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What So Not'
Good Times AheadAfter years of cultivating songs, mixes and remixes, and overall vibes for festivals and tours, Matt Toth and Julio Mejia - better known as GTA (short for GOOD TIMES AHEAD) - will release their full length debut Good Times Ahead via Warner Brothers.
Featuring Tinashe, Vince Staples, Tungi Ige, Iamsu, Wax Motif, What So Not and more, the long-waited debut is a testament to their multiple influences and highlights their eclectic production ear.
For the last few years we've been feeling like things have been getting repetitive. We've always had goals of ascending beyond the festival bangers we're known for, so around a year ago we set out to create a body of work that reflected our depth and growth as producers, they explained to The FADER.
We've always had bigger aspirations than just the dance space which came hand in hand with our 'Death To Genres' mentality. To us, music was more about what made you move rather than what type of music was playing. With this album we're able to explore all facets of music that we love, flip the script and bring everything together into one fluid album that we're really proud of.1. True Romance (feat. Jarina De Marco)
2. Lil Bit of This (feat. Vince Staples)
3. Feel It (with What So Not) [feat. Tunji Ige]
5. Get It All (with Wax Motif)
6. All Caught Up (feat. Tinashe)
7. In My Nature (feat. Karina)
8. Pressure (feat. RKCB)
9. Contract (feat. Iamsu!)
10. Illuminate$17.99Vinyl LP - Sealed Buy Now
Give A Glimpse Of What Yer NotLet's face facts - in 2016 it is remarkable that there's a new Dinosuar Jr album to go ape over. After all, the original line-up of the band (J Mascis, Lou Barlow & Murph) only recorded three full albums during their initial run in the 1980s. Everyone was gob-smacked when they reunited in 2005. Even more so when they opted to stay together, as they have for 11 years now (on and off). And with the release of Give a Glimpse Of What Yer Not, this trio redivisus has released more albums in the 21st Century than they did in the 20th. It's enough to make a man take a long, thoughtful slug of maple-flavored bourbon and count some lucky stars.1. Goin Down
3. Be A Part
4. I Told Everyone
5. Love Is...
6. Good To Know
7. I Walk For Miles
8. Lost All Day
9. Knocked Around
11. Left/Right$20.99Vinyl LP - Sealed Buy Now
What For?Opening to the scream of F1's speeding around a racetrack,
and maintaining that intensity with booming guitar riffs and
psychedelic effects throughout, the forthcoming album from
Toro Y Moi is definitely making a statement. Or maybe a few
statements. But Chaz Bundick, the frontman and songwriter,
is leaving it up to you to figure out what they are. While it is
obvious that each song is crafted around a personally meaningful
experience, Chaz seems to purposefully leave the lyrics
just vague enough to let each listener mold it into something
unique. Chaz presents you with a few themes: love, beauty,
nature; and gently lets go of your hand so you can wander off
on your own.
A feeling of searching for something threads its way through
every song on the album, which is aptly named What For? It
feels contradictory in a very human way, like Chaz is swinging
between waiting for something and not being able to wait
anymore. But the swinging isn't panicked or frustrated, it's just
a situation that he's reflecting on. The songs are heavy with
nostalgia, too, for simpler times, better music, more fulfilling
relationships. Chaz references Weezer to warn you that "there
is no one to destroy your sweater" and, in another song, recalls
Big Star to declare that "rock and roll is here to stay." It feels
like he misses everything (even things he wasn't around for
yet), but is somehow excited for what comes next.
What For? is a glimpse into the life of a guy trying to figure out
what it all means. The music is influenced by bands like Big
Star, Talking Heads, Tim Maia, Todd Rundgren, but it doesn't
quite sound like any of them in particular. And it isn't trying to.
It has that special something that Chaz imbues in every Toro Y
Moi album, his personal filter on the world he experiences. So
whatever message you take from the album, don't forget that
it's good. As Chaz himself so candidly believes, "Good is good.
Good finds its own audience."1. What You Want
3. The Flight
4. Empty Nesters
7. Spell It Out
8. Half Dome
9. Run Baby Run
10. Yeah Right$14.99Vinyl LP - Sealed Buy Now
So It Goes
"Perfect blend of old-school sensibility with modern energy." - Complex
"Ratking unlock noise-rap stunner." - SPIN
"Ratking not what the City expected, but it's exactly what it needs" - REVOLT
"Aggressive, dark, and propulsive." - NPR
Following a busy 2013 that saw them playing shows with acts as diverse
as GZA, Death Grips, King Krule and Trash Talk as well as collaborating
with legendary photographer and lmmaker Ari Marcopoulos, RATKING are
ready to announce their debut album So It Goes. The album nds the group
perfecting the balance between the raw, unbridled energy of their live set
and the warm soulful, golden-era hip hop that the members grew up on,
aided in large part by engineering from Young Guru (Jay-Z, The Diplomats,
Notorious B.I.G.). So It Goes is a portrait of
modern day New York City painted over the course of its 11 tracks.1. *
3. Snow Beach
4. So Sick Stories (feat. King Krule)
5. Remove Ya
7. So It Goes
8. Puerto Rican Judo (feat. Wavy Spice)
11.Take (feat. Soloman Faye)$22.99Vinyl LP - 2 LPs Sealed Buy Now
So It IsPreservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.
In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.
Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.
The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.
Preservation Hall Jazz Band:
BEN JAFFE - Bass (upright), Tuba, Percussion
CHARLIE GABRIEL - Saxophone (tenor), Clarinet
CLINT MAEDGEN - Saxophone (tenor), Percussion
RONELL JOHNSON - Trombone
WALTER HARRIS - Drums, Percussion
KYLE ROUSSEL - Piano, Wurlitzer, Organ
BRANDEN LEWIS - Trumpet1. So It Is
4. La Malanga
6. One Hundred Fires
7. Mad$19.99Vinyl LP - Sealed Buy Now
It's Not Us
Side D Etching
Umphrey's McGee entered I.V. Labs Studio in Chicago in November of 2016 to record what would become the band's eleventh full-length studio album. The result was it's not us, the most vibrant, mature expression of the band's growing studio prowess to date. "We decided to go in for a week, live, eat, and breathe Umphrey's McGee," recalls Joel, "we're known as a strong live band, but we take so much pride in our writing. [In this album] the focus is on that writing."1. The Silent Type
3. Whistle Kids
4. Half Delayed
5. Maybe Someday
6. Remind Me
7. You & You Alone
9. Speak Up
11. Dark Brush$29.99Vinyl LP - 2 LPs Sealed Buy Now
We're Not Going AnywhereAustin-based songwriter David Ramirez will release We're Not Going Anywhere, the follow up to his 2015 breakthrough record Fables and second in partnership with Thirty Tigers.
Most times, when a relationship ends, there is a season of mourning but then the clouds part, the sun rises, and we move on. What happens if and when the sun doesn't rise? What happens if, no matter how hard we try, we can't move on? Ramirez explained about the song.
On the 10 vividly imagined and passionately performed songs on We're Not Going Anywhere David Ramirez takes in the world from his unique perspective: Being half white and half Mexican has made this current political climate especially interesting. So many cultures in this country are being viewed as un-American and it breaks my heart. My family have raised children here, created successful businesses here, and are proud to be a part of this country. Most of what I've seen as of late is misplaced fear. I wanted to write about that fear and how, instead of benefiting us, it sends us spiraling out control.
For We're Not Going Anywhere, Ramirez partnered with producer Sam Kassirer, who has helmed albums by Josh Ritter, Lake Street Dive, Bhi Bhiman, and many other artists. In January 2017 Ramirez and his band decamped to the Great North Sound Society, an eighteenth-century farmhouse in rural Maine that serves as Kassirer's studio.
It's very secluded, which was part of the appeal. We were able to get out of our touring headspace and stay completely involved with the record and what we were doing, explains Ramirez.
We're Not Going Anywhere turns that distance into a big-picture perspective- engaged and informed, compassionately political but not necessarily partisan. We'd take breaks during the day and watch the news and see all the rallies and marches and the disruption and the out-of-control feeling that was everywhere then-and, frankly, still is now. We were looking around and no one was around us. The closest house was a mile away, so it was just us. We were grateful just to retreat from that social tornado for a while and create something that we hoped would be very beautiful.1. Twins
2. Watching From A Distance
3. People Call Who They Wanna Talk To
5. Good Heart
6. Stone Age
7. Telephone Lovers
9. Eliza Jane
10. I'm Not Going Anywhere$18.99Vinyl LP - Sealed Buy Now
I'm Not The DevilCody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."
Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."
His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"
Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."
"All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."
"No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."
With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."
It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."
Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."
It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."1. The Same
2. I'm Not the Devil
3. No Guarantees
4. No Words
5. Give All You Can
6. She's All Mine
7. The Way I Am
8. Chase That Song
9. Heavy Load
11. Church at Gaylor Creek
13. Hand Me Down$24.99Vinyl LP - Sealed Buy Now
I Know What Love Isn'tTracey Thorn wrote a song that reached Jens Lekman in the early stages of his new album, I Know What Love Isn't. In her song she sang Oh Jens, oh Jens/your songs seem to look through a different lens/you're still so young, love ends just as easy as it's begun. A touching moment for the Swedish songwriter, having been a fan since his teens. But it came to him in a time when he found himself very confused and in doubt. He was changing and, subsequently, so were his songs. They weren't looking through that lens anymore.
I Know What Love Isn't came out of a break up, something Jens didn't see as worth writing about at first. The songs began more fleeting than the last go around, on his 2007 album Night Falls Over Kortedala. The songs began building from images and memories and soon began to take their own route, one that Lekman wasn't privy to their destination.
In The World Moves On he paints a picture of a sweltering summer in the city of Melbourne where he lived while writing and recording the album. The hot days that led up to the Black Saturday bushfires, but also more mundane images of feeding possums in a park or getting in trouble with some guy on a scooter. It seems to lead nowhere at first but the aimlessness in itself reaches heartbreaking conclusions later on, summed up by the soaring chorus and you don't get over a broken heart, you just learn to carry it gracefully. Like Joan Didion once said that she writes entirely to find out what she's thinking, Jens wrote until he caught up with his thoughts. And of course they led him right back to the break up.
Musically, I Know What Love Isn't chooses an economic route. From the vast palette he created for Kortedala, he's only chosen a few somber colors this time around. There are strings but not a string section, an upright piano and not a grand, a single saxophone and gracenotes from a flute. The songs are lighter, almost aerodynamic, Jens explains, I wanted the songs to take off almost unnoticeably, where the chorus is separated from the verse only through a small detail like a tambourine or a harmony. Like when you're in an airplane taking off and you look out the window and realize you're already in the air.
A dry country piano makes Become Someone Else's lift high. Vocals from Melbourne singer Sophie Brous makes the chorus in Erica America soar. Strings pick up the title track and send it up to the sky without much effort or force. In the latter, Lekman once again points the way to distill essential truths from every day life vignettes while singing about a sham marriage. I thought of the Friday nights when I'd be cruising up and down the street with my best friend in her old crappy Holden, talking about getting married to get me into the country.
The idea was so appealing, that we would build this constructed relationship around a purpose rather than some vague feeling that could change at anytime. But in the end, the sham marriage is much too great a story to be kept secret. At least when you make a living from telling stories. And that's what I Know What Love Isn't is. A collection of songs that grew to a story that had to be told. A story that is not new, but essentially human. The story of the grey areas of love that you have to excavate and explore, using the method of exclusion, to find out what love is.1. Every Little Hair Knows Your Name
2. Erica America
3. Become Someone Else's
4. She Just Don't Want To Be With You Anymore
5. Some Dandruff On Your Shoulder
6. I Want A Pair Of Cowboy Boots
7. The World Moves On
8. The End Of The World Is Bigger Than Love
9. I Know What Love Isn't
10. Every Little Hair Knows Your Name$17.99Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
What A Time To Be AliveAfter the shocking, and for many, demoralizing result of the 2016 election,
"I didn't buy the silver lining some were promoting that 'well, at least art and music will
be great now!'," says Superchunk co-founder and frontman Mac McCaughan.
"Obviously, any sane person would gladly trade four to eight years of terrible music for not
having our country dismantled to satisfy the whims of a vengeful child and his enablers."
That said, good music and art still have a lot to say, and the urgency of
current events gave Mac, Laura, Jim, and Jon the momentum to make
something new sooner than later. "It would be strange to be in a band, at least our
band, and make a record that completely ignored the surrounding circumstances that we
live in and that our kids are going to grow up in." Enter What a Time to Be Alive,
recorded and mixed by Beau Sorenson. It's a record, says Mac, "about a pretty
dire and depressing situation but hopefully not a record that is dire and depressing to listen
Indeed, like so much of Superchunk's music in the band's nearly three
decades together, the songs on What a Time to Be Alive meet rage and anxiety
head-on with the catharsis and exhilaration of loud punk fire and vulnerable
pop energy. Like 2013's I Hate Music, which focused on death, loss, and the
role of music in an aging life, the new record brings spirit to the frontlines of
pain-it's as defiant as it is despairing, as much a call to arms as a throwing up
The record features more guest backing vocalists than any previous
Superchunk album, including Sabrina Ellis (A Giant Dog, Sweet Spirit), Katie
Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Skylar
Gudasz, and David Bazan. "Part of that was wanting a feeling of community," says
Mac. "I think that's important to not be completely bummed out about everything all the
Despite the album's driving force, it would be a mistake to call the album
political, which suggests it has anything to do with parties, policy, or anything
that can be broken down into a rational difference of opinion. "We're not trying
to offer policy solutions in the confines of a three-minute song," says Mac. "It's about 'how
do you live / not go crazy' in the current climate when it seems like every day there's a new
outrage being perpetrated."1. What a Time to Be Alive
2. Lost My Brain
3. Break the Glass
4. Bad Choices
5. Dead Photographers
7. I Got Cut
8. Reagan Youth
9. Cloud of Hate
10. All for You
1. Black Thread$17.99Vinyl LP - Sealed Buy Now
What's RealDear Listener / Internet Surfer / Intrigued Music Consumer-
Thank for you for taking the time to read about our new record, What's Real. We have been working on this album for the better part of two years. Or maybe I have been working on this album since I was 14. That was when I first heard the bands that made me want to pick up the guitar and learn to play. When I became consumed over the angst, the freedom, the recklessness of rock and roll, the escape it created and allowed, and the feeling of unity with anyone who was discovering and finding the same.
I started writing this album as soon as we got home from touring behind our debut record Out In The Light. All of a sudden, I was sitting still for the first time in years, and I dove into my early musical influences to find that what I once thought were alternative anthems of recklessness, of angst, of societal alienation, were also perfectly constructed songs. It wasn't pop. But it became popular for a reason. And as a songwriter I began to see that music in a new light.
I approached this album from that place. From a place of seeing that songs can sound big, feel big, and still be incredibly personal. Still be brutally honest. Still leave everything on the table. And while current alternative radio is pumping out songs about the "best day of my life" and "wanting to be like the cool kids", I wanted to write songs about heartbreak, about finding clarity, about feeling stuck in your hometown. And I wrote it with the hope that people connect with it in a visceral way. In an emotional way. The way I am connecting to it. A connection I feel is not as expected these days.
This record was recorded over a 15 month period while I was living in San Francisco and taking road trips down to record with friend and Grouplove producer/drummer Ryan Rabin. The first song we recorded together was "Got To My Head". He got where I was coming from and became my collaborator throughout the majority of the process. We pushed this record to the extremes, trying to fit as many hooks at times, capturing throat wrenching vocal takes at others. I was writing while recording. A lot of the writing takes on past tragic relationships I have since moved on from. "I Feel Everything" is a song about the addiction of abusive and extreme relationships, "Over It" is a song about finally getting out of it, and "What's Real" is about the constant struggle to weed out the impersonal and temporary relationships and yearning for something more. The songs came from desperate times. They came from a place where I would rather be in any situation than the one I was in. Some of them were written while in it, some of them are reflection.
I recorded a handful of the songs with another producer Carlos De La Garza. Among those are "Rebel Yell", a song about longing for the drive to care about the state of the world like I once did so intensely, but has faded with the distractions of adulthood, and "Mom And Dad's," a song about the realities of having to move back in with your parents after you thought you were gone for good, and finding everything both completely changed and exactly the same.
This record could not have been possible without my band. I met them all while living in San Francisco. It's a new band from the last record. Andrew Wales plays Drums. Brian DaMert plays Guitar. Greg Sellin plays Bass. And Sara DaMert plays Keys. They have helped me take these songs from my headphones to the stage and have realized them in the greatest way possible. they do them every justice I could have asked. I am so grateful to have them.
When we finished the record I felt like we had made a sonic place. It felt like my bedroom in high school. We accomplished my goal in providing a world for someone who needs a real alternative. An escape. I don't care if that sounds cheesy. I am not worried about it. Come to our shows. Participate in the energy. We will leave it all on the table. We expect the audience to as well. There is something really rewarding in doing so. It's what I dreamt about when I was 14 and started playing guitar. It's what I still dream about today. It's What's Real.
Van (WATERS)1. Got To My Head
2. I Feel Everything
3. Mom and Dads
4. The Avenue
5. What's Real
6. Inside My Room
7. Stupid Games
9. Over It
10. Rebel Yell
11. Green Eyes$18.99Vinyl LP - Sealed Buy Now
What's Going On (Pure Pleasure)In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. What's Going On feat. Chuck D
2. What's Happening Brother feat. Bettye Lavette
3. Flying High (In the Friendly Skies)
4. Save the Children
5. God is Love feat. Ivan Neville
6. Mercy Mercy Me (The Ecology)
7. Right On
8. Wholy Holy
9. Inner City Blues (Make Me Wanna Holler)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
What's Left To Let GoHailing from the United Kingdom, Goodtime Boys are one of Bridge Nine Records' newest signees. Signing to a hardcore label such as B9 carries with it an expectation that Goodtime Boys immediately buck. The band share more in common with La Dispute and Pianos Become the Teeth than other B9 bands like Foundation or Expire.
What's Left to Let Go starts off with Bloom, which has a chilling relaxed guitar intro. However when the full band come in, it kicks it up a notch with a melodic but upbeat rhythm. Then vocalist Alex Pennie comes in with his powerful vocals and really brings in the full sound of the band. I immediately noticed the accent on the vocalist, but it's a good thing as it makes the band sound different than most bands of this hard-to-name genre that has been gaining a lot of ground in the hardcore community. His lyrics are immediately at the forefront of everything, as well they should be, being powerful and emotional. The rest of the song keeps up this swing of going from relaxed to very powerful and back again like a lot of the songs on this record. However, it doesn't get monotonous or boring as the band have a good enough writing ability to keep the music interesting.
In the middle of the record the song Rest cools things off a bit coming in with a simple drum beat and an almost haunting guitar melody that fit the lyrics and vocal delivery perfectly. And that's the great simplicity of What's Left to Let Go; Goodtime Boys aren't afraid to use a pattern and vocal style that has been established, but do their own thing with it to try and keep it interesting. This album is technically a double EP and not a singular LP as the first five songs were previously released on the Are We Now, Or Have We Ever Been EP. However, if I had not known this I would not have figured it out from listening to the record as the songs flow so fluidly it sounds like one album. This is partially due to the band's cohesive writing and also partially due to those songs and the new songs being mixed by Defeater guitarist and Getaway Recordings engineer Jay Maas.1. Bloom
10. Sleep$15.99Vinyl LP - Sealed Buy Now
The Unlawful Trade of Greco-Roman ArtSo Stressed initially began in Sacramento, CA as a largely
improvisational noise project that included the band's three
members (Morgan Fox, Andrew Garcia and Kenneth Draper).
Over time, the lineup was refined and their sound coalesced
into what's heard on The Unlawful Trade of Greco-Roman Art, a
technically meticulous but anxiety ridden and sometimes terrifying
cry which calls to mind everything from Q and Not U
to No Trend and the Minutemen. At times, Fox's lyrics bring to
mind the emotional distress and social reservation seen in Wire
and Wall of Voodoo.
The fact that their sound is so violent and tense as to be physically
disarming is almost deceptive; the members of So Stressed
are kind, conscientious and smart young men. Writing this
album took more than two years (and recording took more than
six months) due to a common habit of throwing away fully-formed
songs deemed to be even slightly less than perfect. All
this was done with no goal in mind- if no one wanted to release
it, Fox says, "we were just going to delete it."1. Cupcake Sister
2. Apple Hill
3. Merv King & The Phantoms
4. White Juice
5. Nervous Around Punks
7. Cinnamon Death
8. Flirting With A Cop
9. Sleep Wave
10. Covered In Hair
11. Burger Brother
12. Needs No Chill$22.99Vinyl LP - Sealed Buy Now
High (Awaiting Repress)Following a period of rest and reflection, and a recent performance at Sydney's Opera House, Royal Headache is ready to ride once more. Their new album is called High and injects even more soul and passion into the breakneck formula that became synonymous with Royal Headache. If their first album was akin to a courtship, think of High as the romance. Not just on the level of two people falling in love, but a romance with the qualities of pop music that make Royal Headache who they are and inform what they do: eternal optimism, wistful beauty and interlocking presentation that evolves from four guys singing on a street corner to speed-addled rock, and all the brightness and darkness in between, teetering between stability and chaos and well-aware of how unsteady their footing might be. The amount of emotion and range of Shogun's vocals and the whip-smart counterpoint provided by the band -- drummer Shortty, guitarist Law, and bassist Joe -- present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun's voice and lyrics aren't so much a secret weapon in Royal Headache's arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within. The band will tour the U.S. this summer with Sheer Mag, including appearances at Los Angeles' Berserktown II fest, and an open horizon thereafter.1. My Own Fantasy
2. Need You
4. Another World
5. Wouldn't You Know
7. Love Her If I Tried
9. Little Star
10. Electric Shock$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
We Sing Loud, Sing Soft TonightRecorded last summer with Steve Albini at his Electrical Audio Studios, Sonna picks up where their critically adored but all-too-rare The Eventual Bow EP left off. Pretty songs come a dime a dozen, and simple beauty is not what makes Sonna so special. There is a complexity to their music, executed so seamlessly that it often goes unnoticed. It's that complexity that makes every song so memorable. Subtle changes in time signature and tempo creep in without jarring the listener. More often than not the guitars are playing in different time signatures simultaneously, yet never become the tangled mess one would expect. With the occasional hushed verse of vocals poking through in spots, the pieces are elevated to near pop song status, breathing angelic life into fragile, somnambulant compositions.1. The Opener
2. Low And To The Side
3. We Sing Loud
4. Sing Soft Tonight
5. Sleep On It
6. Real Quiet$14.99Vinyl LP - Sealed Buy Now
The UnsembleThe Unsemble is an instrumental collaboration between Duane Denison of Tomahawk, Alexander Hacke of EinstÜrzende Neubaten and Brian Kotzur of The Silver Jews. Set to release their self titled debut LP via Ipecac Recordings, this supergroup is transcending far beyond their past projects and cultivating a brand new sound. When asked about the project, Denison stated in a 2012 interview with Rolling Stone: "We wanted to work on something that was typically not what we do." He continued, "something that's not so rock and riff-based and overdriven in that way."
From Rarely Unable PR:
The Unsemble, a 15-song collection recorded in Denison's adopted hometown of Nashville, meets the legendary Jesus Lizard guitar player's hopes of a more organic feel with the band effortlessly volleying between careful compositions and improvisation. The result is an album that is experimental, clever and inclusive of numerous subgenres and cultures.
- nickabitia (sound color vibration)1. Krishna
4. Act 3
7. Improv 2
9. Improv 3
11. Improv 4
12. Circles Revisited
13. Improv 5
15. Voices$15.99Vinyl LP - Sealed Buy Now
Born With StripesSan Diegos The Donkeys strike a balance of smiling, surfer mysticism and winking, slacker mystique. They reanimate the charming hallmarks of sunshine-rock past without being sepia-toned retro or bubblegum-cloying. There is an innate playfulness and honesty to the music they make. Its a dynamic that has made public champions of keen-eared musicians like John Darnielle (Mountain Goats) and Craig Finn (The Hold Steady). It was Darnielle who claimed The Donkeys were benevolent keepers of what he called The Antidote to an unnamed sickness plaguing indie rock.
Born With Stripes is an altogether less twangy affair than the bands 2008 Dead Oceans debut, Living On The Other Side. The nods to Grateful Dead and Buffalo Springfield are better balanced with echoes of other Cali arists, notably Pavement and Beck. The country-rock flairs are often overtaken by powerpop hooks. What some might call a lazy melody is really just a melody on its own clock. Nice and relaxed.
Ceiling Tan, feels like a lost weekend in Tijuana with Mutations and Crooked Rain, and may well be the bands mission statement. I Like The Way You Walk also cops a 90s alt-rock lick, but ditches any esoterica for earnest yearnings and sweet nothings.
What makes the Donkeys so potent is not their ability to rehash the past, its that their records embody a pureness, an authenticity that is unmatched in contemporary music. We were not the only ones to feel this undeniable connection. The Donkeys had a brush with Hollywood when Lost producer Eddy Kitsis heard the band, and cast them as Geronimo Jackson, a band he had written into the Lost story as an obscure San Francisco band from the 70s, who were peers of the Grateful Dead. Kitsis heard the Donkeys and felt they so embodied this fictitious band, that he actually had the band re-record their song Excelsior Lady as Dharma Lady and weaved it into the TV show.
The album was mixed by Pernice Brothers Thom Monahan, whose involvement not only gives us the crispest, warmest Donkeys recordings to date, it also serves to remind us of the bands loose connections to an array of psych-dappled kindred spirits: Vetiver, Papercuts, BrightblackMorning Light, Devendra Banhart. Monahan was not the only outsider the band collaborated with on Born With Stripes. The playful album artwork was created by California illustrator and cartoonist Tony Millionaire, best known for his comics Maakies and Sock Monkey, and as the creator of the Adult Swim show Drinky Crow.1. Don't Know Who We Are
2. I Like The Way You Walk
4. Born With Stripes
6. West Coast Raga
7. New Blue Stockings
8. Ceiling Tan
10. Bullfrog Blues
12. East Coast Raga$16.99Vinyl LP - Sealed Buy Now
TroubadourProducer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all. This one is notable for introducing Cocaine, which Eric Clapton covered on his Slowhand album a year later.
-All Music Guide
This title is not eligible for discount.1. Hey Baby
2. Travelin' Light
3. You Got Something
4. Ride Me High
5. Hold On
7. I'm A Gypsy Man
8. The Woman That Got Away
9. Super blue
10. Let Me Do It To You
12. You Got Me on So Bad$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
WildnessSnow Patrol is set to return with Wildness, their first album in seven years, which finds the band searching for clarity, connection, and meaning, while staying true to the melodic songwriting prowess that brought them to prominence. Wildness taps into something raw and primitive, and lead-singer and songwriter Gary Lightbody says of the album: "There are many types of wildness, but I think it can be distilled into two: the wildness of the modern age, all it's confusion, illogic and alienation and a more ancient wildness. Something primal, alive and beautiful that speaks to our true connectivity, our passion, our love, our communion with nature and each other. This is the kind of wildness the album is centered around. The loss of it. Trying to reconnect with it. To remember it."
Since their 1998 debut, Songs for Polarbears, Snow Patrol have racked up an impressive number of critical and commercial accolades, including 15 million global album sales, 1+ billion global track streams, 5 UK Platinum Albums, and are Grammy and Mercury Music Prize nominated. After their Fallen Empires tour ended in 2012, band members -which also include multi-instrumentalist Johnny McDaid, guitarist Nathan Connolly, bassist Paul Wilson, and drummer Jonny Quinn - decided to take a step back from the band, and focus on their own projects. Gary Lightbody continued his work with his Tired Pony side project with members of Belle and Sebastian, R.E.M, Reindeer Section and Fresh Young Fellows and moved to Los Angeles to begin writing songs for movies (including "This Is How You Walk On" for 2017's Gifted), and doing a number of high-profile co-writes with Ed Sheeran, Taylor Swift and One Direction. Taking this extended break from Snow Patrol proved to be a source of inspiration, and writing songs that were not pulled directly from his own psyche helped heal what Lightbody considered to be not so much writer's block as life block.
It's in this search for clarity and connection that these songs were written and refined. "I think it's the first record I've ever written that I haven't just asked a bunch of questions. I actually tried to figure out why I was unhappy, why I feel out of place, why I'm afraid," says Lightbody. "There's nothing really to protect myself for-- it's all in the album. I want to remember." This impulse was partially inspired by Lightbody's father, who is suffering from dementia. "I think the album is defined by memory in a lot of ways," says Lightbody, "including my father's loss of memory."
The songs are surefooted, displaying a newfound sense of self and purpose, and the rest of the band members rose magnificently to the occasion. The album is produced once more by the great Jacknife Lee, Snow Patrol's longtime producer and collaborator. "Life on Earth" opens the album with its mission statement, "this is something else, this is something else." "Heal Me" feels like an ancient hymn: "Finally, after way too many years of smashing my body to bits with booze, I met someone who helped me find my way back to health and clarity, says Lightbody. "This song is about her, that journey and is dedicated to her." "Empress," written for Lightbody's goddaughters, is fierce and heartfelt, with runaway drums and keen words of wisdom. "What If This Is All The Love You Ever Get?" is a heartstring-puller, posing the question nobody wants to ask. The last track, "Life and Death," is a rumination, and a human story of love and forgiveness- mostly self-forgiveness for Lightbody, demonstrating that perhaps everyone ought to take this long between albums to reflect long and hard before they write.
"Seamus Heaney, my favorite poet of all time, said at 71 that he was only discovering what some of his poetry means, and this is coming from a Nobel Prize-winning poet. It's a great testament to inspiration," says Lightbody. "Sometimes it takes you five years to write the thing. Like now. And you know for sure when you finish an album like that, where you've poured over every detail and put every atom of yourself into it, everything makes sense and I bet you I'm never not proud of this record."1. Life On Earth
2. Don't Give In
3. Heal Me
5. A Dark Switch
6. What If This Is All The Love You Ever Get?
7. A Youth Written In Fire
9. Wild Horses
10. Life And Death$29.99Vinyl LP - Sealed Buy Now
180 Gram Audiophile Vinyl
Dutch Pop artist Jett Rebel (real name: Jelte Tuinstra) presents his brand new album Truck, a collection of 28 tracks that go against every rule in the book. As Jett explains, 'so many bands nowadays adapt their music to the public's taste, just to get bigger. I don't, and I won't. I make exactly what I want, and I am so grateful that there is an audience that allows me this artistic freedom. I am so happy!
Every instrument on the album has been played by Jett Rebel himself, with a 4-track cassette recorder. The songs on the album are true Pop songs, and the production will undoubtedly surprise some people. 'I can understand if people will need to get used to this. Perhaps it's even commercial suicide - but then again I'm not looking for hits. I want to make the music that I want - playing live and living free.'LP 1
1. It's Cruel
2. Now I Know
3. Trucker's Towel
4. Can't Start Crying Now
5. Get Well Soon Allyson
6. Got A Clarinet!
7. Do You Feel Alright?
8. How To Take Care Of You
10. Casio Interlude 2
11. The Love You Give
12. It's Cruel Reprise
13. Les Is More
14. Tape 1 Side B (extracts)
1. Dream Girl
2. Nothing's Gonna Change My Mind
3. In My Mind
4. This Song Is Not Suitable For Radio
5. I Wanna Be A Songwriter
6. Automatic Orange Juice Machine
7. Sometimes You Don't Feel Happy
8. Do You Feel Alright? (part Ii)
9. Do You Feel Alright? (part Ii) Continued
10. Going On
11. Around You
12. I've Got A New Watch / Overture
13. Feel Like I Can Take On The World Again
14. You're Still You, Aren't You?$36.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
London Collection, Volume 1The First Installment of Monk's Final Recording Sessions as a Leader
Mastered from Original Analog Tapes by Grammy Award Winner Bernie Grundman
Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany
11/11 Music & Sound (Michael Fremer / Analog Planet)
What if you could be a fly on the wall at Thelonious
Monk's final recording sessions as leader? Now you
can. Offering tremendous late-period performances,
The London Collection Volume 1 is nothing but Monk,
improvisational, unhinged, and unrestrained.
Originally released by the UK label Black Lion, an imprint
that specialized in resurrecting rare gems from US jazz
and blues legends, The London Collection Volume 1
marks what are indisputably Monk's final significant
contributions and a can't-miss opportunity for collectors
and enthusiasts to get closer to the man and his music.
The album was mastered from the original analog tapes
at Bernie Grundman Studios, and pressed on 180gram
vinyl at Pallas Group in Germany.
"The sound here is so transparent, the pressing quality
so superb, the vinyl so quiet, if you set the level just so,
I think you'll agree with me that the title of this review is
not hyperbole: turn out the lights and Monk has been
brought back to life to play just for you!"
- Michael Fremer / Analog Planet1. Trinkle, Tinkle [Take 3]
2. Crepuscule With Nellie [Take 2]
3. Darn That Dream
4. Little Rootie Tootie
5. Meet Me Tonight in Dreamland
6. Nice Work If You Can Get It
7. My Melancholy Baby
9. Lover Man
10. Blue Sphere$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Wilderness HeartWilderness Heart, the new album by Black Mountain, is packed with succinct rock songs that pulse and pound with startling precision: it pummels you and you ask for more. This is arguably the band's tightest, most concentrated venture, but there's still plenty of raw rock energy at work. It's our most metal and most folk oriented record so far, songwriter Stephen McBean says. I'm not gonna say it's our best record or the album that we always dreamt of making 'cause that's what everyone says. It's all about where we were at the time the machines were rolling.1.Hair Song, The
5.Let Spirits Ride
6.Buried By the Blues
7.Way To Gone, The
9.Space of Your Mind, The
10.Sadie$16.99Vinyl LP - Sealed Buy Now