, with the best Brazilian musicians and arrangers?"
"It was an amazing journey-bringing together these American classics and the vibrancy of Brazilian music with the help of so many talented musicians, arrangers and a dedicated production team. We learned many things putting together this music including what was the most important, and least surprising lesson of all: Brazil is the most musical place we have ever been in our lives.1. Lovely Day (Studio Rio Version) - Bill Withers with Studio Rio
2. Walk on By (Studio Rio Version) - Aretha Franklin with Studio Rio
3. Sexual Healing (Studio Rio Version) - Marvin Gaye with Studio Rio
4. You've Changed (Rio Music Collective Version) - Billie Holiday with Studio Rio
5. Family Affair (Rio Music Collective Version) - Sly & The Family Stone with Studio Rio
6. It's Your Thing (Rio Music Collective Version) - The Isley Brothers with Studio Rio
7. I've Got You Under My Skin (Studio Rio Version) - Mel TormÉ witb Studio Rio
8. I Can See Clearly Now (Studio Rio Version) - Johnny Nash with Studio Rio
9. Take Five (Studio Rio Version) - Dave Brubeck & Carmen McRae with Studio Rio
10. Music to Watch Girls By (Studio Rio Version) - Andy Williams with Studio Rio
11. Summertime (Studio Rio Version) - Sarah Vaughan with Studio Rio$19.99Vinyl LP - Sealed Buy Now
Love Backed By ForceBack when most bands in the '70s tried to make records, they found they'd hit a wall. Then punk happened, and they started to realize their power to claim the means of production. All of a sudden, music that existed completely out of joint with anything before it or since started to surface, unannounced and uncalled for, on the shelves of independent record stores. The sounds within these records went against nearly any pop/rock/punk convention you could hope to throw against them. People who needed to categorize these things gave the most mental portions of the movement a name: DIY ie Do It Yourself. That acronym has been re-appropriated time and again in the decades to follow, but really, this is where it all comes from: abrasive, brittle, personal sounds that exist to enrapture some and thoroughly ignore others.
Enter Tronics, the inner workings of London artist Ziro Baby, and later to change his name to Zarjaz. He started out in a teen band-cum-street gang called the Star Dogs, but he first hit vinyl as a 16-year-old with the Tronics, who between 1979 and 1984 released four singles, two cassette albums, an LP and a flexi-disk. Apart from one single on the Creation label, Zarjaz has always been more comfortable as the administrator of his own musical omniverse.
Love Backed By Force is the album in question. Released in 1981, it sold out completely in its first week. His label, Alien Records, celebrated the success by going out of business. Until now copies have only been available through tape-trading, file-sharing, bootlegging and expensive second-hand dealers.
Said to have been created as a clearinghouse for Tronics songs to make way for a more focused effort, Love Backed By Force registers as an instant classic of outsider folk-pop, a true mutant of an LP that never sounds the same way twice. It may take a few listens for its pull to take effect, but once you settle into its orbit, it'll be difficult to remove yourself. Music will never sound the same again, and in the world of Love Backed By Force, it doesn't even sound the same from song to song on the same album. Layer upon layer of close-talking lyrics are buffeted by mind-clogging guitar, synthesizer abuse, and rudimentary drumming, made by a man who regularly discussed seeing ghosts to general disbelief.1. Charlie Manson
2. Love Backed By Force
3. T.V. On In Bed
4. They're Talking About Us
5. Ice Flod Festival
6. Ultra Pol
7. My Baby's In A Coma
8. Min Dama
9. Spending Time
10. Love Tan (In A Two Way Circus)
11. L.B.B.F. (Reprise)
12. Crush on You
13. Le Monde$14.99Vinyl 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
This Old Dog (Out Of Stock)Before you ancients out there turn your heads and scoff at the premise of a twentysomething
rock-and-roll goofball calling himself an old-anything, consider this: Mac
DeMarco has spent the better part of his time thus far writing, recording, and releasing
an album of his own music pretty much every calendar flip.
This Old Dog makes for his fifth in just over half a decade-bringing the total to 3 LPs and 2 EPs. According
to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily
qualify for social security. To stay gold, turns out all he needed was some new tricks.
It was a little space-in time, location, and method-that inspired DeMarco while
making the record. Moving from his isolated Queens home to a house in Los Angeles
helped give the somewhat transient Canada-native a base, and a few more months
on his calendar to create did their job as well. Arriving in California with a grip of
demos he'd written in New York, he realized after a few months of setting up his new
shop-complete with a few new toys-that the gap was giving him perspective (insert
tooth joke here).
Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic
strums on the album-opening "My Old Man," the synth-drenched beauty of the
second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks
indeed. This Old Dog is rooted more in a synth-base than any of his previous releases,
but he is careful not to let that tactic overshadow the other instruments and overall
"unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic
album at all. That's just what it feels like, mostly," says DeMarco.
Despite the changes considered during the creation of This Old Dog, Mac DeMarco's
mid-twenties masterpiece, it's clear that the engine that motors him is in no
danger of slowing down.1. My Old Man
2. This Old Dog
3. Baby You're Out
4. For the First Time
5. One Another
6. Still Beating
8. Dreams From Yesterday
9. A Wolf Who Wears Sheeps Clothes
10. One More Love Song
11. On The Level
12. Moonlight On The River
13. Watching Him Fade Away$25.99Vinyl LP - Sealed Temporarily out of stock
W.A.S.P. The Best Of The Best (Out of Stock)Blackie Lawless launched W.A.S.P. on the unsuspecting world in 1983 and before long tales of their outrageous music and intense stage shows were legendary.
In the last few years of the old century W.A.S.P. made some of their most striking and brave albums. The ferocious, blood-splattered Kill Fuck Die and the celebratory sleazefest of Helldorado had provided solid proof
that Blackie Lawless' songwriting skills were as keen and unique as ever and, unlike the majority of his 80s contemporaries, this most dogged and determined of frontmen was entering a new era full of confidence,
with that blazing inferno in his eyes clearly a long way from fizzling out.
The 15 tracks featured on The Best Of The Best prove that while the theatrics and shock tactics of Blackie Lawless might have gained the headlines, it was what W.A.S.P. did on record that gained them legions of fans. An exhilarating rock'n'roll rollercoaster, this double disc set collects themost incendiary moments from a career built on mixing snarling sexual noise with carnage, chaos and controversy.
Collecting tracks from all the classic W.A.S.P. albums, including W.A.S.P., The Last Command and The Headless Children, this double 180g black vinyl gatefold edition, released through Madfish of The Best Of The Best provides the definitive document of a blistering career. The Best Of The Best features the W.A.S.P. cuts - Animal (F**K Like A Beast), I Wanna Be Somebody, Wild Child and a rip roaring cover of Elton
John's Saturday Night's Alright For Fighting.1. Saturday Night's Alright For Fighting
2. Animal (Fuck Like A Beast)
3. I Wanna Be Somebody
4. L.O.V.E. Machine
5. On Your Knees
6. Show No Mercy
7. Blind In Texas
8. Wild Child
9. Sex Drive
10. 9.5. - N.A.S.T.Y.
11. Mean Man
12. Chainsaw Charlie (Murders In The New Morgue)
15. Dirty Balls$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
Sunday Run Me Over (Out Of Stock)Sunday Run Me Over is the second album released in 2012 by Holly Golightly & the Brokeoffs, following early spring's Long Distance, a collection of her older garage rock material re-recorded in a distinctly more Americana/honky tonk style. Long the queen of the garage, Holly Golightly's work with her strange partner Lawyer Dave acting as the entirety of the Brokeoffs has seen the punk energy that brimmed over in scrappy solo albums (or even more so with work in the early femme-stomp of Thee Headcoatees) shift somewhat into a country-tinged sound, possibly a product of her new environment, as Ms. Golightly left her London home for life on the farm in rural Georgia with Lawyer Dave sometime in the late 2000s. The photo of ducks, dogs, and chickens in the artists' backyard that graces the inside cover of Sunday Run Me Over is a far cry from the gritty dive-bar settings imaginable as the backdrop for Golightly's early solo material, and likewise the music is removed from that early garage grit. The fifth album from the duo finds them working in the country-blues mode they've been cultivating for a while, but with more energy and manic gusto than before. Starting off with the down-home holler of Goddamn Holy Roll, overdriven slide guitars and tambourines right out of Sunday morning church service explode out of the speakers, with Holly and Dave in a wild-eyed duet for the entire duration of this spirited stomper. Tones of deep South religion, retribution, and redemption feel buried throughout the record, with humid originals like the rocking Tank and the goofy saloon singalong of One for the Road butting up against traditional country arrangements of old-timey hits like I Forgot More and the Stonesy Hard to Be Humble. The album's down-on-the-farm or confessin'-on-the-pulpit vibes have enough rock & roll in them to keep Sunday Run Me Over in the same boozy, reckless mode of rock that Golightly is famous for, just reconfigured a little bit. The bitterness and spite that tempered the good times rolling on albums like Truly She Is None Other and Serial Girlfriend are still alive and well on tracks like Goodnight, even if sung with a bit more of a drawl than a British accent. All told, the album is a riveting romp of country-fried garage rock recorded on an actual farm. Fans of Golightly's earliest work might miss the garage days, but listening closely will reveal that the spirit of those days is alive and very much kicking.
- Fred Thomas (All Music)1. Goddamn Holy Roll
2. They Say
4. I Forgot More
5. One For The Road
6. Turn Around
7. A Whole Lot More...
8. Hand In Hand
9. The Future's Here
10. Hard To Be Humble
12. This Shit Is Gold$16.99Vinyl LP - Sealed Temporarily out of stock