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  • White Women White Women Quick View

    $24.99
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    White Women

    We are officially on the cusp of the Canadian funk lords' fourth album's release. It's called White Women and it's a doozy. As a work of cultural theory, it posits that we are living in a post-nostalgia age. All previous genres and styles of music now coexist within a singularity of moves and gestures. (Ouch, sorry, got possessed by a cultural studies prof. for a second there but the foregoing is true of Chromeo, just FYI.) More importantly, as pure entertainment, White Women perpetuates and elevates Chromeo's existing blueprint: sexy funk, ass-targeting beats, melodic honey, and smart lyrics about the foibles of contemporary love.


    Chromeo is an electrofunk duo based in Montreal, Canada composed of P-Thugg on keyboards, synthesizers, and talk box, and Dave 1 on guitar and lead vocals. The two childhood friends jokingly describe themselves as the only successful Arab/Jewish partnership since the dawn of human culture.World leaders, powerful CEOs, and assorted other fat cats could learn myriad lessons from Chromeo, but the number one tip that Dave 1 and P-Thugg have is this: Know thyself, know thy vibe, and stay thy course. The rest of the population will catch up. What this means is that Chromeo is really good at being Chromeo. The mission, the package, the vision-it's been a straight shot of pure intentionality from the jump. These Chromeo dudes? They have the whole being-these-Chromeo-dudes thing totally wired.

    LP 1
    1. Sexy Socialite
    2. Jealous (I Ain't With It)
    3. Come Alive (feat. Toro Y Moi)
    4. Over Your Shoulder
    5. Lost On The Way Home (feat. Solange)
    6. Play The Fool


    LP 2
    1. Hard To Say No
    2. Ezra's Interlude (feat. Ezra Koenig)
    3. Old 45s
    4. Somethingood
    5. Frequent Flyer
    6. Fall Back 2U

    Chromeo
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Women Of Your Life Women Of Your Life Quick View

    $16.99
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    Women Of Your Life

    White Colored Vinyl


    Stripped-down, unblighted, bedroom pop songs... about girls. Women Of Your Life is the intimately facile sophomore album from indie-slackers Sleeping Bag.


    The Bloomington, Indiana based trio is spearheaded by Dave Segedy, who is the group's drummer, songwriter and primary vocalist (that's right: a drummer who writes and sings all the songs!). Specializing in simple and honest songwriting, Malkmus-deadpan vocal delivery, and unusually addictive melodies, Sleeping Bag craft songs that are at once familiar and fresh.


    The band's debut s/t album was released on Joyful Noise in August 2011, receiving praise from Under The Radar, Impose Magazine, Village Voice, RCRD LBL, and My Old Kentucky Blog. With their second album, the trio have matured in the ways one might expect: songs are a bit longer, lyrics a bit more personal, and arrangements more developed. But all of Sleeping Bag's signature elements are well represented
    throughout: the heartfelt (In The Pocket, Still Life), the playful (Allison Cole, Saturday Night) and the unbelievably catchy (Soccer Ball, Walk Home).


    Segedy's eortless melodies, accompanied by the distinctively jangling guitar work of Lewis Rogers and the tastefully minimal bass of David Woodru, combine to form a sound that summons the energy and earnestness of 90s rock, while sidestepping throwback territory. Familiar inuences are organically reconstructed into relevant,
    captivating pop. These are instantly accessible songs which gain surprising depth with each obsessively repeated listen.

    1. Women Of Your Life
    2. Soda You
    3. Soccer Ball
    4. 5Allison Cole
    5. In The Pocket
    6. Nightmare
    7. Saturday Night
    8. Coco
    9. Still Life
    10. Walk Home
    Sleeping Bag
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • S/T II: The Cosmic Birth And Journey Of Shinju TNT S/T II: The Cosmic Birth And Journey Of Shinju TNT Quick View

    $19.99
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    S/T II: The Cosmic Birth And Journey Of Shinju TNT

    Finally, after over a month of unanswered emails and text messages, blown deadlines, and pleas to finish and turn in their new album, last week, a large brown cardboard box showed up at the Dead Oceans doorstep. It had SHINJU TNT scrawled across the bottom of the box in black magic marker, and the return address read only AK, Detroit.



    Opening it revealed a sincere but poorly made diorama of futurist swirling spaces filled with toy astronauts and dinosaurs, four blown out song fragments on a TDK CDR in a zip-lock bag, three pictures, and a typewritten note from Akron/Family. A post-it on the bag declared the band refused to send the full album to anyone but the vinyl pressing plant, for fear of leaking and possible lost revenues.



    From the note and a short video that arrived days later, Dead Oceans pieced together that the album was written in a cabin built into the side of Mount Meakan, an active volcano in Akan National Park, on the island of Hokkaido, Japan. It was recorded in an abandoned train station in Detroit with the blackest white dude we all know, Chris Koltay (Liars, Women, Deerhunter, Holy Fuck, No Age). Chris, on tour after finishing the record, commented: this album will transcend the internet.



    Akron/Family spent the end of 2009 and half of 2010 exploring the future of sound through Bent Acid Punk Diamond fuzz and Underground Japanese noise cassettes, lower case micro tone poems and emotional Cagean field recordings, rebuilding electronic drums from the 70's and playing them with sticks they carved themselves. Upon miraculous resuscitation of the original AKAK hard drive, the album layers thousands of minute imperceptible samples of their first recordings with fuzzed-out representations of their present beings to induce pleasant emotional feeling states and many momentary transcendent inspirations.

    1. Silly Bears
    2. Island
    3. A AAA O A WAY
    4. So It Goes
    5. Another Sky
    6. Light Emerges
    7. Cast a Net
    8. Tatsuya Neon Purple Walkby
    9. Fuji I (Global Dub)
    10. Say What You Want To
    11. Fuji II (Single Pane)
    12. Canopy
    13. Creator
    14. Healing Vapor Prismatic (LP Only Bonus Track)
    Akron/Family
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Woman To Woman Woman To Woman Quick View

    $14.99
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    Woman To Woman

    I was sitting in a hotel room in Spearfish, SD learning to play a Townes Van Zandt tune called Loretta, and as I was singing the words, I started to get angry, says Esme Patterson on the inspiration behind her new album 'Woman to Woman.' I started thinking how one-sided and aubjective a lot of 'love songs' are, and how a lot of women immortalized in songs might tell a different side of the story if anyone ever asked.


    That realization inspired Patterson to write an album of response songs that aims to give voice to seven women from popular music: Jolene (Dolly Parton), Alison (Elvis Costello), Loretta (Townes Van Zandt), Caroline (The Beach Boys), Eleanor Rigby (The Beatles), Evangeline (The Band), and Irene (Leadbelly).


    They are archetypes from songs, frozen forever in black and white, she says. I did my best to add some color and give them some humanity.


    Well known for her work as a vocalist for Denver, CO's Paper Bird, Patterson also appeared on Anais Mitchell's 'Hadestown,' has performed on both Letterman and Leno as a backup singer for Tennis, and has collaborated with artists like Shakey Graves, Nathaniel Rateliff, Nick Jaina, and Reed Foehl. 'Woman to Woman' is her second solo release.

    1. Valentine (Elvis Costello - 'Alison')
    2. Never Chase A Man (Dolly Parton - 'Jolene')
    3. Tumbleweed (Townes Van Zandt - 'Loretta')
    4. The Glow (The Beach Boys - 'Caroline, No')
    5. Bluebird (The Beatles - 'Eleanor Rigby')
    6. Louder Than the Sound (The Band - 'Evangeline')
    7. A Dream (Leadbelly - 'Goodnight Irene')
    Esme Patterson
    $14.99
    10 Colored Vinyl LP - Sealed Buy Now
  • Can You Deal? Can You Deal? Quick View

    $14.99
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    Can You Deal?

    Pressed On White Vinyl


    Los Angeles-based sister duo Jennifer and Jessie Clavin knew things were going to be different for their band Bleached's sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join them and their bassist Micayla Grace in the studio, but the sisters had been crawling out of their own personal dramas. While emotionally spinning, they dove head first into music.


    In the studio, Chiccarelli and co-producer Carlos de la Garza (Paramore, YACHT) helped the band perfect their fervent songs into fearlessly big pop melodies. They drew inspiration from the iconic hits of everyone from Fleetwood Mac to Heart to Roy Ayers. The result is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat.


    After touring extensively worldwide and finding success with their hit single Wednesday Night Melody Bleached is back with four new blazing tracks on their Can You Deal? EP. Fueled by the experiences they've had as women in their calling for music, Can You Deal? takes on the complexities of issues female musicians encounter in an industry dominated by men. With this fire in their bellies, they connected with Alex Newport (Bloc Party, Mars Volta) to produce the EP. With their singularly triumphant mix of sunny melodies, thrashing guitars and lyrics highlighting the darker sides of life, Bleached continues to demand your attention.

    1. Can You Deal?
    2. Flipside
    3. Turn To Rage
    4. Dear Trouble
    Bleached
    $14.99
    12 Colored Vinyl EP - Sealed Buy Now
  • Songs For Rounders Songs For Rounders Quick View

    $21.99
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    Songs For Rounders

    The late 50s. A time of crushing conformity. Of well-manicured lawns, white picket fences, and men in grey flannel suits. Not in Hank Thompsons world. With its tales of drunkenness, prostitution , drug abuse, gambling and vagrancynot to mention one of the most notorious album covers in the history not just of country music, but of all popular musicThompsons 1959 LP Songs for Rounders remains one of countrys most essential albums. It all started
    when Thompson brought Ken Nelson, Capitols head of country A&R at the time, a song he often featured in his live performances called Cocaine Blues. Nelson told him there was no way the song would ever get any airplay as a single, but suggested it might work as part of an album concept.
    Thompson then proceeded to round up a collection of tunes taken from every walk of American popular song and every walk of American lifelike the walk taken in Dallas red light district in Deep Elm. The spirit of the album even extended to the photo shoot. After the cover shots were taken in the morning, Thompson spent the rest of the day in the studio recording. He then went down the street to a bar and found one of the women who had posed with him. She had been drinking since the shoot had ended. She didnt even remember him. This Real Gone vinyl reissue offers the optimum way to experience this landmark album. Remastered by Maria Triana at Battery Studios in New York, cut by Peter Black at FM Mastering, and and manufactured on 160-gram vinyl at Bill Smith Custom Records, this release features the stereo mix of Songs for Rounders, as this record was not only Hanks first stereo recording but also one of the earliest country albums to be released in stereo (just wait til you hear some of those sparkling Merle Travis leads)!


    And, we have included an album-size insert with a full-color reproduction of the album cover suitable for framing on one side and notes from Grammy®-winning liner note writer Colin Escott on the other. Essential American music released in its original format, with improved packaging to boot.

    1. Three Times Seven
    2. I'll Be a Bachelor Till I Die
    3. Drunkard's Blues
    4. Teach 'Em How to Swim
    5. Dry Bread
    6. Cocaine Blues
    7. Deep Elm
    8. Bummin' Around
    9. Little Blossom
    10. Rovin' Gambler
    11. Left My Gal in the Mountains
    12. May I Sleep in Your Barn Tonight Mister?
    Hank Thompson
    $21.99
    160 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Whiteout Conditions Whiteout Conditions Quick View

    $21.99
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    Whiteout Conditions

    'Cohesive.' It's a word New Pornographers founder A.C. Newman still sounds a little bit surprised to say as he describing the band's seventh album, Whiteout Conditions. It's a quality that you wouldn't necessarily intuitively associate with a so-called supergroup that, by its very collective nature, seems bound to have a good deal of stylistic variance built into the formula (or lack of it). Can an outfit built on the appeal of multiple frontmen and frontwomen develop a signature sound after all? Maybe, and maybe better late than never.


    'On other records,' says Newman, 'it felt like sometimes it was very clear: oh, this is a fast one with me singing, and then the next would be a slow song with Neko (Case) singing. And I've always liked that in a White Album kind of way - being a band that just does whatever the hell they want from track to track. But when we did Brill Bruisers (the band's previous album, released in 2014), it was the first time where I thought: Let's try to make a cohesive record. Let's try to give it a sound and see how focused we can make it. And on this record, I think we went a lot farther down that road.'


    The focus on Whiteout Conditions (The New Pornographers' first album on their own imprint, Collected Works Records, in partnership with Concord Records) comes down to a couple of notable shifts: increased tempos, for one, and increasingly blended vocals, for another. There are fewer extended solo lead vocal turns by any of the band members and more choral effects or interplay between the men and women in the group. If you're of a certain age, you might start thinking of them as an indie-rock Mamas and the Papas, or... 'I'll take that,' Newman says, 'but the Fifth Dimension is always the one we're going for, way more than the Mamas and the Papas! I hesitate to throw out catchphrases that might be repeated back to me a thousand times, but at the beginning of this record, there was some thinking that we wanted it to be like a Krautrock Fifth Dimension. Of course, our mutated idea of what Krautrock is probably doesn't sound like Krautrock at all. But we were thinking: Let's try and rock in a different way.'

    1. Play Money
    2. Whiteout Conditions
    3. High Ticket Attractions
    4. This Is The World Of The Theatre
    5. Darling Shade
    6. Second Sleep
    7. Colosseums
    8. We've Been Here Before
    9. Juke
    10. Clock Wise
    11. Avalanche Alley
    The New Pornographers
    $21.99
    Vinyl LP - Sealed Buy Now
  • Be More Kind Be More Kind Quick View

    $25.99
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    Be More Kind

    Frank Turner has announced his seventh studio album, Be More Kind, which is set for release via Interscope Records. Months after the release of Songbook, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. The new album combines raw political and personal universal anthems with the intricate folk and punk roar trademarks of Turner's sound imbued with new, bold experimental shades.


    Be More Kind was produced by Charlie Hugall (Florence And The Machine, Halsey) and White Denim's Austin Jenkins and Joshua Block. "I wanted to try and get out of my comfort zone and do something different," says Turner. Originally, he contacted Jenkins and Block at their Niles City Sound studio in Fort Worth, Texas with the idea of recording a soul album in the vein of Dexys Midnight Runners. He found they were equally enthusiastic when he changed his mind and decided he wanted to record a more rock-led album with tints of electronic pop. "I have an obscure corner of my music taste where I'm into glitch electronic music and Warp Records," says Turner. "It's not an electronic record but I got into arpeggiator synths." While 2015's Positive Songs for Negative People was cut in nine intense days, Be More Kind was made over a period of seven months giving Turner the opportunity to turn songs on their head, try different versions, and shake up the dynamics within his band.


    Turner was halfway through writing a very different sort of album, a concept record about women from history who had been ignored, when he was reading a collection of Clive James's poetry and one particular line compelled him to re-think his direction. The line, from a poem called Leçons Des TÉnèbres, reads: "I should have been more kind. It is my fate / To find this out, but find it out too late." "It devastated me the first time I read it," Turner says. "A lot of older, wiser people tend to say things like that, that the things that come out in the wash at the end of a human life are the way you treated the people around you. In the modern world, that's a lesson that all of us, myself included, could do to learn."


    Turner and his band, The Sleeping Souls, were touring America in 2016 "when the world decided to go collectively nuts" and the songs that make up Be More Kind started to come together. "Somewhere in the record, there's a convergence of the ideas of personal and political, which is a central theme of the album," Turner says. One of the other driving themes of the album is empathy, even for your enemy. "You should at least be able to inhabit the mental universe of the people you disagree with. If you can't do that, then how do you communicate with people other than through force of arms, which is something we all agree is a bad idea."


    The first track to be released from Be More Kind is "1933", a clattering, state-of-the-nation anthem. Furious and direct, it's inspired by articles Turner saw that suggested the alt-right was punk rock. "That filled me with a mixture of incredulity and anger," says Turner. "The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry." The other theme in the track is summed up by the line, "If I was one of the greatest generation / I'd be pissed / I'd be screaming at my grandkids / that we already did this." "These ideas are surfacing again that collectively as a species we've already shot down," says Turner.

    1. Don't Worry
    2. 1933
    3. Little Changes
    4. Be More Kind
    5. Make America Great Again
    6. Going Nowhere
    7. Brave Face
    8. There She Is
    9. 21st Century Survival Blues
    10. Blackout
    11. Common Ground
    12. The Lifeboat
    13. Get It Right
    Frank Turner
    $25.99
    Vinyl LP -Sealed Buy Now
  • Let Them Fall In Love Let Them Fall In Love Quick View

    $19.99
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    Let Them Fall In Love

    The best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.


    Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'


    While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.


    "Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."


    Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.


    "It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."


    Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.


    "Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."


    Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.


    "I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."


    On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.


    "That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."

    1. He's Never Failed Me Yet
    2. Run To Him
    3. Hey Devil! (feat. The Clark Sisters)
    4. Peace From God
    5. Why Me
    6. Lowly
    7. Never Have To Be Alone
    8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
    9. Marvelous
    10. Let Them Fall In Love
    Cece Winans
    $19.99
    Vinyl LP - Sealed Buy Now
  • Teacher Don't Teach Me Nonsense Teacher Don't Teach Me Nonsense Quick View

    $19.99
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    Teacher Don't Teach Me Nonsense

    Teacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.


    Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.


    Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.

    1. Teacher Don't Teach Me Nonsense
    2. Look and Laugh
    3. Just Like That
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • What A Way To Die What A Way To Die Quick View

    $24.99
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    What A Way To Die

    The 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
    The Pleasure Seekers
    $24.99
    Vinyl LP - Sealed Buy Now
  • Pronounced Leh-nerd Skin-nerd (45 RPM) Pronounced Leh-nerd Skin-nerd (45 RPM) Quick View

    $54.99
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    Pronounced Leh-nerd Skin-nerd (45 RPM)


    45 RPM 200-Gram Gatefold Double LP Reissue


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket By Stoughton Printing


    What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.


    Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 200-gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.


    The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.


    Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.


    It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.


    This title is not eligible for discount.

    1. I Ain't The One
    2. Tuesday's Gone
    3. Gimme Three Steps
    4. Simple Man
    5. Things Goin' On
    6. Mississippi Kid
    7. Poison Whiskey
    8. Free Bird
    Lynyrd Skynyrd
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
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