Double vinyl LP pressing in gatefold jacket. 2016 release from the veteran singer/songwriter. Burn Something Beautiful is Alejandro Escovedo’s first solo endeavor since 2012’s highly acclaimed Big Station. It is in actuality, a highly collaborative affair. Teaming with Peter Buck (R.E.M.) and Scott McCaughey (The Minus 5) to co-write the album’s songs, Escovedo also enlisted the pair to act as the project’s producers. Burn Something Beautiful is Alejandro Escovedo at his very best. His many gifts are revealed across a lifetime spent in dedication to and faith in the hard work of life and music… and it’s possibilities. Refusing to go unnoticed.
Double 180gm audiophile vinyl LP pressing. 2Pacalypse Now is the 1991 debut studio album by 2Pac. The album is 2Pac’s commentary on contemporary social issues facing American society such as racism, police brutality, poverty, black on black crime, and teenage pregnancy. It featured three singles; “Brenda’s Got a Baby”, “Trapped”, and “If My Homie Calls”. The album was initially released on T.N.T. Recordings and Interscope Records, which at the time was distributed through Eastwest Records America and Atlantic Records. Following Shakur’s death, Amaru Entertainment (established by his mother Afeni Shakur) obtained the rights to this album. The album generated significant controversy stemming from then-U.S. Vice President Dan Quayle’s public criticism after Ronald Ray Howard murdered a Texas state trooper and his defense attorney claimed he was influenced by 2Pacalypse Now and it’s strong theme of police brutality. Quayle made the statement, “There’s no reason for a record like this to be released. It has no place in our society.”
Symbiosis is an album by jazzpianistBill Evans with an orchestra arranged and conducted by Claus Ogerman recorded in 1974 and released on the MPS label.It was the third orchestral album by Evans and Ogerman following Plays the Theme from The V.I.P.s and Other Great Songs and Bill Evans Trio with Symphony Orchestra (1965).
Double vinyl LP pressing. Illadelph Halflife is the third studio album by The Roots. It features a tougher and broader sound than their previous album, Do You Want More. The album was selected as one of The Source’s 100 Best Rap Albums. In 2006, the album was selected as one of Hip-Hop Connection’s 100 Best Rap Albums from 1995 to 2005. The album also contains integration of programmed drums and guest contributions by R&B musicians such as Amel Larrieux and D’Angelo, as well as jazz musicians such as David Murray, Steve Coleman, Cassandra Wilson, Graham Haynes. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums. In 2006, the album was selected as one of Hip-Hop Connection’s 100 Best Rap Albums from 1995 to 2005.
Double 180gm audiophile vinyl LP pressing housed in a gatefold sleeve. On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names in bebop. Billed The Concert of the Century – A Tribute to Charlie Parker, and under the direction of Dizzy Gillespie – one of the best jazz trumpeters of all time – the event featured legendary performers: Hank Jones – piano, Ray Brown – bass, Milt Jackson – vibes, Philly Joe Jones – drums and James Moody on tenor sax and flute. Local club owner Roue Doudou Boicel, who produced the concert, had the foresight to record the concert in it’s entirety. A limited quantity bootleg LP of the concert soon appeared and then disappeared from the marketplace, those tapes lay dormant for over 30 years. This historic recording opens with rapturous applause that sets the tone with Dizzy’s own “Blues ‘N’ Boogie. “Also featured are several classic standards – some more well known then others – including “Darben The Redd Foxx, ” “Time On My Hands, ” “Get Happy, ” “The Shadow Of Your Smile” and “Stardust.” All the players are at the top of their game and having a blast, as evidenced by the banter and repartee between songs. Concert of the Century, pristinely restored and remastered, features two tracks that weren’t on the original pressing from the early ’80s – Ralph Rainger’s “If I Should Lose You” and an incredible eight minute bass solo by Ray Brown.
Vinyl LP pressing. The revered album was co-produced with the great Jack Clementand recorded at Glaser Sound Studio in Nashville, TN between February and July 1974. It finds the music legend in a sentimental mood paying respects to his musical heroes, opening with “Are You Sure Hank Done It This Way” and closing with “Bob Wills Is Still the King.” Home to the Top 10 singles including the aforementioned opener “Are You Sure Hank Done It This Way” and “Dreaming My Dreams With You,” Dreaming My Dreams topped the Billboard’s Top Country albums chart and peaked at #49 on the Billboard chart. It became Jennings’ first album to be certified gold by the RIAA and he was elected Male Vocalist of the Year by the Country Music Association in 1975.
1975 was a bold and exciting time for Emmylou Harris, whose career itself was burgeoning with the release of her second album, Pieces of the Sky, released five years after her 1970 debut, Gliding Bird, on Jubilee. A revised energy with Reprise would inspire a third album, Elite Hotel, recorded in June of 1975 and released in December of that year. Her appearance at The Amazing Grace Coffee House on May 15, 1975, consists of material drawn from her two 1975 albums. From the very beginning, Harris set high standards for herself, as well as the musicians she would work with. Her integrity and artistic ability led her to transcend the country-rock genre, becoming universally respected by fellow artists and music fans alike. Her Amazing Grace Coffee House appearance in May 1975 captures Harris at her peak. Many of the most enduring songs from both of her 1975 albums were featured in her sets from this time. Her interpretations of highly recognizable country standards, such as Buck Owens’s “Together Again, ” Hank Williams’s “Jambalaya, ” and Merle Haggard’s “Tonight the Bottle Let Me Down” all compare favorably with the originals, proving that Harris was quite capable of taking a classic and making it her own. The complete WXRT-FM broadcast of Emmylou Harris’s May 1975 performance at The Amazing Grace Coffee House, Evanston, IL is presented here. Digitally remastered sound with background liners and rare photos.
Dagored present for the first on vinyl Piero Piccioni’s complete score for Le Mani Sulla Città (1963). A racy and doomy soundtrack filled with incredibly dark jazz tunes composed by the great Piccioni for the Italian cinema masterpiece Le Mani Sulla Città, directed by Francesco Rosi. The film was the winner of the Leone d’Oro at the Venice Film Festival of 1963. Piero Piccioni has composed more than 300 scores for film, television, radio, ballet and orchestra, working with legendary directors as Luchino Visconti, Vittorio de Sica and Dino Risi. Edition of 500
Double vinyl LP pressing. 2016 release, a newly remixed version of the classic 1991 album by the grunge/hard rock supergroup. Temple of the Dog is the only studio album by Temple of the Dog. The album is a tribute to Andrew Wood, the former lead singer of Malfunkshun and Mother Love Bone, who died on March 19, 1990 of a heroin overdose. The album has been certified platinum by the RIAA in the United States. Soundgarden frontman Chris Cornell, who had been Mother Love Bone vocalist Andrew Wood’s roommate, approached former Mother Love Bone members Stone Gossard and Jeff Ament about working on material he had written when he was on tour with Soundgarden in Europe. The line-up eventually included Soundgarden drummer Matt Cameron and newcomers Mike McCready (lead guitar) and Eddie Vedder (background vocals). McCready and Vedder were featured on the album due to their involvement with Ament and Gossard’s next project, which became Pearl Jam. The name Temple of the Dog is derived from the opening lyrics of the Mother Love Bone song “Man of Golden Words”, “I want to show you something, like joy inside my heart, seems I been living in the temple of the dog.”
I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn, two separate albums, were simultaneously released on January 25, 2005, providing unequivocal proof that then 24 year-old Oberst belongs to the lineage of great American songwriters. These albums are a soundly articulated slice of modern American life rolled into two very different records. I’m Wide Awake, It’s Morning is a country-tinged melange of Conor’s finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket), whereas Digital Ash in a Digital Urn is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs. The songs are bursting with all of the rough edges and heartfelt poetry for which Bright Eyes records have earned their acclaim, while exposing a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back, the albums work in tandem to elucidate both sides of Conor’s recent creative output.
Prog Temple present a reissue of Heads Hands & Feet’s self-titled album, originally released in 1971. It took British band Heads, Hands & Feet just one gig to land what was at the time the biggest record advance ever offered by the U.S. record industry to a UK band – a massive half-million dollars up front. But this was not just one potentially hip new band, but a collection of seasoned pros who knew their way around a studio. Consisting of guitar virtuoso and multi-instrumentalist Albert Lee, bassist Chas Hodges, drummer Pete Gavin, guitarist Ray Smith, vocalist Tony Colton and keyboard player Mike O’Neill, their debut album, released as a single LP in the UK but a double in the US, is presented here as the original UK release and includes a CD version of the original 17 track US release. Although the band lasted for two more albums, the group proved to be more a staging post for it’s members who all went on to various degrees of success, except for Pete Gavin who took a job in the construction industry in Salem, Ohio. But as Tony Colton opined “Looking back, we were one hell of a band and on a good night we could blow anybody off stage.” Includes insert.
Vinyl LP pressing includes digital download and housed in a gatefold sleeve. Amber, the second full-length from Autechre and considered by many to be their ambient opus (though we imagine they wouldn’t call it that!) having been out of print on vinyl since 2001. Amber contains eleven tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling ‘techno’ and moved into more territories of abstract ambience. These eleven crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90’s. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future. There is something uniquely immersive about Amber, it’s almost as if as you are playing it the sounds are fading away before they even begin, when played from the start you can lose a lot of time within the endless gradients that adorn it’s cover, before the sounds just seemingly, disappear. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.
Vinyl LP pressing includes digital download. Tri Repetae, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, Tri Repeate stands tall as one of the most out-there (and if you know what that means… ) and boundary-pushing releases from Ae ever. Going back to the group’s roots as b-boy’s, Tri… features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, Tri… mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most ‘floor friendly’ Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese & Tod Dockstar with the mid 90’s post-hardcore sound of jungle. For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into.
ALCEST – VINYL – “Kodama” the fifth album from Blackgaze pioneers, Alcest, marks the French duo’s ferocious return to the stylistic maximalism of it’s early albums while continuing the band’s relentless pursuit for new sounds and fresh ideas. “Kodama” is the Japanese word for ‘tree spirit’ and ‘echo’ and from the album’s structure and dynamics to it’s cinematic sound, “Kodama” indeed ‘echoes’ Alcest’s 2010 classic, “Écailles de Lune”. But this is no simple back-to-the-roots album: the band has more punch, rhythm and organic feel than ever before. While clearly influenced by bands like The Smashing Pumpkins, Tool, Dinosaur Jr, Grimes and The Cure, “Kodama” ultimately reveals itself as Alcest’s ‘Japanese album’, drawing substantial inspiration from Japanese art and culture. Originally triggered by Hayao Miyazaki’s anime film “Princess Mononoke”, “Kodama” picks up on the fate of it’s protagonist and, at it’s core, deals with the sensation of not belonging; of living in between worlds, be it city and nature or the physical and spiritual one. Duality is also crucial for the visual approach of the album, realized by French graphic designer duo Førtifem. Paying tribute to Japanese illustrators like Takato Yamamoto, the visuals portray contrasting elements like nature/urbanity, youth/death, femininity/animality and combine poetic elements with darker ones that were not present in Alcest’s earlier works.