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Trouble No More'
Trouble No More: The Bootleg Series Vol. 13 / 1979-1981Pressed On 3x 180-Gram Vinyl & 2x CD
Packaged In A Slipcase With Separate Booklet
Includes 30 Highlights From The Legendary 1979, 1980 And 1981 Tours
The next installment in the award-winning Bootleg Series, 'Trouble No More - The Bootleg Series Vol. 13 / 1979-1981', focuses on the albums 'Slow Train Coming' (1979), 'Saved' (1980) and 'Shot of Love' (1981) and the legendary live shows from that period. Featuring 30 highlights from the legendary 1979, 1980 and 1981 tours pressed on 180-gram vinyl and 2 CDs, the set comes packaged in a slipcase with separate booklet.LP 1
1. Slow Train (Live Nov. 16, 1979)
2. Gotta Serve Somebody (Live Nov. 15, 1979)
3. I Believe In You (Live May 16, 1980)
4. When You Gonna Wake Up? (Live July 9, 1981)
5. When He Returns (Live Dec. 5, 1979)
6. Man Gave Names to All the Animals (Live Jan. 16, 1980)
7. Precious Angel (Live Nov. 16, 1979)
1. Covenant Woman (Live Nov. 20, 1979)
2. Gonna Change My Way of Thinking (Live Jan. 31, 1980)
3. Do Right to Me Baby (Do Unto Others) (Live Jan. 28, 1980)
4. Solid Rock (Live Nov. 27, 1979)
5. What Can I Do for You? (Live Nov. 27, 1979)
6. Saved (Live Jan. 12, 1980)
7. In the Garden (Live Jan. 27, 1980)
1. Slow Train (Live June 29, 1981)
2. Ain't Gonna Go to Hell for Anybody (Live Apr. 24, 1980)
3. Gotta Serve Somebody (Live June 27, 1981)
4. Ain't No Man Righteous, No Not One (Live Nov. 16, 1979)
5. Saving Grace (Live Nov. 6, 1979)
6. Blessed Is the Name (Live Nov. 20, 1979)
7. Solid Rock (Live Oct. 23, 1981)
8. Are You Ready? (Live Apr. 30, 1980)
1. Pressing On (Live Nov. 6, 1979)
2. Shot of Love (Live July 25, 1981)
3. Dead Man, Dead Man (Live June 21, 1981)
4. Watered-Down Love (Live June 12, 1981)
5. In the Summertime (Live Oct. 21, 1981)
6. The Groom's Still Waiting at the Altar (Live Nov. 13, 1980)
7. Caribbean Wind (Live Nov. 12, 1980)
8. Every Grain of Sand (Live Nov. 21, 1981)
1. Slow Train (Live Nov. 16, 1979)
2. Gotta Serve Somebody (Live Nov. 15, 1979)
3. I Believe In You (Live May 16, 1980)
4. When You Gonna Wake Up? (Live July 9, 1981)
5. When He Returns (Live Dec. 5, 1979)
6. Man Gave Names to All the Animals (Live Jan. 16, 1980)
7. Precious Angel (Live Nov. 16, 1979)
8. Covenant Woman (Live Nov. 20, 1979)
9. Gonna Change My Way of Thinking (Live Jan. 31, 1980)
10. Do Right to Me Baby (Do Unto Others) (Live Jan. 28, 1980)
11. Solid Rock (Live Nov. 27, 1979)
12. What Can I Do for You? (Live Nov. 27, 1979)
13. Saved (Live Jan. 12, 1980)
14. In the Garden (Live Jan. 27, 1980)
1. Slow Train (Live June 29, 1981)
2. Ain't Gonna Go to Hell for Anybody (Live Apr. 24, 1980)
3. Gotta Serve Somebody (Live June 27, 1981)
4. Ain't No Man Righteous, No Not One (Live Nov. 16, 1979)
5. Saving Grace (Live Nov. 6, 1979)
6. Blessed Is the Name (Live Nov. 20, 1979)
7. Solid Rock (Live Oct. 23, 1981)
8. Are You Ready? (Live Apr. 30, 1980)
9. Pressing On (Live Nov. 6, 1979)
10. Shot of Love (Live July 25, 1981)
11. Dead Man, Dead Man (Live June 21, 1981)
12. Watered-Down Love (Live June 12, 1981)
13. In the Summertime (Live Oct. 21, 1981)
14. The Groom's Still Waiting at the Altar (Live Nov. 13, 1980)
15. Caribbean Wind (Live Nov. 12, 1980)
16. Every Grain of Sand (Live Nov. 21, 1981)$99.99180 Gram Audiophile Virgin Vinyl LP Box Set + 2 CDs - 4 LPs Sealed Buy Now
Performs Trouble No More Live At Town Hall
Newly Mixed And Mastered Concert Recording
Highlights 10 Performances From The Concert
Include A New Essay By Bob Merlis
John Mellencamp's Trouble No More was released in June 2003, received with universal critical acclaim and a No. 1 debut on Billboard's Blues chart.
Featuring Mellencamp and his band's spirited take on American folk and blues classics, including Robert Johnson's "Stones In My Passway," Son
House's "Death Letter," Woody Guthrie's "Johnny Hart," Willie Dixon's "Down In The Bottom," Lucinda Williams' "Lafayette," and several others, the album
was recorded and mixed in just 17 days, capturing the sessions' bounding energy. A month after the release, Mellencamp performed this acclaimed
studio album, Trouble No More, plus additional songs, including stripped-down versions of Mellencamp's "Small Town," "Paper In Fire" and Pink Houses,"
as well as Bob Dylan's "Highway 61 Revisited" for a sold-out audience at New York's Town Hall.1. Stones In My Passway (Robert Johnson)
2. Death Letter (Son House)
3. Joliet Bound (Kansas Joe McCoy)
4. Highway 61 Revisited (Bob Dylan)
5. Baltimore Oriole (Hoagy Carmichael/Paul Francis Webster)
6. Diamond Joe (John Mellencamp/Traditional)
7. Down In The Bottom (Willie Dixon)
8. Small Town (John Mellencamp)
9. Paper In Fire (John Mellencamp)
10. Pink Houses (John Mellencamp)$24.99Vinyl LP - Sealed Buy Now
TroubleThe first thing you might notice about Hospitality's sophomore album
Trouble is what you don't hear. The process of completing Trouble
was, for the band, one of learning to accept silence, to let that empty
space exist no matter what it might awaken or evoke. You could catch
glimpses of these dark and unexplored places in the margins of
Hospitality's 2012 self-titled debut, but they are at the very heart of
Trouble. If you listen closely, you can hear a band pushing against their
own boundaries and limitations until they find the very air around
them subtly but perceptibly changed.
In its lyrics and its musical construction, Trouble is an album that
wonders about the mysteries that lurk just beyond our field of vision.
Slyly and sympathetically, Papini ponders a Saturday afternoon fishing
trip as a wrenching interplay of life and death, the perfect blue sky at
an air show as a setting for a soured romance. Papini elaborates: "Most
of the songs are about everyday environments that arouse anxiety or
unease. The ocean isn't meant for people; we aren't supposed to be
there, and some of the animals that live there are much bigger and
faster than we are in the water. I think a lot of the songs deal with this
'out of place' kind of theme, feelings of unease and the questions of
what is under you or what surrounds you."
The album unfolds like a walk on the beach or a journey to a place
you didn't know you were going. Perhaps a darker sound overall, but
Trouble begins with the trademark Hospitality pop then unfurls to
reward the listener with the more expansive stripped-down
instrumentation of side B. And here, again, is that distinctively present
silence, creating a space where an undulating synthesizer feels as alive
and mysterious as a single voice in a room.1. Nightingale
2. Going Out
3. I Miss Your Bones
5. Rockets and Jets
7. It's Not Serious
8. Last Words
10. Call Me After$19.99Vinyl LP - Sealed Buy Now
REDD-ABB-1809xThe Allman Brothers
Live From A&R Studios: New York, August 26th, 1971Live From A&R Studios: New York, August 26, 1971 was initially a radio broadcast that originally aired on WPLJ. This set features the band steamrolling through a set of songs including Statesboro Blues, Trouble No More, One Way Out, In Memory of Elizabeth Reed and Hot 'lanta. The recording was widely bootlegged, but has been remixed from the original multi-track recording. The quality, dynamic performance and ambience encompassed herein all at once make for a quite staggering sonic experience, one that fans of this legendary act in it's original line-up will relish alongside the groups other essential releases.1. Statesboro Blues
2. Trouble No More
3. Don't Keep Me Wonderin'
4. Done Somebody Wrong
5. One Way Out
6. In Memory of Elizabeth Reed
7. Stormy Monday
8. Medley: You Don't Love Me / Soul Serenade
9. Hot 'Lanta$24.99Vinyl LP - 2 LPs Sealed Buy Now
Pictures Of Saint Paul StreetThe songs on "Pictures of Saint Paul Street" are lush & beautiful autopsies of society's underbelly, with stark and brutally honest ruminations on humanity. Songs like "A Sea of Suckers" & "Pursue The Nightlife" pull no punches, while "Jailbirds & Vagabonds" and "Blues For A Pecan Tree" carouse on a more abstract, human (almost romantic) level. By the time you've hit the album's centerpiece; "Bullshit Society", Ashley's songs move from ballads of hopeless misery to rallying anthems for the dispossessed. The people & artists who move further to the fringe as power and greed overtake our planet, a situation all too familiar to Ashley as he was forced to relocate his long-running Creamery Studio from it's long time home due to the rampant gentrification of the Bay Area (the former studio building now houses luxury lofts).
"Pictures of Saint Paul Street" isn't always an easy listen, but that's the point; the journey to salvation isn't easy or pretty. The protagonist in many of Ashley's songs may be Ashley himself - a true artist willing to admit he's nowhere near perfect, and honest enough to document his sunrises & sunsets no matter if they occur in his own backyard, or on a barroom floor.1. A Sea of Suckers
2. Goodbye Saint Paul Street
3. Blues For A Pecan Tree
4. Two Person One Man Band
5. Bullshit Society
6. Jailbirds and Vagabonds
7. Self-Destruction Derby
8. Medication #9
9. Pursue the Night Life
10. Six A.M. at the Black and White$18.99Vinyl LP - Sealed Buy Now
Return Of SaturnJust like the heavenly occasion which inspires its name, Return of Saturn, the latest album from Southern California rock band No Doubt, is best experienced with both feet firmly on the ground, and with eyes and ears held wide open.
The album's title refers to the notion that in the first 29 years of someone's life (the same time it takes the planet Saturn to orbit the Sun), a person is only beginning to understand himself or herself, which, singer and songwriter Gwen Stefani explains, helped her to discern her own place in life as she turned 30 years old. I wrote the song 'Artificial Sweetener', Gwen says, which has the line, 'the Return of Saturn, assessing my life, second guessing.' From the time you're born till the time Saturn returns to that point is a time of reassessment and a growing period, where you second-guess everything, and you clear out things that are going to be in the way of moving on in your life. I really did feel like I was going through a transitional phase in my life as I made this album. I think the name Return of Saturn is relevant in the sense that it shows how we've grown as a band, and as songwriters.
The culmination of two years of creative blood, sweat and tears for the quartet, Return of Saturn is a bold and exciting coming-of-age saga. An intimate view of the world as seen by a group of musicians and friends who watched their humble worlds turned literally upside-down by the unexpected (though well-deserved) success of No Doubt's third album, Tragic Kingdom. While that youthful recording reflects the concerns and observations of a band at the edge of possibility, Return of Saturn represents that same group looking collectively inward. What they saw and what they created those two years, will surprise and fascinate you. Who am I, and how did I get to this point in my life, when I thought I was going to be something completely different? -- that pretty much sums up the subject of this album, says Gwen.
Return of Saturn was recorded in two Los Angeles studios during 1998 and 1999. Twelve of the album's 13 songs were produced by Glen Ballard, (Alanis Morissette, Aerosmith), whose contribution was a key ingredient in the album's creation. In our band, everyone has such strong opinions that if you put the four of us in the room together you could have some troubles, says bassist Tony Kanal. But if you get somebody as experienced as Glen, not only as a producer but as a songwriter, you can bounce ideas off him and get some really cool objective answers, and it helps level the creative playing field.
One song on the album, New (also heard on the GO soundtrack) was produced by the band with Jerry Harrison (Talking Heads, Live). It was fun to start with a clean slate and create something brand new, says guitarist Tom Dumont, who also wrote much of the album's music. We hadn't really done much writing on the road, so when it came time, we had to come up with the entire record. Every time we wrote a song it was like having a baby. It's such a good feeling to sit down with an acoustic guitar and a tape recorder, and later to have created something really cool.
In light of the international success of Tragic Kingdom (more than 15 million copies sold worldwide, including over 11 million in the U.S.), the four band members were bound to be subject to any number of outside influences and pressures when it came time to make their follow-up.
But as it turned out, the band was able to turn any outside distraction to their ultimate benefit, beginning with pre-production and writing sessions at a rented Hollywood Hills house. I remember being in a very open, optimistic mood, says Tony, getting the house up in the hills, and just feeling like we had time to do it right. There was no deadline to deliver a record, so I remember not feeling pressure. It just felt like a good place to be, creatively.
Drummer Adrian Young agrees: We were just more conscious of the fact that we're following a huge record, and we need good songs, but I don't know what kind of album we wanted, or expected to make. It was very experimental most of the time. In fact, we didn't have any predisposition about it. That's always a good way for us to approach the music. We've always been across the board, stylistically, and I'm glad we didn't lose that part of the band, he says.
Songs on Return of Saturn like Marry Me, Simple Kind of Life and the album's first single Ex Girlfriend show vocalist Gwen Stefani in a reflective and unashamedly romantic mood, traits which she says are often overlooked in her hectic life. I think I am a romantic at heart, but my life in a lot of ways these days doesn't reflect that, she remarks. So I have this inner conflict about it, and this guilt about it. I'm very hopeful that someday those things will happen in my life, because it's all I've ever dreamed of. But right now it seems like my life doesn't have any room for it, and I won't make any room for it because I'm so passionate about what No Doubt is doing right now.
The music on each of No Doubt's three previous albums (1992's No Doubt, 1995's Beacon Street Incident, Tragic Kingdom) runs the stylistic gamut, mixing in as many influences as the band members can think of, and this collection is no different. Tom says the band has few rules when it comes to songwriting. We discovered a way to write on songs like Just a Girl and Spiderwebs and some of the older ones, which we incorporated when we started this album, and that was that there were no preconceived ideas at all. We would sit down in a room with a tape recorder and acoustic guitars and start improvising things. All the songs were written very spontaneously, starting from a blank slate every time.
The truth is, I feel like I've been turned inside-out after writing this album, adds Gwen. It's everything that I have been in the last two years, which have been really hard years for me. I just feet this sense of accomplishment, and this lightness has come over me since the album has been finished. It's so rewarding to be done and feel so proud of it, I can't wait for people to hear it.LP1
2. Simple Kind of Life
4. Six Feet Under
5. Magic's in the Makeup
6. Artificial Sweetener
7. Marry Me
2. Too Late
3. Comforting Lie
4. Suspension Without Suspense
5. Staring Problem
6. Home Now
7. Dark Blue$24.99Vinyl LP - 2 LPs Sealed Buy Now
Wide Open SpacesNewly Remastered And Pressed On High Resolution 150 Gram Vinyl
Dixie Chicks first came together as a bluegrass quartet in Texas in 1989, later becoming a trio in 1995 when founding members (and sisters) Emily Robison (banjo/dobro) and Martie Maguire (fiddle/mandolin) were joined by 21-year-old Natalie Maines (daughter of guitarist/producer Lloyd Maines) as the group's new lead vocalist and guitarist. By the late 1990s, the classic Dixie Chicks trio lineup struck a stunning balance between the traditional Nashville sound and the contemporary influences of alternative rock and pop.
Dixie Chicks succeeded beyond all expectations: their first album as a trio, Wide Open Spaces, catapulted the group to the top of the country charts and into crossover success. Aided by back-to-back Country No. 1 singles "There's Your Trouble," "Wide Open Spaces" and "You Were Mine," Wide Open Spaces sold more than 12 million copies in the United States--more than all the top country acts of that year combined--and it's still the best-selling country album by a group ever. Wide Open Spaces won the Best Country Album Grammy while There's Your Trouble took home the Best Country Performance by a Duo or Group with Vocal trophy.1. I Can Love You Better
2. Wide Open Spaces
3. Loving Arms
4. There's Your Troubles
5. You Were Mine
6. Never Say Die
7. Tonight The Heartache's On Me
8. Let 'Er Rip
9. Once You've Loved Somebody
10. I'll Take Care Of You
11. Am I The Only One (Who's Ever Felt This Way)
12. Give It Up Or Let Me Go$19.99Vinyl LP - Sealed Buy Now
Mama Says I'm CrazySince no one could copyright Mississippi, two major blues performers, Fred McDowell and John Hurt, adopted the state as part of their name. To confuse matters more, both performers made comebacks during the late '50s/early '60s and both specialized in prewar acoustic blues. While a blues novice might find such similarities confusing, the two men's singing and guitar styles are polar opposites. Whereas Hurt's smooth, deep vocals and Piedmont fingerpicking made him easily accessible to the folk revival crowd, McDowell's soulful vocals and forcefully rhythmic guitar represented something more primitive. In 1967, producer George Mitchell brought together McDowell and harp player Johnny Woods for an off-the-cuff session not unlike what one might have heard at a Como, MS, house party. Interestingly, the two men hadn't played together in eight years, but on songs like Standing at the Backdoor and the title track, one would never guess it. This isn't a polite affair, with one player holding back while the other solos. Instead, McDowell and Woods trade notes, overlap, and rush forward on Long Haired Doney and Shake Em' on Down as though they had an unlimited supply of energy. While McDowell's vocals and slashing guitar propel Goin' Away and I Got a Woman forward, Woods' harp adds pizzazz. Acoustic blues fans will warmly embrace Mama Says I'm Crazy and be thankful that Mitchell went to the trouble required to track down Woods for this earthy set.
- Ronnie D. Lankford, Jr., Allmusic1. Shake Em' On Down
2. Goin' Away
3. Mama Says I'm Crazy
4. I Got A Woman
5. Red Cross Store
6. Going Down To The River
7. Standing at the Back Door
8. What's Going to Become of Men
9. Long Haired Doney
10. John Henry
11. I Walked All Night Long$16.99Vinyl LP - Sealed Buy Now
ADAD-ANT-8212xWilliam Elliott Whitmore
Radium DeathKnown for the sparse, haunting qualities of his mostly solo recordings of what he refers to as roots-folk music, in which his husky voice is often accompanied by little more than a banjo or acoustic guitar, William Elliott Whitmore sought to add some new pitches to his bullpen for his new ANTI- release Radium Death. I purposefully went into it wanting to make a little bit of a departure, sonically, using an electric guitar a little bit more and adding more instrumentation, more full-band type stuff, says Whitmore. I wanted to switch it up a little bit and plug in to see what that felt like. I was reading a lot about the so-called 'radium girls' of the early 1900's, these assembly lines of women painting watch dials with radium to make them glow in the dark, he says, detailing how the workers would lick the tips of their paintbrushes to get them pointy while dipping them repeatedly into the chemical substance before it was known to be dangerous. So, in my mind 'radium death' came to represent something that you're told is good for you-maybe by a higher power-but really is killing you. It represents those lies that are told, and how we can protect ourselves against them. The songs assembled, while not a concept album, present a cohesive look into those recurring Whitmore themes of respect, protection, sustenance and survival. The blazing (even by WEW standards) opener, Healing To Do, pulls no punches, kicking in immediately with the rhythmic shuffle of a full band, an organ, and Whitmore's upbeat rasp. The pace continues with songs like Trouble in Your Heart, 1000 Deaths and Don't Strike Me Down, preaching patient hope, rebirth, renewal, and revolt over stomping drums, acoustic strumming and even an electric guitar solo.1. Healing to Do
3. Trouble in Your Heart
4. A Thousand Deaths
5. Go On Home
6. Don't Strike Me Down
7. Can't Go Back
8. South Lee County Brew
9. Have Mercy
10. Ain't Gone Yet$19.99Vinyl LP - Sealed Buy Now
The StrangerRanked 67/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Joels Breakthrough Record Loaded With Smash Hits: Movin Out (Anthonys Song), Just the Way You Are, Only the Good Die Young, Shes Always a Woman
Getting It Right: Mobile Fidelitys Half-Speed Mastered Version Brings Phil Ramones Celebrated Production into Full-Color Detail
1977 Set a Grammy Winner for Record of the Year and Song of the Year
Billy Joel entered 1977 with a great track record but in need of breakthrough. Pairing with producer Phil Ramone (Carly Simon, Simon & Garfunkel), who developed the requisite ingredients missing from Joels formula, the singer-songwriter became a household name and chart-topping success courtesy of The Stranger. Certified ten-times platinum, Joels artistic and commercial smash remains a pop-rock benchmark. Better still, it now sounds astonishing.
An integral part of Mobile Fidelitys Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 180g LP at RTI. Far superior to the previous Sony and Simply Vinyl analog reissues, this edition emphasizes the crucial touches and insightful techniques Ramone brought to a batch of material that ranks among Joels most clever, catchy, and sagacious.
Whereas a handful of Joels preceding efforts feature a near-flawless mix of melodic arrangements and poignant lyrics, the aspects he sought in order to graduate into a more serious artist arrive here via Ramones more muscular, fleshed-out, and rock-enabling production. The streamlined approach slightly strips back the sweeping developments heard on Piano Man and Turnstiles, and on this edition, lays bare the core of the material, allowing the vocalists bittersweet yearning, rollicking 88 notes, and working-class conviction to emanate with full-bodied detail, vivid color, and grand-scale dynamics.
A Grammy winner for both Record and Song of the Year, Just the Way You Are epitomizes Joels balladic reach, his ability to transfer wistful sentiments and lovelorn emotions. He also flashes a mean streak. The animated Only the Good Die Young bounces and hops to an updated classic-R&B rhythm and, underneath its beauty, Shes Always A Woman hints at trouble underfoot. And then theres the New York-centric, character-rich poetry of the vignettes.
Akin to many of his influences, Joel nails the grit, personality, specificity, descriptiveness, and behavior of protagonists that populate Movin Out (Anthonys Song) and Scenes From an Italian Diner, each equally at home on The Stranger as well as on a Broadway play or on a golden-era Hollywood film soundtrack. No wonder that, just months after its original release, Joel was no longer a stranger to any of the music-loving public. He would never look back.
Don't pass up this seminal pop-rock work in the best fidelity its ever enjoyed.
This title is not eligible for discount.1. Movin Out (Anthonys Song)
2. The Stranger
3. Just the Way You Are
4. Scenes From an Italian Restaurant
6. Only the Good Die Young
7. Shes Always a Woman
8. Get It Right the First Time
9. Everybody Has a Dream/The Stranger (Reprise)$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Major Handy (Discontinued)Major Handy was actually born Joseph Majay Handy, May 15, 1947. He thinks, if he understands what his mother's told him, that his parents had a child before him and named that boy Joseph Majay Handy. That son died near birth, and when the couple had their next child, also a boy, they decided to reuse the name. Eventually, after people had trouble recognizing the correct pronunciation, the middle name Majay morphed into Major. He says he did go by his first name initially. A lot of people called me 'Joe,' but that didn't ring no bell. And so, Major Handy it became.
Handy was born and raised as the oldest of seven children in St. Martinville, Louisiana, the parish seat of St. Martin Parish and right on the Bayou Teche. It's a rural town about 15 miles southeast of Lafayette and is generally considered the heart of the Creole and Cajun melting pot that makes this specific sub-region unique to anywhere else in the world. It's from right here that so much of the culture - the food, music, swamp life - that people associate with Louisiana comes.
Like with many people from St. Martinville, Handy's heritage is Creole, meaning it's tangled. I'm like a gumbo - everything. Alligator, fish, shrimp, Indian, Negro, white, whatever...I guess that's what that is. But I was raised as a black person, he says. The only time I ever mingled with white people was the music thing. 'Cause I didn't go to school with white people. I quit school in the ninth grade (just before school desegregation in Louisiana).
Handy's earliest musical inspiration came from his father, who had an old accordion that he toyed with as nothing more than a pastime, and some cousins who were fooling around with music. I saw that, and I wanted to take it and be better, Handy says. The first thing I picked up was a guitar. And I took it from there. His first professional gig came on bass in a cousin's band. From there it was back to guitar and eventually accordion as a bandleader. In between, he played in the bands of Rockin' Dopsie for many years as well as in the very first incarnation of Buckwheat Zydeco just after Buckwheat had left Clifton Chenier.
While he'd recorded previously as a bandleader, Handy's 2008 APO Records release Zydeco Feeling marked his first widely distributed release in 25 years.
This title is not eligible for discount.1. Jalapeno Cornbread
2. Bad Luck And Trouble
3. Well I Done Got Over It
4. Zydeco Feeling
5. Te Ni Nee Ni Nu
6. Lost My Baby$24.99180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
Gimme Back My Bullets
First Time Audiophile Vinyl Release & Gatefold Cover Presentation
Produced By The Legendary Tom Dowd
Mastered Impeccably From The Original MCA Records Tapes By Joe Reagoso
After the success of their first three albums and an amazing
number of concerts and tours, Lynyrd Skynyrd followed things up rebel
style with the very hard rockin' fan favorite Gimme Back My Bullets.
As you would expect, this album is filled with stellar southern
fried rock and blues classics like the hard rock title track Gimme Back
My Bullets, the blues belter Cry For The Badman, and of course the
brilliant Every Mother's Son .
In addition to these rock greats, this legendary Tom Dowd
produced session yielded more Skynyrd classics with the powerhouse
Double Trouble plus their amazing J.J. Cale interpretation of I Got The
Same Old Blues.
The 1976 classic also featured the original Lynyrd Skynryd line up of the late great lead vocalist and all around rock 'n' roll hero
Ronnie Van Zant , lead guitar great Gary Rossington, the late greats
Allen Collins on guitar, Leon Wilkerson on bass and Billy Powell on
piano, with Artemus Pyle powering away on the drums.
Friday Music is no stranger to the musical legacy of the southern
rock royalty of Lynyrd Skynyrd. Therefore it is with much honor
to announce the first installment in our Lynryd Skynyrd 180 Gram
Audiophile Vinyl Series with their brilliant hard rock masterpiece
Gimme Back My Bullets.
For the first time ever on 180 Gram Vinyl, this limited edition
masterwork was mastered from the original MCA Records tapes
by Joe Reagoso (Lynyrd Skynyrd/ Deep Purple/ Alice Cooper) and
produced by the late great southern soul and rock giant Tom Dowd
(Eric Clapton, Ray Charles).
To enhance your Lynyrd Skynyrd experience even further, this
stunning album also includes a first time gatefold cover, featuring the
original artwork elements as well as the nine brilliant tunes you will
truly enjoy in the audiophile vinyl domain.
Lynyrd Skynyrd .Gimme Back My Bullets A first time
Audiophile Vinyl Experience . Exclusively from your friends at Friday
Gimme Back, Gimme Back My Bullets1. Gimme Back My Bullets
2. Every Mother's Son
4. I Got The Same Old Blues
5. Double Trouble
6. Roll Gypsy Roll
8. Cry For The Badman
9. All I Can Do Is Write About You$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Driving Towards The DaylightImport
On May 21, 2012, internationally renowned guitar superstar Joe Bonamassa will release a brand new solo album 'Driving Towards The Daylight' on Provogue Records. 'Driving Towards The Daylight' was produced by Kevin 'Caveman' Shirley (Black Crowes, Aerosmith, Led Zeppelin). This is their seventh collaboration in six years and Joe's 13th album.
Recorded at The Village Recorder in Los Angeles, CA and Studio At The Palms in Las Vegas, NV, 'Driving Towards The Daylight' is a balanced back-to-basics album that highlights Bonamassa's signature style of roots blues with rock-and-roll guts, while honouring the traditions of the original blues musicians.
"We've taken some really traditional old blues songs - the Howlin' Wolf song 'Who's Been Talkin' and the Robert Johnson song 'Stones In My Passway,' and we've tried to imagine how they would do them in a rock context," said Shirley. "It's a very exciting return to the blues in a very visceral way. It's vibrant and it's gutsy and it's really, really rugged."
The album features five Bonamassa-penned originals including the bruising opener 'Dislocated Boy', the road warrior title track (and first single) 'Driving Towards The Daylight', 'I Got All You Need', 'Heavenly Soul' and 'Somewhere Trouble Don't Go'. Other tracks include Bonamassa's versions of Tom Waits' 'New Coat Of Paint', Bill Withers' 'Lonely Town Lonely Street', and 'A Place In My Heart' by Bernie Marsden. On the album closer, Australian rock singer Jimmy Barnes sings lead vocals on his 1987 hit 'Too Much Ain't Enough Love'.
To challenge Joe and move him out of his comfort zone, a unique group of musicians was gathered including Aerosmith guitarist Brad Whitford (guitar), Blondie Chaplin (guitar), Anton Fig (drums and percussion), Arlan Schierbaum (keyboard), Michael Rhodes (bass), Carmine Rojas (bass), Jeff Bova and The Bovaland Brass, Pat Thrall (guitar), and Brad's son Harrison Whitford (guitar).
Brad Whitford, speaking from the studio in Vegas, said, "This is definitely more influenced by the stuff that the guys and musicians in this room love, early '60s English and American rock and blues. I guess we'll never get that out of our system and its fun to come in here and find our own path down that highway."
Bonamassa's last studio album 'Dust Bowl 'released in March 2011 charted at no.12 in the UK1. Dislocated Boy
2. Stones In My Passway
3. Driving Towards The Daylight
4. Who's Been Talking
5. I Got All You Need
6. A Place In My Heart
7. Lonely Town Lonely Street
8. Heavenly Soul
9. New Coat Of Paint
10. Somewhere Trouble Don't Go
11. Too Much Ain't Enough Love (w/ Jimmy Barnes)$32.99Vinyl LP - Sealed Buy Now
Punch The ClockPunch the Clock on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Costello & the Attractions Return to Mainstream Pop on Slick-Sounding 1983 Album
Half-Speed Mastered from the Original Tapes: Mobile Fidelity LP Digs Into Smooth Tones, Brassy Effects, Limber Bass Lines, Multiple Layers of Production
Includes Sparkling Top 40 Hit "Everyday I Write the Book" As Well as Timeless Political Songs "Shipbuilding" and "Pills and Soap"
Razor-Sharp Wit, Concise Melodies on Display Throughout; Jazz Legend Chet Baker Guests
Punch the Clock is Elvis Costello & the Attractions' most British record, a return to mainstream pop craft loaded with clever barbs and insightful social commentary that nearly landed the headliner in serious trouble with government representatives. Produced by the English hit-making team of Clive Langer and Alan Winstanley, the jumpy and horn-accompanied 1983 effort includes Costello's first-ever American Top 40 hit ("Everyday I Write the Book") and a smooth sheen that reinforces the material's commercial intent and catchy appeal.
Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited edition 1980g LP presents the hyper-literate fidelity and refined melodies in astonishing sonics, navigating the multiple layers of information, brassy effects, and background vocals to present a unified whole replete with stellar front-to-back depth. Akin to the reissue label's previous acclaimed Costello reissues, Punch the Clock is vastly improved, the opened-up perspective, pronounced instrumental separation, and textural clarity enhancing all the details within the grooves.
Fresh from making a country tribute album and a large-scale set flush with complex arrangements, Costello and Co. return to straight-ahead pop given a decidedly British accent and soulful backing vocals. Conscious of the Merseybeat sound and success of Dexy's Midnight Runners, Costello tints songs with new-wave characteristics, splashy horns, and spontaneous vocal-response support courtesy of female duo Afrodiziak, one member of which later attained fame with Soul II Soul. Steve Nieve's bounding piano lines dance throughout the arrangements, adding witty pizzazz and delicate allure to already-tuneful fare like "The Element Within Her" and "Mouth Almighty."
The more direct, hook-ready approach also manifests on numbers such as "Let Them All Talk" and "Charm School," tunes that also illustrate the contrasts in romantic theme. While remaining deeply cynical, as was his longtime hallmark, Costello unfurls two compositions on which love and marriage are viewed in a positive light. Yet he spares no one, nothing, and minces no words with "Shipbuilding" and "Pills and Soap," fare that remains revered in his native country as well as abroad.
For "Shipbuilding," a brilliantly disguised 88s-clinking protest against war influenced by the Falkan Conflict, Costello enlists jazz legend Chet Baker to deliver a masterfully poignant, bluesy trumpet solo that echoes throughout the coda. On the hip-hop-inspired "Pills and Soap," a thinly veiled metaphor addressing Britain's abusive sociopolitical state and royal officials, the bespectacled bandleader invents a thoroughly unique quasi-rap draped over a drum-machine beat and Nieve's bold piano chords. Bracing.
This title is not eligible for discount.1. Let Them All Talk
2. Everyday I Write the Book
3. The Greatest Thing
4. The Element Within Her
5. Love Went Mad
7. The World and His Wife
8. TKO (Boxing Day)
9. Charm School
10. The Invisible Man
11. Mouth Almighty
12. King of Thieves
13. Pills and Soap$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Supersonic Home, the anticipated debut LP from Pittsburgh's resident musical wunderkinds
Adventures, is an ambitious blend of powerhouse influences: these ten songs reimagine of the
best parts of 90's alt-rock and emo and infuse them with the cathartic energy of punk. However,
Adventures delivers much more than just the sum of these parts. Throughout upbeat anthems like
opener "Dream Blue Haze" and pensive, melancholic retreats like "Tension and "Long Hair," the
constant vocal tandem of Reba Meyers and Kimi Hanauer radiates above every infectious poprock
riffs and the warm, rhythmic backbone of bass and keyboard. No matter what draws you
in to listen to Adventures, there is something undeniably relatable in these songs about honestly
dealing with self-doubt, troubled hearts, and the everyday struggle to feel content that will make
you keep coming back to Supersonic Home.1. Dream Blue Haze
3. Your Sweetness
4. My Marble Home
6. Absolution, Worth Requited
7. Walk You to Bed
9. Long Hair
10. Supersonic Home$14.99Colored Vinyl LP - Sealed Buy Now
Black BubblegumBlack Bubblegum is the newest LP from Eric Copeland,
and we are not kidding when we emphasize it sounds like
nothing he has done in the past. The title of the record
says it all: chewy, sticky pop that doesn't taste quite like
any chewy, sticky pop you've had before.
Recorded at Copeland's old practice space in South
Williamsburg, Black Bubblegum contains songs with
more conventional sounds and songwriting than any of
his previous releases. While there are similarities with
Copeland's earlier work in the drum patterns, major
scales and vocals, Black Bubblegum moves away from
his trademark psychedelic dub towards strange and
fantastical pop; imagine Arthur Russell going into the
studio with the Ramones. Wanting to take a more "handson"
approach to these recordings, Copeland exchanged
sample-driven tech and hardware for keyboards, guitars
and effect pedals, creating a new sound that is oddly
easy to digest despite its rejection of melody in favour of
discord and dissonance.
For a long time, Copeland considered this collection of
songs to be recordings which would never be heard. This
invariably influenced certain decisions made during the
creation of Black Bubblegum, blessing Copeland with
the unique freedom that comes from making music never
intended to be heard, let alone released.
When asked to please jot down what influenced this new
album and sound, Eric replied "glam holes, glitter dreams,
money troubles, apocalypse paranoia, one hit wonders,
manifest destiny, my family's westward migration, body
troubles (was passing kidney stones almost the entire
time), LGBT disco parties, Jonathan Richman, Missing
Foundation, Neil Diamond, New Orleans, poverty, getting
pushed out of another Brooklyn neighbourhood... No
Beach Boys, no Beatles, no Buddha... More Bad News
Eric Copeland has been sound clashing at full volume for
over twenty years, first carving out a named for himself as
one third of the legendary NY-via-Providence band Black
Dice. A wildly prolific solo artist, Copeland has played
shit houses, party palaces and seemingly everything in
between all over the world.
A long time Brooklyn, resident, Eric recently relocated
to where the L Train does not run - Palma de Mallorca,
Spain. While maintaining a relatively humble and low key
presence in a highly competitive musical world, he has
releases a prolific amount of music every year through
indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.1. Kids In A Coma
2. Rip It
3. Fuck It Up
4. Honorable Mentions
5. Blue Honey
7. Cannibal World
8. Don't Beat Your Baby
9. Radio Weapons
10. Get My Own$19.99Vinyl LP - Sealed Buy Now
LoyaltyThe record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
"a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
discerns in "I Mined," "through which the whole world bends.")
"Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively-what
Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life's Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height$21.99Vinyl LP - Sealed Buy Now
The Oath (Awaiting Repress)To master the dark and wring compelling creativity from its densest shadows requires vision, belief and, perhaps most importantly, a dash of synchronicity. These are all qualities that ooze from every pore of the debut album by The Oath. A band forged around the fizzing, feral chemistry between Swedish guitarist Linnea Olsson and German vocalist Johanna Sadonis, The Oath represent the wild magic that erupts when two blazing souls collide and fate is sent veering off course by sheer strength of the human will. This is heavy metal at its most mercurial and intuitive.
"I had grown tired with the metal scene in Stockholm, and I wanted to experience something new and get out of my comfort zone," Linnea Olson recalls. "This resulted in me going to Berlin, a city where I had no friends, and just exploring everything that makes it so magical the creative energy, the sense of freedom, and the notoriously dark and debauched nightlife. I played my guitar as usual at home, and riffs started to pile up. By the time summer came, I felt the time was right to start a new band. My best friend Henke put me in touch with Johanna. On her end, she had been looking for a guitarist for a band that she wanted to call The Oath. We had an instant connection. And we looked almost identical."
Having found each other and discovered that their obsessions, desires and musical urges were utterly compatible and swiftly and irrevocably interwoven, Linnea and Johanna set about devising an artistic masterplan. The results of that plan are now primed to emerge, fully-formed and thrumming with primal energy and pristine passion, in the shape of The Oath: a nine-song clarion call that simultaneously recalls the hallowed greats of heavy rock, punk and metal - from Sabbath, Trouble and Angel Witch through to the Stooges and Poison Idea, and further to Mercyful Fate and Danzig - while revelling in new ways to express the spirit of those revered archetypes. Recorded in ten days at Studio Cobra in Stockholm with producer Konie Ehrencrona at the controls and the raging rhythm section of Simon Bouteloup (bass, Kadavar/ex-Aqua Nebula Oscillator) and Andrew Prestidge (Angel Witch/Winters) underpinning Linnea and Johanna's otherworldly hymns to the black, The Oath is a triumph for soul and sonic ceremony, with conviction and integrity bursting from every artfully-crafted riff and ethereal melodic motif.
"We had a die-hard dedication right from the beginning - if not, what's the point?" states Linnea. "As for the master plan, there was none. If things fall into place naturally, you don't need one. We felt that this was our shot, and we needed to go for it. We wanted this album to be primitive and minimalistic in the sense that the sound is fairly raw, and we kept overdubs to a minimal - most of what you hear on the album are live takes. But we also wanted to bring out the melody and richness that is within the songs. And these are all strong songs, which is very important to us."
Veering from the strident grooves and shimmering menace of opener All Must Die to the breakneck, Luciferian clatter of Black Rainbow and on to the spine-tingling grandeur and grime of epic closer Psalm 7, The Oath is anything but just another addition to the modern pseudo-occult rock canon. Instead, it is an extraordinary glimpse into its creators' overpowering charisma and chemistry and a thrillingly, hyper-nourishing dose of authentic, 21st century heavy metal sorcery. With input from In Solitude's Henke Palm - who contributes some "improvised Voivod-style solos", according to Linnea - and logo designed courtesy of Watain's Erik Danielson, this is an album that exudes ageless style and irresistible substance: a potent antidote to the flimsy fripperies of the modern age.
"This album represents Johanna and me and our dedication to our music," Linnea avows. "Everything about this band is about me and her - our relationship to each other, our differences as people and musicians, and the unity that we are in The Oath. She possesses strengths that I lack and the other way around. Musically, my riffs are the dirt and her vocals, the diamonds. I have a friend who cleverly put that the world is made up by two kinds of people: the werewolves and the vampires. By that standard, I am a werewolf and Johanna is a vampire. You can interpret that as you like."
And now, this new ritual begins. The Oath has been sworn, the dice have been thrown. All that remains is the propagation of the divine but unholy art that these sisters-in-sound have wrenched from the depths of their harmonised psyches. The future belongs to those who believe
"There are a lot of hopes, plans and ambitions," Linnea concludes. "But what's even more important is that there is only now and that now is forever."
- Dom Lawson, January 20141. All Must Die
2. Silk Road
3. Night Child
4. Leaving Together
5. Black Rainbow
6. Silver and Dust
7. Death Delight
8. In Dream
9. Psalm 7$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Die Healing (Awaiting Repress)"Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!
Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE
Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.
The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.
The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.
What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).
Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.
It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.
- joncheetham88 (Metal Archives)1. Dark World
2. One Mind
3. Let The End Begin
4. Trail Of Pestilence
6. Return Of The Zombie
7. In The Asylum
8. Just Another Notch$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
Audeze LCD-4 Headphones
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.
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The LCD-4 represents 40 years of advancements in planar magnetic technology and our own research and development from 2009 onward when we debuted our first product. Our new flagship headphone features game-changing technology, like its first-of-the-kind nano-scale diaphragm with Double Fluxor Magnet Arrays that nearly double the driving power. The sound is breathtaking and many listeners are shocked by its extreme you-are-there spaciousness, powerful bass, rich midrange, and an open and extended top that renders music that permeates the soul. Writer's Choice Award at Headphone.Guru.
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This item is not eligible for discount.$3,995.00LCD-4 Headphones with Travel Case Buy Now
Hug Of Thunder"I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.
They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.
Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."
Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.
"He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."
As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."
Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"
Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.
The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.
The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".
Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."
But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.
"The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."
Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"
That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.
"My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"
So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."1. Sol Luna
2. Halfway Home
3. Protest Song
5. Stay Happy
6. Vanity Pail Kids
7. Hug of Thunder
8. Towers and Masons
9. Victim Lover
10. Please Take Me With You
11. Gonna Get Better
12. Mouth Guards of the Apocalypse$25.99Vinyl LP - Sealed Buy Now
HealFrom the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent
teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old,
believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle
healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst
parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria,
confusion and clarity.It is deeply personal and unwittingly anthemic.
Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the
personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage
was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted so I'd gone on tour, I was
gone about two years!I didn't take time to think about failure, but I knew I was going deeper and deeper I was thinking,
I have this life, but it's not my life,I haven't done it right "
When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times
invigorating.Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional
rock and electronic currents,that have now come to the fore.HEAL is a bold new beginning,with a thrilling full-tilt sound
that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense
Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton.
Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve
Clements,who provides HEAL's thunderous ,sinewy drive. Songs such as 'Shut In','Plymouth' and'Woke Up To The Light'
have a classic construction and mood,recalling '70s power-pop/ballads and the yearning ache of Big Star'slate, great Chris
Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired
dynamic to its stretching point, especially on'For Me',which expertly bridges the album's twin decades of influences.And
if 'Goshen '97'recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the
album's smoldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as
comfort no matter how bad things get.
Which brings usto another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec.
26, 2013.Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck,
and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me
much more than Irealized at the time."Fearing delays, Showalter didn't let Congelton know about it,so the mixing session
went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction,"
Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at
that exact moment,somewhere between almost dying and being absolutely fearless."
HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill.
Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance.
Finally, he and Strand Of Oaks have much to celebrate.1. Goshen '97
3. Same Emotions
4. Shut In
5. Woke Up To The Light
8. Mirage Year
9. For Me
10. Wait For Love$17.99Vinyl LP - Sealed Buy Now
Harvest (Out Of Stock)Ranked 78/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
NOW ON 180-GRAM VINYL!!!
Remastered from the original tapes! It sounds incredible!!
A quadruple Platinum No. 1 smash and the best-selling album of 1972, Harvest was Neil Young's fourth solo effort. With the Gold No. 1 Heart Of Gold, Top 40 Old Man, powerful The Needle And The Damage Done, controversial A Man Needs A Maid and Southern Man companion Alabama, Harvest won inclusion in Rolling Stone's 100 Greatest Albums Of All Time.
Deceptively laid-back-sounding country-rock plaints like Out On The Weekend and the title cut caress the ear unassumingly, pulling you into the more ominous subtext that is present in the rollicking Are You Ready For The Country. As always, Young has an ear for contrasts, laying down heavy rock (Alabama) besides his balladry, and even employing the London Symphony Orchestra on the excellent confessional A Man Needs A Maid. Due to back troubles, Young recorded much of this material while wearing a brace, a fact that seems audible in the tension and unease that underlies the friendly, acoustic surface of this superb release.1. Out On The Weekend
3. A Man Needs A Maid
4. Heart Of Gold
5. Are You Ready For The Country?
6. Old Man
7. There's A World
9. The Needle And The Damage Done
10. Words (Between The Lines Of Age)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock