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Who Can I Be Now'
Can I Play With MadnessBMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.
In conjunction with these premium album releases, a strictly limited one-off run of the 7'' singles from each respective album will be made available. These highly collectable black vinyl singles will be cut from the original UK analogue master tapes. Released in replica artwork packaging, this will be the first time ever that these black vinyl singles have officially been made available in the U.S. and sure to become a must-have item for fans, collectors and anyone who missed out first time round.
The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.1. Can I Play with Madness
2. Black Bart Blues$7.997 Vinyl Single - Sealed Buy Now
Who Can I Be Now? (1974 to 1976) (Box Set)9 Albums on 13 LPs
Features The Gouster, Previously Unreleased As An Album
Includes 84 Page Book With Rarely Seen Photos And Various Ephemera
Parlophone Records are proud to announce DAVID BOWIE 'WHO CAN I BE NOW? (1974 - 1976)' the second in a series of box sets spanning his career from 1969.
The follow up to the awarding winning and critically acclaimed DAVID BOWIE 'FIVE YEARS (1969 - 1973)' will contain the previously unreleased album from 1974 called 'THE GOUSTER'.
The thirteen-piece vinyl set features all of the material officially released by Bowie during the so-called 'American' phase of his career from 1974 to 1976.
The box set, which is named after a track recorded in 1974 but not officially released until the 1990's, includes 'DIAMOND DOGS', 'DAVID LIVE' (in original and 2005 mixes), 'YOUNG AMERICANS' and 'STATION TO STATION' (in original and 2010 mixes) as well as 'THE GOUSTER', 'LIVE NASSAU COLISEUM 76' and a new compilation entitled 'RE:CALL 2' which is a collection of single versions and non-album b-sides.
This release includes tracks that have never before appeared on CD/vinyl/digital as well as new remasters.
Exclusive to the box set is 'THE GOUSTER'. Previously unreleased as a complete album, it was recorded at Sigma Sound, Philadelphia in 1974 and produced by Tony Visconti. The album was mixed and mastered before David decamped to New York to work with John Lennon and Harry Maslin on what became the 'YOUNG AMERICANS' album. 'THE GOUSTER' contains three previously unreleased mixes of 'Right', 'Can You Hear Me' and 'Somebody Up There Likes Me'.
For the 2016 release, Tony Visconti has overseen the mastering from the original tapes and photos taken by Eric Stephen Jacobs have been put together for the sleeve based around one of David's original concepts for the album.
Also exclusive to the CD, vinyl, standard digital and MFiT box sets will be the remastered 'DAVID LIVE (original mix)', the 2010 Harry Maslin mix of 'STATION TO STATION' (previously only available on an audio only DVD in 5.1 and stereo as part of the 'STATION TO STATION' Deluxe box set in 2010) and 'RE:CALL 2'.
'RE:CALL 2' features the original single mix of 'Rebel Rebel', which has only featured on a 40th anniversary picture disc in 2014 since its original release on single in 1974.
'RE:CALL 2' features newly originated artwork with 1975 in-studio images from the 'STATION TO STATION' recording sessions by David's friend and backing vocalist Geoff MacCormack aka Warren Peace.
The alternative cover for the 2010 mix of 'STATION TO STATION' by Harry Maslin, features the originally intended colour sleeve for the album that never got further than a few colour proofs and was replaced by the more familiar black and white image.
The vinyl box set is pressed on audiophile quality 180g vinyl.
The box sets' accompanying book, 84 pages in the vinyl set, will feature rarely seen and previously unpublished photos by photographers including Eric Stephen Jacobs, Tom Kelley, Geoff MacCormack, Terry O'Neill, Steve Schapiro, and many others as well as historical press reviews and technical notes about the albums from producers Tony Visconti and Harry Maslin.David Bowie: Who Can I Be Now? (1974 - 1976)
Diamond Dogs (Remastered) (1 LP)
David Live (Original Mix) (Remastered) (2 LP) *
David Live (2005 Mix) (Remastered) (3 LP)
The Gouster (Previously Unreleased As An Album) (1 LP) *
Young Americans (Remastered) (1 LP)
Station To Station (Remastered) (1 LP)
Station To Station (Harry Maslin 2010 Mix) (1 LP) *
Live Nassau Coliseum '76 (2 Lp)
Re:call 2 (Single Versions And Non Album B-sides) (Remastered) (1 LP) *
* Exclusive to 'Who Can I Be Now? (1974 - 1976)'
LP 1: Diamond Dogs (Remastered)
1. Future Legend
2. Diamond Dogs
3. Sweet Thing
5. Sweet Thing (Reprise)
6. Rebel Rebel
7. Rock 'n' Roll With Me
8. We Are The Dead
10. Big Brother
11. Chant Of The Ever Circling Skeletal Family
LP 2: David Live (Original Mix) (Remastered)
2. Rebel Rebel
3. Moonage Daydream
4. Sweet Thing/Candidate/Sweet Thing (reprise)
6. Suffragette City
7. Aladdin Sane
8. All The Young Dudes
9. Cracked Actor
1. Rock 'n' Roll With Me
2. Watch That Man
3. Knock On Wood
4. Diamond Dogs
5. Big Brother
6. The Width Of A Circle
7. The Jean Genie
8. Rock 'n' Roll Suicide
LP 3: David Live (2005 Mix) (Remastered)
2. Rebel Rebel
3. Moonage Daydream
4. Sweet Thing/Candidate/Sweet Thing (reprise)
6. Suffragette City
7. Aladdin Sane
8. All The Young Dudes
1. Cracked Actor
2. Rock 'n' Roll With Me
3. Watch That Man
4. Knock On Wood
5. Here Today, Gone Tomorrow
6. Space Oddity
7. Diamond Dogs
1. Panic In Detroit
2. Big Brother
4. The Width Of A Circle
5. The Jean Genie
6. Rock 'n' Roll Suicide
LP 4: The Gouster (Previously Unreleased As A Complete Album)
1. John, I'm Only Dancing (Again) - not on 'Young Americans', first released as a single in 1979 to promote the 'Changestwobowie' compilation.
2. Somebody Up There Likes Me - alternative early previously unreleased mix
3. It's Gonna Be Me - not on 'Young Americans', first released as a bonus track on the EMI/Ryko edition of 'Young Americans' in 1990. An alternative mix with strings was released on the 2007 EMI edition of 'Young Americans'.
4. Who Can I Be Now? - not on 'Young Americans', first released as a bonus track on the EMI/Ryko edition of 'Young Americans' in 1990.
5. Can You Hear Me - alternative early previously unreleased version.
6. Young Americans - same version that ended up on 'Young Americans'.
7. Right - alternative early previously unreleased version.
LP 5: Young Americans (Remastered)
1. Young Americans
5. Somebody Up There Likes Me
6. Across The Universe
7. Can You Hear Me
LP 6: Station To Station (Remastered)
1. Station To Station
2. Golden Years
3. Word On A Wing
4. TVC 15
6. Wild Is The Wind
LP 7: Station To Station (2010 Harry Maslin Mix)
1. Station To Station
2. Golden Years
3. Word On A Wing
4. TVC 15
6. Wild Is The Wind
LP 8: Live Nassau Coliseum '76
1. Station To Station
2. Suffragette City
4. Word On A Wing
6. Waiting For The Man
7. Queen Bitch
1. Life On Mars?
2. Five Years
3. Panic In Detroit
5. TVC 15
6. Diamond Dogs
7. Rebel Rebel
8. The Jean Genie
LP 9: RE:CALL 2 (Non Album Singles, Single Versions and B-Sides) (Remastered)
1. Rebel Rebel (original single mix)
2. Diamond Dogs (Australian single edit)
3. Rebel Rebel (U.S. single version)
4. Rock 'n' Roll With Me (live - promotional single edit)
5. Panic In Detroit (live)
6. Young Americans (original single edit)
7. Fame (original single edit)
8. Golden Years (original single version)
9. Station To Station (original single edit)
10. TVC 15 (original single edit)
11. Stay (original single edit)
12. Word On A Wing (original single edit)
13. John, I'm Only Dancing (Again) (1975) (single version)$249.99180 Gram Audiophile Virgin Vinyl LP Box Set - 13 LPs Sealed Buy Now
You Know Who You AreHaving recorded five albums in ten years and toured extensively in support of all of them, Nada Surf - singer/guitarist Matthew Caws, bassist Daniel Lorca, drummer Ira Elliot and guitarist Doug Gillard (now official fourth member, more on that later) - opted to follow 2012's cracking The Stars Are Indifferent To Astronomy with a brief but well-earned hiatus. So in January 2015, when Caws informed Nada Surf's vociferous Facebook following that a new record was just about done, the news was greeted with explosive enthusiasm.
The music was in the can, he announced, and all that remained was to finish up a few lyrics and sing a few vocals; something he planned to do on off-days off during an upcoming solo acoustic tour. Caws even included a photo of the recording set-up he was bringing in the car. "I was so eager to have an album done that I believed in it as it was," Caws recalls. "But the great thing about being 'finished' is that you can take a breath and evaluate, because the pressure to 'do it' is gone. The more I listened and thought about it, the more I realized that I might want to keep working. Also, I'd sent the tracks to my friend Josh, who runs Barsuk Records, the label we've been on since 2002, and he said 'It's great,' but followed that with a pregnant pause. I got the message. I didn't take that as a critique as much as a belief that I could do better. It was very freeing."
And lo and behold, what would have been another really good Nada Surf album (their seventh since getting signed to a major in the go-go 90's and scoring a worldwide alterna-hit with "Popular") became what could well be the most representative collection of the group's two-decade career, all while pushing towards whatever comes next. Captured in the album's 10 tracks is every beloved facet of the band, but You Know Who You Are also finds much on offer that stands apart from anything previously heard in the band's diverse catalog.1. Cold to See Clear
2. Believe You're Mine
3. Friend Hospital
4. New Bird
5. Out of the Dark
8. You Know Who You Are
9. Gold Sounds
10. Victory's Yours$17.99Vinyl LP - Sealed Buy Now
Those Who Didn't Run EPTo say Colin Stetson has come into his own in 2011 would be an understatement. February of 2011 saw the release of Colin's highly acclaimed solo album New History Warfare Vol. 2: Judges broadly received as a sonic, conceptual, compositional and technical tour de force. Thanks to his trajectory as a session and guest player with a diverse crop of iconoclastic pop/rock practitioners (Tom Waits, Laurie Anderson, TV On The Radio, Arcade Fire) as well as his own tenure in bands like Sway Machinery and Bell
Orchestre, Stetson was poised to bridge the gap between contemporary rock and more rarified currents of avant jazz. With the Judges album, he did just that, garnering high praise from the both the jazz and pop/rock worlds.
Colin's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stetson is equally at home in the avant jazz tradition of players who have pushed the boundaries of the instrument through circular breathing, embouchure, etc. (i.e. Evan Parker, Mats Gustafsson) and at the nexus of noise/drone/minimalist music that encompasses genres like dark metal, post-rock and contemporary eletronics (i.e. Tim Hecker and Ben Frost both of whom have mixed or remixed Stetson recordings).
Stetson's non-stop gigging at SXSW 2011 (on the NPR, Pitchfork and Pop Montreal stages) led to hundreds of dropped jaws and just as many superlatives about the man's mind-altering, heart-rending music: how it defies both genre boundaries and the physical boundaries of what one person can sonically generate in live performance with a single acoustic instrument, without recourse to looping pedals or other effects.
Through the 30-odd solo performances delivered in the wake of the Judges release in the Spring of 2011, Colin continued delving into new compositions and especially more long-form trance/transcendental explorations. Having premiered a couple of these new songs at a small art gallery show in Montreal in May of 2011, Constellation was duly blown away and encouraged Colin to record them while still in their raw, staminatesting glory. He agreed and brought in good friend (and now Grammy-winning engineer) Mark Lawson (Arcade Fire, Islands) to help capture the performances in Stetson's own basement rehearsal/studio space.
The two pieces on this new EP both clock in at 10 minutes and are documented in direct fashion, using a handful of mic positions and, as usual, no looping or overdubbing of any sort. They are brilliant single-take performances that showcase Stetson's love for minimalism, a subtle pop sensibility, and a mesmerising, mantric, time-warping technical ability.
Those Who Didn't Run EP is an amazing addition to what will no doubt be an expanding Colin Stetson discography in coming years; a wonderfully realized portrait of Colin's solo playing before he embarks on a year's worth of touring as part of Bon Iver's live band.
Those Who Didn't Run EP is available as a 10 pressed on heavyweight audiophile vinyl and comes in a screenprinted jacket by Repetitive Press in Montreal, featuring an illustration by Nadia Moss.1. Those Who Didnt Run
2. The End of Your Suffering$19.9910 Vinyl LP - Sealed Buy Now
Now That Everything's Been SaidWe all know the Carole King who wrote some of the biggest hits of the '60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between-and not nearly as well known-is King's band, The City, and their album, Now That Everything's Been Said.
By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s.
Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track "Wasn't Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.
King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years-partly at King's request. Even so, its failure was a surprise to those concerned. "I was 26 when Now That Everything's Been Said was released in 1968," King says of the album. "[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album's success as if it had already happened. Danny and Charlie kept telling each other, 'It's a great album. The City is gonna be Number 1 with a bullet!'
Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It's not so much an oddity in King's work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.1. Snow Queen
2. I Wasn't Born To Follow
3. Now That Everything's Been Said
4. Paradise Alley
5. Man Without A Dream
6. Victim Of Circumstance
7. Why Are You Leaving
9. My Sweet Home
10. I Don't Believe It
11. That Old Sweet Roll (Hi-De-Ho)
12. All The Time$22.99Vinyl LP - Sealed Buy Now
Diamond DogsBreakout from David Bowie's Who Can I Be Now? 1974-1976 Box Set. Originally released on RCA APLI 0576 (U.K.) / CPLI 0576 (U.S.) on 31st May, 1974.1. Future Legend (2016 Remastered Version)
2. Diamond Dogs (2016 Remastered Version)
3. Sweet Thing (2016 Remastered Version)
4. Candidate (2016 Remastered Version)
5. Sweet Thing (Reprise) [2016 Remastered Version]
6. Rebel Rebel (2016 Remastered Version)
7. Rock 'N' Roll With Me (2016 Remastered Version)
8. We Are The Dead (2016 Remastered Version)
9. 1984 (2016 Remastered Version)
10. Big Brother (2016 Remastered Version)
11. Chant Of The Ever Circling Skeletal Family (2016 Remastered Version)$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Station To StationBreakout from David Bowie's Who Can I Be Now? 1974-1976 Box Set. Originally released on RCA APL1 1327 on 23rd January, 1976.1. Station To Station (2016 Remastered Version)
2. Golden Years (2016 Remastered Version)
3. Word On A Wing (2016 Remastered Version)
4. TVC15 (2016 Remastered Version)
5. Stay (2016 Remastered Version)
6. Wild Is The Wind (2016 Remastered Version)$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Young AmericansBreakout from David Bowie's Who Can I Be Now? 1974-1976 Box Set. Originally released on RCA RS 1006 (U.K.) / AQL1-0998 (U.S.) on 7th March, 1975.1. Young Americans (2016 Remastered Version)
2. Win (2016 Remastered Version)
3. Fascination (2016 Remastered Version)
4. Right (2016 Remastered Version)
5. Somebody Up There Likes Me (2016 Remastered Version)
6. Across The Universe (2016 Remastered Version)
7. Can You Hear Me (2016 Remastered Version)
8. Fame (2016 Remastered Version)$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
David LiveBreakout from David Bowie's Who Can I Be Now? 1974-1976 Box Set. David Live was culled from performances on the 8th, 9th, 10th, 11th and 12th of July, 1974 at the Tower Theater, Philadelphia.LP 1
1. 1984 (Live) [2005 Mix] [2016 Remastered Version]
2. Rebel Rebel (Live) [2005 Mix] [2016 Remastered Version]
3. Moonage Daydream (Live) [2005 Mix] [2016 Remastered Version]
4. Sweet Thing/Candidate/Sweet Thing (Live) [2005 Mix] [2016 Remastered Version]
5. Changes (Live) [2005 Mix] [2016 Remastered Version]
6. Suffragette City (Live) [2005 Mix] [2016 Remastered Version]
7. Aladdin Sane (Live) [2005 Mix] [2016 Remastered Version]
8. All The Young Dudes (Live) [2005 Mix] [2016 Remastered Version]
1. Cracked Actor (Live) [2005 Mix] [2016 Remastered Version]
2. Rock 'N' Roll With Me (Live) [2005 Mix] [2016 Remastered Version]
3. Watch That Man (Live) [2005 Mix] [2016 Remastered Version]
4. Knock On Wood (Live) [2005 Mix] [2016 Remastered Version]
5. Here Today, Gone Tomorrow (Live) [2005 Mix] [2016 Remastered Version]
6. Space Oddity (Live) [2005 Mix] [2016 Remastered Version]
7. Diamond Dogs (Live) [2005 Mix] [2016 Remastered Version]
1. Panic In Detroit (Live) [2005 Mix] [2016 Remastered Version]
2. Big Brother (Live) [2005 Mix] [2016 Remastered Version]
3. Time (Live) [2005 Mix] [2016 Remastered Version]
4. The Width Of A Circle (Live) [2005 Mix] [2016 Remastered Version]
5. The Jean Genie (Live) [2005 Mix] [2016 Remastered Version]
6. Rock 'N' Roll Suicide (Live) [2005 Mix] [2016 Remastered Version]$39.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Live Nassau Coliseum '76Breakout from David Bowie's Who Can I Be Now? 1974-1976 Box Set. Recorded live at the Nassau Coliseum Uniondale, NY, U.S.A., 23rd March, 1976. Originally released on EMI BOWSTSD 2010 within the Station To Station deluxe set on 20th September, 2010.LP 1
1. Station To Station (Live Nassau Coliseum '76)
2. Suffragette City (Live Nassau Coliseum '76)
3. Fame (Live Nassau Coliseum '76)
4. Word On A Wing (Live Nassau Coliseum '76)
5. Stay (Live Nassau Coliseum '76)
6. Waiting For The Man (Live Nassau Coliseum '76)
7. Queen Bitch (Live Nassau Coliseum '76)
1. Life On Mars? (Live Nassau Coliseum '76)
2. Five Years (Live Nassau Coliseum '76)
3. Panic In Detroit (Live Nassau Coliseum '76)
4. Changes (Live Nassau Coliseum '76)
5. TVC15 (Live Nassau Coliseum '76)
6. Diamond Dogs (Live Nassau Coliseum '76)
7. Rebel Rebel (Live Nassau Coliseum '76)
8. The Jean Genie (Live Nassau Coliseum '76)$31.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Who's Feeling Young Now?Punch Brothers release their new album, Whos Feeling Young Now?, on vinyl March 20. Completed over three weeks at Blackbird Studios in Nashville, the record was produced by Grammy Award winner Jacquire King (Kings of Leon, Tom Waits, Modest Mouse). Whos Feeling Young Now? is the follow-up to 2010s Grammy-nominated Antifogmatic, about which the New York Times said: Punch Brothers have the unplugged lineup of an old-fashioned string band But their music is as radical as new acoustic music can be.
Ten songs from Whos Feeling Young Now? were written by Punch Brothers, with the bands friend Josh Ritter co-writing lyrics on two tunes (Hundred Dollars and New York City). Additionally, the album contains the bands interpretations of Radioheads Kid A and the Swedish group VÄsens Flippen. The vinyl album was pressed on two discs of 140-gram, audiophile-quality vinyl and includes four additional Punch Brotherspenned tunes. Pre-orders include an instant download of the album track Movement and Location and an exclusive set of five custom Punch Brothers paper coasters illustrated by New Yorker cartoonist Matthew Diffee, signed by the band.
Punch Brothers was formed in 2006 by mandolinist/singer Chris Thile with four other virtuosic musicians: fiddler Gabe Witcher, banjo player Noam Pikelny, bassist Paul Kowert, and guitarist Chris Critter Eldridge. Their first Nonesuch record, Punch, was released in 2008 and combined elements of the bands many musical interests, including indie rock, folk, jazz, bluegrass, and classical music. In 2009 they all moved to New York City and began a regular, standing-room-only, residency at the Living Room, trying out new songs as well as inspired covers; these shows ultimately spawned Antifogmatic.
Whos Feeling Young Now? is less evasive than Antifogmatic and Punch, said Thile. And I feel like part of that is us becoming more comfortable with who we are as a band, and me becoming more comfortable with who I am as a singer.LP1
1. Movement and Location
2. This Girl
3. No Concern of Yours
4. Who's Feeling Young Now?
6. Flippen (The Flip)
7. Patchwork Girlfriend
8. Hundred Dollars
1. Soon or Never
2. New York City
3. Kid A
4. Don't Get Married Without Me
5. Roses Blooming in the Dark
7. Knock Me Down
8. Shh, Just Let Me Do This$24.99Vinyl LP - 2 LPs Sealed Buy Now
A New Career In A New Town (1977-1982) (Box Set)
DAVID BOWIE 'A NEW CAREER IN A NEW TOWN (1977 - 1982)' is the third in a series of box sets spanning his career from 1969 and the follow-up to the awarding winning and critically acclaimed DAVID BOWIE 'FIVE YEARS (1969 - 1973)' and DAVID BOWIE 'WHO CAN I BE NOW? (1974 - 1976)'.
This 13 LP, 180g audiophile vinyl box set features all of the material officially released by David Bowie between 1977 and 1982 including all four studio albums, his 1978 live album 'STAGE' in both original and expanded tracklistings, the newly compiled HEROES E.P., collecting together both the German and French long and single versions of Heroes, and the exclusive new compilation of single versions, non-album singles and B-sides, 'RE:CALL 3'. Also included exclusively is a brand new remix of the 1979 album 'LODGER' by long time Bowie producer/collaborator Tony Visconti.
- 84 Page hardback book
- Low (remastered) (1 LP)
- Heroes (remastered) (1LP)
- Heroes E.P. (remastered) (12 Single)*
- Stage (remastered) (2 LP Yellow Vinyl) *
- Stage (2017) (remastered) (3 LP)
- Lodger (remastered) (1 LP)
- Lodger (Tony Visconti 2017 Mix) (1 LP)*
- Scary Monsters (And Super Creeps) (1 LP)
- Re:Call 3 (single versions, non-album singles and B-sides) (remastered) (2LP)*
The box set's accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Anton Corbijn, Helmut Newton, Andrew Kent, Steve Schapiro, Duffy and many others as well as historical press reviews and technical notes about the albums from producer Tony Visconti.Low (remastered) (1 LP)
1. Speed Of Life
2. Breaking Glass
3. What In The World
4. Sound And Vision
5. Always Crashing In The Same Car
6. Be My Wife
7. A New Career In A New Town
9. Art Decade
10. Weeping Wall
"Heroes" (remastered) (1 LP)
1. Beauty And The Beast
2. Joe The Lion
4. Sons Of The Silent Age
6. V-2 Schneider
7. Sense Of Doubt
8. Moss Garden
10. The Secret Life Of Arabia
"Heroes" E.P. (remastered) (12" Single)
1. "Heroes"/"Helden" (German album version)
2. "Helden" (German single version)
3. "Heroes"/"HÉros" (French album version)
4. "HÉros" (French single version)
Stage (remastered) (2 LP Yellow Vinyl)
1. Hang On To Yourself
2. Ziggy Stardust
3. Five Years
4. Soul Love
6. Station To Station
8. TVC 15
2. Speed Of Life
3. Art Decade
4. Sense Of Doubt
5. Breaking Glass
7. What In The World
9. Beauty And The Beast
Stage (2017) (remastered) (3 LP)
3. What In The World
4. Be My Wife
5. The Jean Genie *
7. Sense Of Doubt
1. Speed Of Life
2. Breaking Glass
3. Beauty And The Beast
1. Five Years
2. Soul Love
4. Hang On To Yourself
5. Ziggy Stardust
6. Suffragette City *
1. Art Decade
2. Alabama Song
3. Station To Station
5. TVC 15
* Previously unreleased
Lodger (remastered) (1 LP)
LODGER (2017 Tony Visconti mix)
1. Fantastic Voyage
2. African Night Flight
3. Move On
4. Yassassin (Turkish for: Long Live)
5. Red Sails
7. Look Back In Anger
8. Boys Keep Swinging
10. Red Money
Scary Monsters (And Super Creeps) (1 LP)
1. It's No Game (Part 1)
2. Up The Hill Backwards
3. Scary Monsters (And Super Creeps)
4. Ashes To Ashes
6. Teenage Wildlife
7. Scream Like A Baby
8. Kingdom Come
9. Because You're Young
10. It's No Game (Part 2)
Re:Call 3 (non-album singles, single versions and b-sides) (remastered) (2 LP)
1. "Heroes" (single version)
2. Beauty And The Beast (extended version)
3. Breaking Glass (Australian single version)
4. Yassassin (single version)
5. D.J. (single version)
6. Alabama Song
7. Space Oddity (1979 version)
8. Ashes To Ashes (single version)
9. Fashion (single version)
10. Scary Monsters (And Super Creeps) (single version)
1. Crystal Japan
2. Under Pressure (single version) - Queen and David Bowie
3. Cat People (Putting Out Fire) (soundtrack album version)
4. Peace On Earth/Little Drummer Boy * - David Bowie and Bing Crosby * mono
Bertolt Brecht's Baal
5. Baal's Hymn
6. Remembering Marie A.
7. Ballad Of The Adventurers
8. The Drowned Girl
9. The Dirty Song$249.99180 Gram Audiophile Virgin Vinyl LP Box Set - 13 LPs Sealed Buy Now
REDD-RAM-6798xTimothy Seth Avett As Darling
IVLETTER CONCERNING THE RECORD 'IV' AND A POST SCRIPT TO FANS
A lot can happen in twelve years. It is beyond probable (if not brutally unavoidable) that such a period of time could render a man nearly unrecognizable to his older self. I would not categorize the young man who made three records under the pen name 'Darling' (incidentally, me) as unrecognizable, but I can say perhaps that we are vaguely disassociated. Those 3 albums, written between 1999 and 2005 and recorded anywhere except a recording studio (the bulk being tracked in my bedroom and parents' garage) follow the exceedingly lonesome course of a kid barely out of high school through a shaky introduction to manhood. They were recorded alone (with cheap microphones) composed alone (with expensive sentimentality), defined by loving befuddlement, and darkened by an all-consuming breakup. I look at them now with an appreciation for where I was, with no small measure of gratitude that I am no longer there. What has not changed however, is that there are still songs that come along which make sense in my mind as fitting only on a 'Darling' record. Truthfully, in the decade-plus that has passed since I last released a solo piece, there have been many songs of this nature. Consequently I have written, designed, edited, and put this record out many times in my mind. Inevitably, however, life would change and the conceptual direction would change with it. It is changing now as I write this. But after twelve birthdays, twelve New Year's Eve's, and twelve winters, I have a portrait I am compelled to commit to the canon of self-portraits.
I am no longer the kid with all that worry, that blaring hurt and rum-fueled uncertainty. I am somewhere else now. But I still sit in my bedroom, quietly following songs where they take me, using them to process what is happening in my life. I have often declared to myself, that I would not leave the 'Darling' moniker forever tied to what I now regard as a time of young (albeit sincere) melancholy. And while this fourth installment is by no means an offering of pure and bright optimism, it is a statement less heavy with heartache, and hopefully a bit more even-keeled in its manner - whatever the emotional narrative. More importantly, it is a honest glimpse into my story alone and a faithful rendition of what I believe to be a notable chapter.
For those interested in the Darling project:
To say that activity of one form or another relating to my solo work is infrequent would be a bit of an understatement. In truth, as time goes, I am thankfully occupied primarily by the joys of my family and the pleasure of making music with my brother and some of my dearest friends. When, however, there are endeavors of the Darling variety on the horizon, I would be honored to let anyone interested know about it. If you count yourself among this set, please feel free to share your email address below. I can say, as someone who religiously declines giving my email out when a cashier asks for it, and as someone who somehow spends more time unsubscribing from email lists than answering emails, I will ONLY pass the word along when there is a word to pass meaning something significant like an upcoming album or confirmed performance(s). Once again, I realize that giving any part of your contact information out is a significant action, and I believe it should be seen as such. In other words, I won't be arranging for emails to go out about anything but relevant 'Darling' news. As always, thank you for your time and care.
Timothy Seth Avett1. Disappointing You
2. Should We Move
3. Samuel And The Baler
5. Weakness And A Strength
6. Faith Undefined
7. Your World
8. Are You Thinking Of Me
9. In These Boots
10. My True Story/A Life To Live
11. Waiting For Something To Die$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SOULROCKERMICHAEL FRANTI & SPEARHEAD today announced their upcoming (and ninth) studio album SOULROCKER will be releasedvia Fantasy Records, their first album for the label. SOULROCKER features the new song "Crazy For You" a joyously upbeat rhythmic pop song that highlights Franti's soulful vocals and encompasses his socially conscious outlook.
In creating SOULROCKER-co-produced with Jamaican producers Stephen "Di Genius" McGregor (son of reggae luminary Freddie McGregor) and Dwayne "Supa Dups" Chin Quee (known for his work with artists like Bruno Mars and John Legend)-MICHAEL FRANTI & SPEARHEAD have introduced a new sensibility to their potent hybrid of hip-hop, rock, folk, and reggae: a gracefully arranged take on electronic music that more than fulfills the band's mission of making impassioned music you can dance to. Along with harnessing the Bay Area-based band's dynamic energy for a more powerful impact than ever before, SOULROCKER again shows Franti's singular ability to channel frustration into music that's both thought-provoking and triumphantly hopeful.
"Right now is a very challenging time for people, for our nation and the planet," says Franti, a longtime activist and past recipient of Global Exchange's Domestic Human Rights Award. "But I really believe that music can help fight war and violence and hatred. The world needs that more than ever now, so my intention with this album was to make music that could bring people together."
While each selection on SOULROCKER began with Franti working out melodies on his acoustic guitar, many of the album's songs ultimately evolved into beat-powered tracks that reveal a close and nuanced understanding of the electronic genre. "One of the first records I had as a kid was a Kraftwerk seven-inch that I got from the giveaway bin at the UC Davis radio station KDVS," recalls Franti, who grew up in Davis, CA. "We always do a DJ set at the end of our shows, and I wanted to try bringing in those dance and electronic elements but still keep the organic instrumentation that I've always loved."
Franti's message of positivity-minded political consciousness, once an outlier in music, has found momentum in the mainstream in recent years-a phenomenon that compelled him to push his artistry even further on SOULROCKER. "I feel a deeper sense of purpose in music today than I ever have in my career," he says. "The album's really about me challenging myself and growing, and just trying to make the most inspiring music I possibly can for this intense, crazy and wonderful time we're all living in."1. Crazy For You
2. My Lord
3. Get Myself To Saturday
4. Summertime Is In Our Hands
5. We Are All Earthlings
6. Still Standing
7. Good To Be Alive Today
8. My Favorite Wine Is Tequila
9. Once A Day
10. We Do This Every Day
11. I Got Love For Ya
12. Do You Feel The Way That I Do?
13. Love Will Find A Way$29.99Vinyl LP - 2 LPs Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
Still ClimbingLeslie West is set to releases his album Still Climbing in 2013 via Provogue Records / Mascot Label Group.
Originality, excitement, honesty and survival are all part of what makes a legend, and those qualities ripple through every song on the album. It's a testimonial to the strength and durability of West's artistry. Born October 22, 1945, as he approaches his 68th birthday, West has packed some of the most soulful and searing vocal performances of his half-century career into these 11 tracks. His guitar has never sounded more massive or riff-orientated.
What's different on Still Climbing is that I wanted my guitars to sound as big as I look. So I used four of my Dean Signature model guitars with my Mountain of Tone humbucking pickups. I plugged them into my Blackstar amps - no pedals - and turned them up loud and raw, and what you hear is exactly what I did in the studio. These Blackstar amps deliver everything I need without 'confidence' pedals. I played one of the early tracks we recorded for Slash, and he said, 'That is as heavy as it gets.'
Still Climbing is co-produced by West and Mike Metal Goldberg, who engineered all of the sessions. Songs like Dyin' Since The Day I Was Born, Hatfield or McCoy, and Busted, Disgusted or Dead establish a new litmus test for heavy.
The latter features West and Johnny Winter on duelling slide guitars. West also gave up smoking cigarettes and pot after a bout with bladder cancer, so it's no wonder many of Still Climbing's numbers explore the theme of survival and, ultimately, triumph. To that end, West avows, Not only am I lucky to be here, but because I stopped smoking my voice is now stronger than it's ever been - as strong as my guitar playing.
His inclusion of Feeling Good, a song by British actor-musician Anthony Newley that was made famous by Steve Winwood's group Traffic, is a testimonial to all of that. Its lyrics celebrate a new dawn for me as West and his long-time buddy Dee Snider (Twisted Sister) trade vocal lines.
West has always been an outstanding vocalist, earning comparisons to soul legends like Otis Redding since his 1969 debut Mountain, which gave his historic band its name. On Still Climbing West revisits the catalogue of another classic soul man, Percy Sledge, with the enduring When a Man Loves a Woman. He's joined by now 32 year-old soul man Jonny Lang, who he met 15 years ago when Lang was a rising guitar prodigy. West says they cut the tune side-by-side in the studio, their soaring guitars and voices twining to bring fresh blood and a blues-soaked arrangement to the song.
When a Man Loves a Woman, Never Let Me Go and Fade Into You explore a romantic theme. In 2009 West married his wife Jenni, who co-wrote many of Still Climbing's songs with the guitar giant.
Balls, guts, heart - more words that are part of West's legend and describe the roaring crescendos and deep emotional roots of Still Climbing - and West himself. You know, when it comes to talent, we don't all move at the same rate of speed, West muses. Some people start at the top of their game and after 10 or 20 years you wonder what the hell happened to them. I like to joke that the older I get the better I used to be, but after giving up drugs and smoking, my voice can hit notes that I never could reach before. I'm thankful for that.1. Dyin' Since The Day I Was Born (With special guest Mark Tremonti)
2. Busted, Disgusted or Dead (With special guest Johnny Winter)
3. Fade Into You
4. Not Over You At All
5. Tales Of Woe
6. Feeling Good (with special guest Dee Snider)
7. Hatfield or McCoy
8. When A Man Loves A Woman (With special guest Jonny Lang)
9. Long Red
10. Don't Ever Let Me Go (With special guest Dylan Rose)
11. Rev Jones Time (Somewhere Over The Rainbow)$15.99Vinyl LP - Sealed Buy Now
Kiss: MTV UnpluggedCelebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl
starting in 2014. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
been faithfully reproduced for the KISS Army.
On April 10, KISS will be inducted into the Rock and Roll Hall of Fame - which will be broadcast in May -
and then will kick off a summer co-headlining tour with Def Leppard starting in June.
After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. Coming Home delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on Plaster Caster, and the beautiful acoustic medley Goin' Blind. The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune Do You Love Me. Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune Domino. The crowd is really fired up now, next experiencing the charming and soulful power rock ballad Sure Know Something. A World Without Heroes is very subdued and reflective. Rock Bottom is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. Now it gets rough, expresses Stanley, grooving in a racy blues statement. See You Tonight is a romantic and pretty ballad delivered with sweetness, and the group sings, I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside. Then on comes the darker resonance of the band with I Still Love You, expressing grave longing after a grueling breakup. I got to make you see, is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you. The solo during the bridge is reminiscent of the chord structure of the Guess Who's Undun. After this painful, depressing song, new breath is found with Every Time I Look at You, a song of forgiveness, delivered with sincerity and the feeling of hope: Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me. The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. Beth is the most heartwarming song of Kiss' power ballads: Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night. Finally, a Kiss show wouldn't be complete without the ultimate party song, Rock and Roll All Night, a tune still electric without electric guitars.
- Shawn M. Haney (All Music Guide)LP 1
1. Comin' Home
2. Plaster Caster
3. Goin' Blind
4. Do You Love Me
6. Sure Know Something
7. A World Without Heroes
8. Rock Bottom
1. See You Tonight
2. I Still Love You
3. Every Time I Look At You
4. 2,000 Man
6. Nothin' To Lose
7. Rock 'N' Roll All Nite
8. Got To Choose$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs 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
Handwritten (Awaiting Repress)
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Guilt TripsCanada's own Ryan Hemsworth has become one of the fastest rising producers and remix artist in the past couple of years. Since his first official release in 2012 Last Words on West Coast label Wedidit Collective, he's gained notoriety for his original production and collaborations, and has since then amassed fans and charmed critics all over the world- meanwhile touring Europe, Australia, and North America with the likes of Bauuer, Daedelus, and others.
Now, the man some call "The Internet Zack Morris" and "The Remix Ryan Gosling" is proud to announce his debut album Guilt Trips on famed label Last Gang Records due out in 2013.
On this newest full length, Hemsworth digs deeper beyond the hip hop, r&b and dance music world to inspirations that sprout from a time before he made the type of music that people have come to expect.
"For this project, I wanted to just expand on everything, lay as much as I could out on the table," he explains. "There's a lot more of me on this than my last projects. With a lot of the songs, I had high school in mind and during that time I was making music with my voice, guitar, and samples, so I've gone back to the first two a bit more, and also getting help from vocalists. Some of the club music that I've been surrounded by in the past year can be really cold, so I think once you throw in more melody and emotion that can only come from the human voice and guitar, it becomes a lot warmer."
"I reached out to friends and people I admire really. I wanted kind of unexpected collaborations and people with a uniqueness to them, instead of just reaching out to random top-liners. Someone like Lofty305, who has a weird, certainly not trained voice, made sense for "Against A Wall" because I wanted it to match the mood of the track. That's so much more important to me than making a perfect song. I just wanted to flesh out that charming imperfection on a lot of the tracks. When I asked the people on it to do their parts, I didn't direct them too much but just asked them to think of a breakup or a time when they felt weird or shitty from love. All of my music is sparked from love in some form or another I think, so this album is kind of just a capsule of different moods caused by love."1. Small + Lost (featuring Sinead Harnett)
2. Against A Wall (featuring Lofty 305)
3. Weird Life
4. Still Cold (featuring Baths)
5. Avec Vous
6. Happiness & Dreams Forever
7. Yaeko Mitamura Is Lonely
8. Ryan Must Be Destroyed
9. One For Me (featuring Tinashe)
10. Day/Night/Sleep System (featuring Haleek Maul and Kitty)$19.99Vinyl LP - Sealed Buy Now
Rented WorldPhiladelphia-based band The Menzingers will release their new album Rented World via Epitaph Records. Rented World is the fourth studio release for the band and the follow-up to their critically-applauded album On The Impossible Past (2012).
In Remission is the first track from the new album, and one where the band observes, Maybe the future's just a little bit weird; a statement that sets the tone of Rented World.
The Rust Belt punks are in a crucial period of growth. Now in their mid-20s, members Greg Barnett (guitar/vocals), Tom May (guitar/vocals), Eric Keen (bass), and Joe Godino (drums), seek a greater wisdom in life, even if they are old enough to know better. A theme that strongly permeates throughout the album.
Things start to feel a little more serious, said May. When we were younger we wrote fiery songs because at that age it's your world view. Now I look at the world and think 'well, maybe I'm not right all the time.'
Another change for the former Scranton, Pennsylvania housemates is their studio location. They entered Miner Street Studio for the first time in Fishtown, Philly in the fall of 2013. Jonathan Low, whose rich Americana influences can be heard on his work with The National, Sharon Van Etten, and Kurt Vile was enlisted to engineer the album. When writing the new material, the band recognized their shifts in their craft, shifts they knew would best be handled by Low. "We wanted to go to somebody who wasn't used to recording punk records, though it wasn't in a pretentious way, like we wanted to become an indie rock band, stated May.
The end result is an album that fearlessly collides the snarl of emo with grungy, 90s grit and exploring the celestial expanse of post-rock. It's slightly new territory for a band coping with their mid-20s. And lyrically touches on matters that any red blooded human of that age can relate to.1. I Don't Wanna Be An Asshole Anymore
2. Bad Things
4. Where Your Heartache Exists
5. My Friend Kyle
6. Transient Love
7. The Talk
8. Nothing Feels Good Anymore
9. Hearts Unknown
10. In Remission
11. Sentimental Physics
12. When You Died$19.99Vinyl LP + CD - Sealed Buy Now
Lost ThemesJohn Carpenter has been responsible for much of the horror genre's most striking soundtrack work in the fifteen movies he's both directed and scored. The themes can instantly flood his fans' musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. The all-new music on Lost Themes asks Carpenter's acolytes to visualize their own nightmares.
"Lost Themes was all about having fun," Carpenter says. "It can be both great and bad to score over images, which is what I'm used to. Here there were no pressures. No actors asking me what they're supposed to do. No crew waiting. No cutting room to go to. No release pending. It's just fun. And I couldn't have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (davies, who wrote the songs for I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn't dealing with just analogue anymore. It's a brand new world. And there was nothing in any of our heads when we started other than to make it moody."
As is Carpenter's style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter's past works, as well as ancestors like Mike Oldfield's Tubular Bells and Goblin's Suspiria.
"They're little moments of score from movies made in our imaginations," Carpenter says. "Now I hope it inspires people to create films that could be scored with this music."1. Vortex
9. Night$21.99Vinyl LP - Sealed Buy Now
Southern AvenueSouthern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."
Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.
Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.
Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.
The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.
The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.
According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.
I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.
We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.
Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.
I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.
This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.1. Don't Give Up
2. What Did I Do
3. It's Gonna Be Alright
4. Slipped, Tripped And Fell In Love
5. Love Me Right
6. 80 Miles From Memphis
8. No Time To Lose
10. Peace Will Come$21.99Vinyl LP - Sealed Buy Now