Limited clear colored vinyl LP pressing, includes digital download. Julien Baker’s solo debut, Sprained Ankle, was one of the most widely hailed works of 2015. The album, recorded by an 18-year-old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker’s voice, guitar, and unblinking honesty. The album appeared on year-end lists everywhere from NPR Music to New York Magazine’s Vulture. With Turn Out the Lights, Baker returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From it’s opening moments – when her chiming, evocative melody is accompanied by swells of strings – Turn Out the Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs.
Limited double vinyl LP pressing packaged with old style tip-on gatefold jacket and printed inner sleeves. Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions. Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque. Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody. The album’s second part-thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”-contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly. On the front cover, Frusciante appears in 1920s drag-a nod to Marcel Duchamp’s alter-ego Rrose Sélavy-which comes from Toni Oswald’s film Desert in the Shape. This first-time vinyl release has been carefully remastered and approved by the artist.
The choice of tracks for SCREAM reflects The King of Pop’s affection for this time of the year and its themes of costumes and disguise, darkness and light, character transformations and surprise. The album will be available in two physical formats, CD and glow-in-dark vinyl, each containing a poster unique to the format. Fittingly, the poster and cover art conceal the first ever AR (augmented reality) experience created for a Michael Jackson project.
Each track on SCREAM is remarkable in its own way. For example, “Dirty Diana,” was the fifth consecutive No. 1 song from the album Bad which shattered records for consecutive chart topping singles off a single album; “Thriller,” penned by Rod Temperton, was the seventh of an unprecedented seven Top 10 singles from Thriller, the biggest-selling album of all time; and the Top 5 hit “Scream” is the only duet between Michael Jackson and his sister Janet. Also included are fan favorites from The Jacksons’ albums – “Torture” and “This Place Hotel” (the first single to be written, composed, and arranged solely by Michael); and, making its first appearance on a Michael Jackson album, “Somebody’s Watching Me,” the international 1985 hit by Rockwell featuring an iconic hook sung by Michael.
Fans are invited to Official Michael Jackson SCREAM Album Celebrations this fall. These celebrations will take place in six major cities around the world: Paris, London, Sydney, Berlin, Los Angeles, and Tokyo. The events will include screenings of Michael’s seven short films from the SCREAM album including the full-length 40 minute Michael Jackson’s Ghosts, rarely seen following its initial screening at the 1997 Cannes Film Festival. An after party will follow. More information on the Official Michael Jackson SCREAM Album Celebrations will be announced.
Limited vinyl LP pressing including bonus seven inch single. Mutations is the third official studio album and sixth overall by American alternative rock artist Beck, released in 1998 on DGC Records. Though less commercially successful than the preceding Odelay, Mutations established Beck as an eclectic and innovative artist for his sample-free mixture of far-ranging musical genres, including folk rock, bossa nova, psychedelia, country, and blues. The album won a Grammy Awardfor Best Alternative Music Album. Mutations was produced by Nigel Godrich, who was well-known at that point for his previous work with Radiohead. The album contains a number of Moog keyboards, acoustic guitars, and string arrangements. The production style was very different from that of his previous album Odelay, which was heavily influenced by hip hop music and contained many samples.
Limited vinyl LP pressing. Modern Guilt is the eighth official studio album and eleventh overall by alternative artist Beck. Modern Guilt features two contributions by Cat Power and was produced by Beck and Danger Mouse. The album was released on July 8, 2008. Filter said of the album “Beck is somehow more aware while puffing out his waves of broken poetry as opposed to the casual seed-spitting he has been known to turn to, ” and Allmusic said that it was “an effective dosage of 21st century paranoia.” In December 2008, Modern Guilt was nominated for Best Alternative Album at the 51st Grammy Awards, but it later lost to In Rainbows by Radiohead.
Deluxe double vinyl LP edition including the addition of nine songs recorded live in New York City during Norah’s memorable album release shows at the Sheen Center’s Loreto Theater in October 2016. 2016 release. Nine time Grammy award winner Norah Jones returns to the piano and her roots on her sixth solo album Day Breaks, a kindred spirit to her multi-platinum breakthrough Come Away With Me. Features legendary jazz musicians saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade. “This new album feels full circle because I’m going back to my early influences,” says Jones. “After the first record, I drifted away from the piano a little bit. I still played it, but was more inspired to write on guitar. I really loved playing piano on this record.” With the help of co-producer Eli Wolf, Jones enlisted renown jazz musicians such as drummer Blade, organist Smith and saxophonist Shorter for recording the album. Blade previously worked with Jones on her debut, Come Away with Me. Having just had a baby and a piano in her kitchen, Jones wrote much of the album during late-night sessions at the piano while drawing influence from a wide range of jazz music. There are three cover songs on Day Breaks: “Peace”, originally performed by Horace Silver, “Fleurette Africaine (African Flower)”, originally performed by Duke Ellington and “Don’t Be Denied”, originally performed by Neil Young.
Vinyl LP pressing. Esquivel was a Mexican band leader, pianist, and composer for television and films and widely considered the king of a style of late 1950s-early 1960s quirky instrumental pop known today as lounge music. RCA contracted with Esquivel in late 1957 and brought him to record in Hollywood in early 1958. He was given five hours of studio time to record the album “Other Worlds, Other Sounds.” The period cover of “Other Worlds, Other Sounds” says it all… like the woman in red dancing on a moonscape, this 1958 long-player was all about fantasy. And Esquivel, wasn’t afraid to fantasize about his instrumentation nor the new audio sound known as “stereophonic or Hi Fi.” At the time Esquivel was using this new tech to it’s fullest by arranging the music in a unique manner as well as considering right channel-left channel. Voices ring back and forth between speakers, horns explode out of nowhere, and piano sounds cascade out of the stereo. This is what hi-fi was all about. It is seamless, quite enjoyable and rather magical.
First of two 10″s called Coolsville. Watch out for two volumes of it’s sister compilation Sicksville. Compiled by Stay Sick, a gruesome twosome of deejays from the nightclubs of Brighton, UK. Established in 2008, they continue to spin the best dancing music from surf to soul, oddball R&B to filthy rock n’ roll, garage to punk, 7″s at a time. Their vinyl addiction has meant they have amassed a large collection of sleazy and greasy rock n’ roll from the fifties and sixties, including Tarantino surf, proto-soul stompers, swingin’ rhythm and blues, and twistin’ tittyshakers. Coolsville is a far-out selection of moody Las Vegas grind surf-strumentals and oddball beatnik records from the ’50s and ’60s. The first side of this platter of wax is full of mean instrumentals for wild cats of the urban jungle. On the flipside, brother, are there some solid gone finger clickers for you to swing and sway to. Bongo-laden beats that you’ll dig the most, daddio. This is the righteous stuff for all you jive talkin’ jazzbos and beatniks. Features: Ritchie & The Squires, The Champs, Creed Taylor Orchestra, Les Baxter, Jimmy Van Eaton, The Rockbusters, Dave Saville, Johnny & The Debonaires, Bob McFadden & Dor, Frosty & The Diamonds, Bing Day, and Richard Pine.
Souffle Continu Records present the first ever reissue of Workshop de Lyon’s La Chasse de Shirah Sharibad, originally released in 1975. In France, in the years 1960-1970, musicians pondered over how to transpose the political struggle of free jazz onto a completely different political terrain. One of the first to do so was pianist François Tusques (agitator, theorist and militant) who recorded 1965’s Free Jazz (CACK 020LP), and then continued with Le Nouveau Jazz (1967), French equivalents to the American “New Thing”. The word spread, and was picked up by the Free Jazz Workshop which became the Workshop de Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis. Still a source of joy, this lyrically feverish second album maintains a narrative dimension however subtle the textures developed through the contrasting collective improvisations. With their ever-inventive melodicism, the Workshop de Lyon invented an imaginary folklore on this album which is unlike any other. It is a knowing mix of the avant-garde and the traditional, collective playing vying, with panache and complexity, with the inspired urgency of the soloists. Even without filmed images the theatricality and humor of the group’s live performances, essential components of their identity can be felt during the long thematic suites which are both expressive and full of joy. What better way to honor their imaginary mentors, Albert Ayler or the Art Ensemble Of Chicago! More, More! Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.
Double vinyl LP pressing in gatefold sleeve. A vintage live album from industrial legends Ministry captured at the height of their incredible power! Includes blistering performances of “Thieves,” “So What,” “The Missing” and many more fan favorites plus a special guest appearance from none other than Dead Kennedy frontman Jello Biafra! Mixed by Brian Kehew and mastered to superior audio fidelity. Ministry was founded in 1981 by Al Jourgensen in Chicago, Illinois. Originally a new wave synthpop outfit, Ministry changed it’s style to become one of the pioneers of industrial metal in the mid-1980s. The band’s lineup changed consistently throughout the band’s history, with Jourgensen remaining the only constant as the band’s main producer, singer, songwriter and instrumentalist.
Limited double vinyl LP pressing. Propelled by their local chart-topper ‘Rainbow Chaser,’ Battle Creek quintet The Troyes entered the orbit of bandleader Ray Anthony (“Dragnet”, “Peter Gunn”), laying down a multitude of fuzztone laced tracks throughout 1966-1967 that, save for one 7″ release on his Space Records label, remained unreleased on vinyl-until now. The Troyes exploded onto the music scene with ‘Rainbow Chaser’. Sensing a new phenomenon, famed bandleader Ray Anthony signed the group to his new rock label Space Records. His faith in the band was so big that nearly two albums worth of material were recorded at United Sound (Detroit). Unfortunately, only two singles were issued. Far-out psychedelia, unhinged fuzz and farfisa garage, moody haunting sounds, face melters (check out ‘Corn Flake’)-it’s all here. Rare photos, radio surveys, newspaper articles, Troyes memorabilia, and the story of a band that could have been big.
Vinyl LP pressing. Sunshine on Leith is The Proclaimers’ second studio album, released in August 1988. The album title is about their birthplace Leith. The album had three singles, including “I’m On My Way” and “I’m Gonna Be (500 Miles)”, the latter of which reached #11 in the UK upon it’s initial release and also became a hit in the US five years later following it’s inclusion on the soundtrack to Benny & Joon in 1993. The Proclaimers is a Scottish band composed of the identical twin brothers Charlie and Craig Reid. They grew up in Edinburgh, Cornwall and Auchtermuchty. When they lived in Auchtermuchty they attended Bell Baxter High School. After several punk rock bands at school they formed the Proclaimers in 1983. The pair came to public attention when an Inverness-based fan sent their demo to the English band the Housemartins, who were impressed enough to invite the Proclaimers on their 1986 United Kingdom tour.
Phish – A Live One – Vinyl (4 LP, 180 Gram, Red / Blue Vinyl, Includes Download) – On October 27, Phish and JEMP Records will release A Live One, the band’s inaugural live album, for the first time on vinyl in a limited edition 4-LP set. A Live One was recorded primarily by Paul Languedoc on multitrack DA-88 DTRS digital tapes throughout Phish’s 1994 summer, fall and holiday concert tours. The band produced the album, selecting the material and overseeing the mix to 1/2″ reels in March-April 1995 with Ed Thacker and his team of engineers at Bearsville Studios. A Live One contains twelve original Phish compositions, five of which were previously unreleased: “Gumbo, ” “Slave To The Traffic Light, ” “Wilson, ” “Simple, ” and “Harry Hood.” The record was sequenced to approximate a two-set Phish performance and every track from the more-than-two-hour collection is notable – from the thirty-plus minute “Tweezer” to the “Wilson” opener from the band’s first Madison Square Garden show. “Gumbo” featured an updated version of Phish’s own Giant Country Horns. More than twenty years later, A Live One “Stash” and “Harry Hood” still rank among both songs’ top performances. After five studio albums, A Live One captured and conveyed the magic of the band’s improvisational live shows, and every song on the record (except “Montana”) has remained a staple of Phish shows ever since. A Live One was released by Elektra June 27, 1995 on CD and cassette. It was the first Phish album to be certified gold and remains Phish’s best selling album. The laquers for the vinyl edition were cut from the 1/2″ flat masters by Chris Bellman at Bernie Grundman Mastering. Each LP is pressed onto 180g vinyl and includes a free MP3 download of the album transferred from vinyl.