John Prine’s self-titled, debut LP back in print on vinyl for the first time since its original release is 1978. Members will get a copy of the record on 180 gram vinyl mastered from the original, analog tapes. They will also get a 2017 calendar courtesy of Rhino Records.Â
You can find out more about our Record of the Month Club here and you can listen to John Prine’s debut record over on our Spotify playlist.
Allmusic says:Â A revelation upon its release, this album is now a collection of standards: “Illegal Smile,” “Hello in There,” “Sam Stone,” “Donald and Lydia,” and, of course, “Angel from Montgomery.” Prine’sÂ music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious.
Here’s RollingStone magazine’s original review from 1978:Â
This is a very good first album by a very good songwriter. Good songwriters are on the rise, but John Prine is differently good. His work demands some time and thought from the listener â he’s not out to write pleasant tunes, he wants to arrest the cursory listener and get attention for some important things he has to say and, thankfully, he says them without fallinginto the common trap of writing with overtones of self-importance or smugness. His melodies are excellent.
If Prine had less talent, this would have been a much easier review to write. Because of the fact that the highs show brilliance, the lows are more noticeable; he’s a good songwriter but there are indications that he can be a great one. In his liner notes Kris Kristofferson writes of Prine: “Twenty-four years old and writes like he’s two-hundred and twenty.” I readily agreed with that, but after repeated listenings, the conviction rose in my mind that he doesn’t really write like he’s old â the bitterness in his songs might make it seem that way. Hopefully, age brings some mellowness, too. The stories he tells have a negative kinkiness; if pain isn’t apparent, it’s just below the surface.
“Spanish Pipedream” is a happy song, but it is a pipedream. “Your Flag Decal Won’t Get You Into Heaven Anymore” is another rollicking song, but it does deal with death. This is not to say that Prine’s view of the grimness of life is inaccurate. (“Six O’Clock News” might be overdone, ending with the suicide of a boy who learns he’s illegitimate.) This is not even meant to declare this quality of Prine’s work as a fault, for his bitter eye reflects that he really has strong ideals, that he’s a compassionate person who has seen sharp disillusionment growing from people’s uncaring behavior toward other people. He’s certainly aware of the lonely traps people construct for themselves. It’s just that bitterness corrodes after a time â it’s a dead-end street for songwriters.
“Donald and Lydia” must be the definitive song of the lovemaking fantasy (people buzz about how it’s about masturbation, but that’s really not the point of the song), To select more important lines is impossible: the song is a complete gem, verses and chorus. “Far From Me,” recounting the terrible intimation that the one you love is going to leave you, is so painfully accurate of the feeling of the situation you can taste it. “Hello in There” is moving, written about a lonely old couple, a theme relatively unexplored by songwriters (with the notable exception of Jacques Brel).
“Pretty Good” is a pretty good song and pretty funny (but with that kinky streak again) in which the singer fucks a girl from Venus, another girl gets raped by a dog, and various gods hang out, all interspersed with an unlikely chorus which is one of the few touches of sweetness on the record: “Moonlight makes me dizzy/Sunlight makes me clean/Your light is the sweetest thing/That this boy has ever seen.”
All of Prine’s songs have a strong country feel, but “Paradise” is pure, classic country, downright bluegrass in both lyric and melody, with a tale of how the coal company ruined the beautiful land in Western Kentucky. “Flashback Blues” is an uptempo farewell lament that’s a poetic tumble of keen nostalgia, insights to loneliness and isolation, the pain of seeing one’s self in emotional nakedness and the running ahead of that pain â but it sometimes catches up.
Prine’s G.I. junkie song. “Sam Stone,” is already known by some and is favored in other singers’ repertoires. I find it too heavily contrived, not up to Prine’s standard. Then there’s “Angel from Montgomery.” where again the narrator is old. “Quiet Man” has the thoughtful line, “Steady losing means you ain’t using/What you really think is right.” “Illegal Smile” is again about a bad case of the blues (saved by a sense of humor) â John Prine must know what bad times are.
The album is well-produced, with a small back-up band used throughout. Though after seeing John perform solo at Paul Colby’s Bitter End, accompanying himself on guitar, it’s obvious that he can do well with or without. It’s good to have such a fine new talent around who is both interesting and provocative. If he’s this good this young, time should be on his side.
You can now hear what we’re listening to in the shop via Spotify. We’ll make new playlists weekly featuring new records, fresh reissues, weird stuff, classics, and everything in between. Listen first, dig it, then come buy the recordÂ in the shop.
Records make great gifts…and so do turntables, t-shirts, CDs, gift certificates…
We’ve got you covered this holiday season and if you’re having trouble what to get your cool dad, weird boyfriend, younger sister, hip grandma, then we’re here to help you out. Below you’ll find a few things to think about.
Feel free to call the shop (662) 281-1909 or email us email@example.com with any questions or orders.
Record of the Month Club subscription
The gift that keeps on giving all year long! Read more about it and sign upÂ here.
We keep in stock several models including the most popular LP-60 (starting at $99.99) and LP-120 ($299.99) turntables. We have them with USB ports, Bluetooth, or standard versions.
Vinyl Box Sets
We have a wide selection of box sets including David Bowie’s latest archive release, Bob Dylan’s Bootleg Series titles, Dust-to-Digital sets, the most excellent Numero Group boxes, The Replacements Sire and Twin/Tone set, Radiohead A Moon Shaped Pool deluxe version, The LAST WALTZ 40th anniversary set, and lots more. Also, CD box sets fit perfectly into stockings…like Big Star’s Complete Third, Washington Phillips, and NRBQ.
Turntable and record cleaning accessories
Take care of your records and they’ll take care of you.
Still don’t know what to buy…snag a gift certificate in any amount.
End of All Music merch
We’ve got t-shirts (short sleeved and long!), turntable slipmats, beer koozies, winter hats, and more!
Bob Dylan’s 1966 performance at Royal Albert Hall.Â
The real Royal Albert Hall 1966 Concert. For decades, Dylanâs performance in Manchester was incorrectly labelled, The Royal Albert Hall Concert. Now, for the first time, the REAL Royal Albert Hall concert, originally recorded for a live album by CBS Records, is finally being released.Â This show is also included in the 36 CD 1966 Live Recordings box set.
This show is perfect for the vinyl format. The first LP is Dylan’s solo acoustic set that opened each of the 1966 shows. The second LP is full on rock with Dylan’s backing band, The Hawks, which later became The Band.
Check out a track from the tour below. The Dylan record will ship later this week!
We will have these titles in stock on Black Friday, November 25th. Black Friday is an officially sanctioned event produced by Record Store Day. These titles are first come, first served…no holds. Any remaining titles will be available in our online store starting Sunday, Nov. 27th. We will open, like normal, at 10 a.m. for Black Friday.
In addition to the Black Friday titles we’ll also have several boxes of discounted new vinyl…for cheap! Also, all vinyl and CD box sets will be 15% offÂ Friday and Small Business Saturday!
We’ll have these killer shirts available too. They’re super limited and first come, first serve. If there are any left over we’ll put them on our online store on Sunday with any remaining Black Friday titles.
We’ll also be giving away some killer free stuff to the first folks in line when we open. We’ve got a few vinyl box sets, some test-pressings, cassettes, posters, stickers and more. So come early to get the free goodies. We’ll also have some beer on hand after lunch…free beer.
The original Alice Cooper group reunited 10/6/15 at Good Records in Dallas, TX.Â This is two songs from that historic performance.Â A 45 RPM big hole record on colored vinyl, in a gatefold foil board jacket with art prints,Â and printed inner sleeve. Colored vinyl variants: 1150 white, 1150 pink, 100 black, and 100 split color pink/white are randomly distributed. The art prints in the pink/white variant are autographed by the four original members.
–UGK featuringÂ Outkast “International Player’s Anthem” Texas-shaped Picture Disc single
–Erykah BaduBut You Can’t Use My Phone LP
–Isaac Hayes “Do Your Thing” 12″
The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayesâ most famous songs by Hayes historian Bill Dahl.
Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayesâ albums for Staxâs Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his âŠTo Be Continued stretched to 15:33.
But his epic âDo Your Thing,â one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of âDo Your Thing.â Consigned to the vaults, those improvisatory extensionsâsomewhere in between free-jazz and psychedelic rockâwere seemingly destined never to be heard. Until now.
–Jazz DispensaryHoliday TreatsÂ LP
Take a trip on Santaâs sleigh through ten tracks of holiday cheer, Jazz Dispensary-style. Side A presents funky chestnuts from the likes of Booker T. & the MGs, Electric Jungle, and The Jive Turkeys, while Side B contains adventurous outings from Kenny Burrell, Rotary Connection, Pharoah Sanders, and more. Housed in an eye-catching gummy-themed cover and pressed on candy-red vinyl, this limited edition collection is designed to elevate your holiday listening experience.
–Dennis CoffeyHot Coffey In The D: Burnin’ at Morey Bakerâs Showplace Lounge LP
Never-before issued recordings from legendary Motown guitarist, Dennis Coffey, captured live at Morey Baker’s Showplace Lounge in Detroit in 1968. Coffey was one of the âFunk Brothers,â as featured in the documentary Standing In The Shadows of Motown. This album was produced by Mike Theodore (Searching for Sugar Man) and Coffey. The package features striking cover art by comic book artist Bill Morrison (The Simpsons), rare photos, and essays. Limited edition, hand-numbered, 180g black vinyl.
–Death GripsFashion Week/Interview 2016 LP
–Bob DylanLive 1966: The Real Royal Albert Hall LP
–Jerry GarciaReflections LP (on tie-dye colored vinyl!)
–Otis ReddingLive at the Whiskey Go-Go LP
–Bill CallahanApocalypse: A Bill Callahan Tour Film LP/DVD
This strikingly shot concert documentary follows enigmatic Drag City singer-songwriter Bill Callahan on a two week tour from California to New York. For the past 25 years, under both the Smog moniker and under his own name, Callahan has cultivated a legacy as both a pioneer in the lo-fi movement and one of the countryâs finest troubadours. The film is built on impressionistic scenes of Callahanâs life on the road combined with his cryptic musings (“I started playing music when I was 20, and time stopped for me then in a good wayâ), creating a voyeuristic glimpse into his meticulously constructed universe of disaffection and disorder. It is an austere and beautiful portrait of both the musician and the multifarious American landscape.
–Aquarium DrunkardLagniappe Sessions Vol. 1 LP
Launched in 2005, the blog Aquarium Drunkard has become a daily destination for many on a never ending quest for musical discovery.Â In 2011, AQD established The Lagniappe Sessions featuring some of the site’s favorite artists covering some of their favorite artists.Â AQD posts these exclusive sessions as free MP3s on the site for fans to enjoy.Â Nearly 100 sessions later, and some of the great names in modern music have taken part.Â AQD and Light In The Attic have joined forces, picking one dozen tracks culled from the sessions, all of which have never been released on vinyl — including Of Montreal covering The Kingston Trio, Kevin Morby taking on The Germs, and Matthew E. White doing Randy Newman.Â Additional artists include Dungen, Sonny & The Sunsets, William Tyler, and Ryley Walker.Â Limited to 1,500 copies on colored wax
–Lee HazlewoodCowboy in Sweden LP (colored vinyl version!)
Limited 50th anniversary psychedelic colored vinyl reissue of the 1966 Broadside album featuring two avatars of the LSD movement of the late ’60s, Timothy Leary and Richard Alpert. Pressed on magenta splatter vinyl.
–Jaco PastoriusJACO: Original Soundtrack LP
–The Raconteurs “Steady as She Goes/Store Bought Bones” 7″ on Hermitage Hotel green-colored vinyl
–RamonesLive at the Roxy 8/12/76 LP
–Run-DMC “Christmas in Hollis” 12″ single
–Sesame StreetSesame Road LP
–The Paul Butterfield Blues BandGot a Mind to Give Up Living-Live 1966 2LP
–South ParkMr. Hanky’s Christmas Classics LP
–Muddy WatersThe London Muddy Waters Sessions LP
–Ben WebsterGone With the Wind LP
Ben Webster’s Gone With The Wind is a truly incredible album that has been underappreciated throughout the years, in part because it hasn’t been pressed anywhere in nearly three decades. The live performance took place at the legendary Montmartre Jazzhus in Copenhagen in January of 1965, right in the prime of Webster’s long European period. For Record Store Day Black Friday, we’re happy to shine light on the historic recording with this limited edition 180gram white color vinyl pressing, which features new, exclusive artwork.
–The White StripesGet Behind Me Satan LP (regular black vinyl version from Third Man Records)
–The Wild FeathersLive at the Ryman LP
–Ikebe ShakedownHard Steppin’Â EP (from our buddies at Colemine Records!)
Ikebe Shakedown’s frist EP on vinyl for the first time. This Black Friday edition is pressed on limited, blue vinyl. The b-side features instrumental, drum breaks.
–RadioheadA Moon Shaped Pool DELUXE VINYL SET
You gotta see this thing to understand it…unbelievable packaging! We’ll only have 2 copies of this limited version in stock.
–Twenty One PilotsBlurryface Live 3LP picture disc set
–Suicide Squad 2LP soundtrack featuring Twenty One Pilots, Wiz Khalifa, Skrillex, Lil Wayne, Kevin Gates, Imagine Dragons, Panic! at the Disco, and more!
This list is subject to change and we’ll probably be adding to it before Friday.Â
Also, if there’s any titles you’re looking for that’s not on the list PLEASE email us (firstname.lastname@example.org) and we’ll try to hook you up!Â
The reissue game remains strong through 2016. Labels are finding the goods and presenting it to us in creative ways and amazing packaging. This list could easily be 50 records long but we’re going to reign it in to just a few. These titles are all available in our online store and in the shop.
Check out our favorite new releasesÂ of 2016 here.Â
Our Favorite Reissues of 2016:
–Big Star Complete Third
Includes every demo, rough mix, outtake, alt take and final master from the Third sessions known to exist. Released as a 3-CD box set or 3 separate volumes on vinyl. The first volume on vinyl drops on Black Friday.Â
âThe small but rabid cult of Big Star, composed initially of rock critics and hometown Memphis hipsters, coalesced around 1972âs #1 Record, which supercharged the legacy of The Beatles and The Byrds, and 1974âs Radio City, which brought additional attitude and poignancy to the recipe. The shimmering brilliance of Big Starâs sound and songs on those two LPs, along with its underdog allure, would have been sufficient to perpetuate the bandâs legend. But there was a third album, and that strange beast of a record made all the difference for subsequent generations of fansâmany of whom formed bands of their ownâwho turned each other on to this music as if it were a secret religion or a trippy new drug.â âExcerpt from Bud Scoppaâs Complete Third liner notes.
Lee Moses was a huge talent and if heâd had the big hit album he richly deserved, Time And Place wouldâve been it. A self-taught multi-instrumentalist, Moses cut his teeth in the clubs of Atlanta, the âMotown of the Southâ, where he frequently performed alongside his contemporary Gladys Knight (who reportedly wanted him for the Pips, but couldnât pin him down).
It was, however, in New York in the â60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 â most notably with covers of Joe Simonâs âMy Adorable Oneâ, The Four Topsâ âReach Out, Iâll Be Thereâ and The Beatlesâ âDay Tripperâ.
It was 1971 before Mosesâ dream of being at stage front was realized, when he released his Brantley-produced LP Time And Place for Maple Records. Recorded with a band including members of The Ohio Players and Mosesâ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals and the stirring mood that permeates the LPâs heady mix of funk, soul and R&B.
The LP did no business, and Mosesâ dream quickly crumbled. Though details on his life are scarce, itâs believed he fled New York disenchanted with the music industry, feeling heâd been double-crossed by Brantley both in credit and remuneration for the countless records heâd played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.
Time And Place soon became a much-sought-after item for collectors, and its cult has continued to grow over the years. Here, we re-present it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Mosesâ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little â but just a little â less of an enigma.
But Dickinson was there long before those more popular artists, going by his full Christian name and digging in the Memphis humus for some “self-buried dope by motorcycle moonlight,” with his band, the Dixie Flyers (the house band for many late sixties Atlantic artists, second only to the Muscle Shoals crew). Thirty years later, his dope is again unearthed, and the vintage is quite potent, if not a bit ragged.” -Pitchfork
–David Bowie’s early catalog plus Who Can I Be Now? box set
We lost Bowie this year, but he left us one of the best albums of the year, and of his career–BLACKSTAR. This year also saw the vinyl reissues of important Bowie classics like Hunky Dory, Ziggy Stardust, Aladdin Sane, The Man Who Sold the World, Pinups, changesone, Space Oddity, and more. We also got the whopping 13 LP box set, Who Can I Be Now?, which contains Bowie’s output from 1974-1976. We opened one, and it’s great. It also includes the unreleased album, The Gouster plus some excellent live albums. We’re just glad that we can always have Bowie’s records in stock.
Fearless, eclectic, and defiantly messy, Prince’s Sign ‘O’ the Times falls into the tradition of tremendous, chaotic double albums like The Beatles, Exile on Main St., and London Calling — albums that are fantastic because of their overreach, their great sprawl. Prince shows nearly all of his cards here, from bare-bones electro-funk and smooth soul to pseudo-psychedelic pop and crunching hard rock, touching on gospel, blues, and folk along the way. This was the first album Prince recorded without the Revolution since 1982’s 1999 (the band does appear on the in-concert rave-up, “It’s Gonna Be a Beautiful Night”), and he sounds liberated, diving into territory merely suggested on Around the World in a Day and Parade. While the music overflows with generous spirit, these are among the most cryptic, insular songs he’s ever written. Many songs are left over from the aborted triple album Crystal Ball and the abandoned Camille project, a Prince alter ego personified by scarily sped-up tapes on “If I Was Your Girlfriend,” the most disarming and bleak psycho-sexual song Prince ever wrote, as well as the equally chilling “Strange Relationship.” These fraying relationships echo in the social chaos Prince writes about throughout the album. Apocalyptic imagery of drugs, bombs, empty sex, abandoned babies and mothers, and AIDS pop up again and again, yet he balances the despair with hope, whether it’s God, love, or just having a good time. In its own roundabout way, Sign ‘O’ the Times is the sound of the late ’80s — it’s the sound of the good times collapsing and how all that doubt and fear can be ignored if you just dance those problems away.
(ALL OF PRINCE’S RECORDS ARE AVAILABLE IN THE SHOP)
–Bob Dylan Live 1966: Complete Live Recordings
EVERY SHOW FROM 1966 on 36 CDs…yes, 36 CDs. One of these shows from Royal Albert Hall is also being pressed to vinyl (it’s the December selection for our Record of the Month Club).
âWhile doing the archival research for The Cutting Edge 1965-1966: The Bootleg Series Vol. 12, last yearâs box set of Dylanâs mid-60s studio sessions, we were continually struck by how great his 1966 live recordings really are,â said Adam Block, President, Legacy Recordings. âThe intensity of Bobâs live performances and his fantastic delivery of these songs in concert add another insightful component in understanding and appreciating the musical revolution Bob Dylan ignited some 50 years ago.â
Meticulously researched, curated and restored for this extraordinary collection, Bob Dylan: The 1966 Live Recordings is drawn from three main audio sources: soundboards, CBS Records mobile recordings and audience tapes. With the exception of the Manchester concert (May 17, 1966) released as Bob Dylan Live 1966 â The Bootleg Series Vol. 4(Columbia/Legacy) in 1998, a pair of songs appearing on the 1985 Biograph compilation and a smattering of others, the overwhelming majority of tracks and performances on Bob Dylan: The 1966 Live Recordings are previously unreleased in any formatâofficial or bootleggedâand are being made available now for the very first time.
All the songs on The 1966 Live Recordings were written by Bob Dylan (vocal, guitar, piano, harmonica) with the sole exception of âBaby, Let Me Follow You Down,â a traditional song arranged by Bob Dylan for concert performance. Dylan is accompanied on these recordings by Robbie Robertson (guitar), Rick Danko (bass, backing vocals), Richard Manuel (piano), Garth Hudson (organ) and Mickey Jones (drums). (Sandy Konikoff plays drums on the White Plains and Pittsburgh shows only.)
Liner notes for Bob Dylan: The 1966 Live Recordings have been provided by Clinton Heylin, a consultant on the project and author of JUDAS!: From Forest Hills to the Free Trade Hall: A Historical View of Dylanâs Big Boo, the definitive written account of Dylanâs historic and pivotal 1965-66 world tours.
Weezer have announced vinyl reissues of their first six albums on vinyl. The new reissuesÂ includeÂ 1994âs The Blue Album, 1996âs Pinkerton, 2001âs The Green Album, 2002âs Maladroit, 2005âs Make Believe,Â and 2008âs The Red Album.Â
A definitive look at the recordings made for the famous studioâs in-house label. 24-track, two-disc vinyl set.
A beautiful collection of work from one of the greatest soul labels ever â a tiny Alabama imprint that helped bring the Muscle Shoals sound to the masses â thanks to the work of producer Rick Hall, and his crack band of session players! The music here set a whole new standard for soul in the south â and really helped bridge older 50s modes and the new wave of more expressive, more sophisticated singers â served up here in a special vinyl-only package that mixes big Fame classics with some real gems that never got their due back in the day â and even come cuts that appear here on vinyl for the first time ever! Titles include “She Ain’t Gonna Do Right” by Clarence Carter, “Fortune Teller” by The Del-Rays, “That Kind Of Lovin” by Otis Clay, “Back In Your Arms” by George Jackson, “Feed The Flame” by Billy Young, “Almost Persuaded” by June Conquest, “A Piece of My Heart” by Art Freeman, “I Worship The Ground You Walk On” by Jimmy Hughes, “Blind Can’t See” by Richard Earl & The Corvettes, “Come On Home” by Hrman Moore, “I’m Gonna Forget About You” by Arthur Conley, “Long Ago” by Ben & Spence, “Take Me Just As I Am” by Dan Penn, and “Don’t Make Me Hate Loving You”
–Jessie Mae Hemphill s/t LP from Mississippi Records
Compilation of great recordings by Jesse Mae Hemphill. Mississippi Hill Country blues at their finest. Jessie Mae rocks out on the electric guitar with minimal percussion. By far some of the best blues recorded in the 80âs. Jessie Mae is the granddaughter of the great Sid Hemphill and the torch bearer of one of the most beautiful traditions in the world of music. Co-release with Moi JâConnais. (This LP was previously released by them with a silk screened cover).
–Terry Allen Juarez and Lubbock(on everything) from Paradise of Bachelors
Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely celebrated as a masterpieceâarguably the greatest concept album of all timeâhis spare, haunting 1975 debut LP Juarez is a violent, fractured tale of the chthonic American Southwest and borderlands. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition of the art-country classic: the first reissue on vinyl; the first to feature the originally intended artwork (including the art prints that accompanied the first edition); and the first to contextualize the album within Allenâs fifty-year art practice.
“A vortex of sex and violence.”Â â David Byrne
“Throw Lynchâs violent masterworksÂ Blue VelvetÂ andÂ Wild at HeartÂ in a blender with BurroughsâsÂ Naked LunchÂ and BowlesâsÂ The Sheltering Sky, and youâre getting warm.”Â â Houston Press
“I love Terry. Heâs a funny son of a bitch.”Â â Guy Clark
“People tell me itâs country music, and I ask, ‘which country?'”Â â Terry Allen
Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputation as New Yorkâs leading underground musical expression.
Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would becomeâKrautrockâ Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more.
âSilver Apples… a beautiful and mysterious artifact.â – New York Times
(BUY THIS ALBUM IN THE SHOP)
–Twin Peaks soundtrack
The soundtrack to David Lynch’s groundbreaking, cult-classic tv show TWIN PEAKS was finally reissued on vinyl this year. The packaging was insane. We even had a cherry pie and damn fine coffee party to celebrate.
âI’m glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and Iâm happy it will get a fresh listenâÂ – Angelo Badalamenti 2016
(THIS TITLE IS SOLD OUT)
–Beck Odelay and Sea Change
These titles are slated for release on December 2nd.
Vinyl wasnât exactly hopping for most of Beckâs golden period. So LP versions of albums like Sea ChangeÂ and Odelay can cost a pretty penny. Luckily for all of us who connected to the slacker-folk star because we were also losers, it looks like a cheaper alternative is on the way. Beckâs entire discography from Mellow Gold on to Modern Guilt is getting the re-issue treatment courtesy of Universal Music Group.
Gloriously reissued by Fat Possum Records, this Memphis classic is back in print!
“The mid-’90s Memphis band Grifters wrote songs that soundedÂ like smart conversations you wished you could contribute to, inside jokes you wanted to be let it on. This was their most bracing statement.” -Pitchfork
Among the best albums to come out of the ’90s lo-fi D.I.Y. scene, Crappin’ You Negative ebbs and flows on oceans of spliced and diced vocal melodies and noisy guitar effects. The band’s songs are confessional and psychedelic in equal measure, though the clicks of a four-track recorder still cue changes from verse to chorus to bridge. But songs like “Maps of the Sun,” “Holmes,” “Bronze Cast,” and “Skin Man Palace” are dense with riffs that make sense in a familiar, classic rock sort of way, even if the latter opens with the robust confession, “I am the mambo king!” The album’s downer ballads, “Felt-Tipped Over” and “Junkie Blood,” are ready-made for radio play on a much darker, stranger planet. Many of these songs first appeared as singles on tiny independent labels; perhaps that’s why it’s surprising how well this album holds together. It’s as if the band translated its recording technique to sequencing, too. The resulting album is a stellar example of a band at its creative peak.
–R.E.M. Out of Time, Eponymous, Dead Letter Office
Anyone that’s been in the store knows we’re huge R.E.M. fans so it’s great to see Eponymous and Dead Letter Office back in print. Any R.E.M. fan needs these records and now you can snag ’em at a nice price. Â November also sees the 25th anniversary of Out of Time. The record is being remastered and reissued in a single LP format and a deluxe, triple LP set that includes demos and extensive liner notes.
–Dust to Digital gave us the wonderful Music of Morocco box set and the new Washington Phillips set
If you know Dust to Digital then you already know these two box sets are worth the money and even more importantly, worth the listen. The label’s releases are limited and they ALWAYS end up on our year-end favorites list. This year is no exception. Both the Music of Morocco and Washington Phillips sets are meticulously researched, beautifully packaged, and worthy of high praise. Read a review of the Washington Phillips set here, and read a review of the Music of Morocco set here.
(ALL DUST-TO-DIGITAL TITLES ARE AVAILABLE IN THE SHOP)Â
–Jay Reatard Blood Visions 10th Anniversary
This was a Record Store Day release from Fat Possum Records. This version is SOLD OUT!
Jay Reatard was the kingpin of Memphis garage rock, and his best and most powerful full-length workâthe record that made him a standalone rock starâwas his first solo album, Blood Visions.
(PURCHASE THE REGULAR VERSION OF BLOOD VISIONS IN THE SHOP)
–The Replacements The SIRE Years box set
The Replacements The Sire Years is aÂ Numbered Limited Edition 4LP Box Set.
Bookend to The ‘Mats Twin/Tone Years Box Set featuring TimÂ (1985), Pleased To Meet MeÂ (1987), Don’t Tell A SoulÂ (1989) & All Shook DownÂ (1990)
Along with Prince and HĂŒsker DĂŒ, The Replacements put Minneapolis on the rock map in the 1980s. Among America’s greatest alternative acts of the last two decades, the ‘Mats rose from chaotic noise-makers to polished craftsmen, leaving at least three unqualified masterpieces in their wake. In a perfect world, Let It Be, Tim, and Pleased To Meet Me would have all gone platinum – but then again, endearing imperfection was always a hallmark of this band’s music.
The Replacements formed in the wake of the punk explosion of the late-70s. Their anarchic stage shows had earned them considerable notoriety in local clubs. Indie label Twin/Tone took note and signed the quartet for their first four releases, Sorry Ma, Forgot to Take Out the Trash (1981), Stink EP (1982), Hootenanny (1983) and Let It Be(1984) which earned The Replacements a place on the roster at Sire Records. It was there that the ‘Mats released their final four albums – Tim (1985), Pleased to Meet Me (1987), Don’t Tell A Soul (1989) and All Shook Down(1990) – collected here in the new limited edition 4LP box set The Sire Years.
Tim was the last album to feature the band’s legendary original lineup. A departure from the raw, punk-rock aesthetic that dominated their Twin/Tone releases, Tim showcases Westerberg’s gift for songcraft with the uptempo rock anthems “Bastards Of Young” and “Left Of The Dial,” the poignant ballad “Here Comes A Regular,” and the clever lyricism of “Little Mascara.” Follow-up Pleased To Meet Me was recorded in Memphis, TN with producer Jim Dickinson whose association with Big Star attracted the band. Memorable tracks include “Alex Chilton,” “The Ledge,” “I Don’t Know,” “Red Red Wine” and “Can’t Hardly Wait.”
For Don’t Tell A Soul, the screaming, yelling and falling to pieces drunken brothers added sleepy melancholy, violins, and waves of layered guitar, something that sounded like a “real” recording and a bit if not a lot of personal vulnerability to the mix. Songs like “Achin’ to Be,” the haunted “Rock ‘n’ Roll Ghost,” the sweetly self-mythologizing “Talent Show,” and “I’ll Be You,” are among the best of their era. Produced with Scott Litt, All Shook Down started out as a Westerberg solo album, but was eventually released as the Replacements seventh and final album. That also explains the album’s many guest artists which include John Cale, Benmont Tench, Terry Reid and Johnette Napolitano.
–Wayfaring Stranger: Cosmic American Country from Numero Group
As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. âHe hated country-rock,â Parsons collaborator Emmylou Harris would later reflect. âHe thought that bands like the Eagles were pretty much missing the point.â
Parsons had been orbiting the idea of Cosmic American Music for some time. In â68, heâd parted ways with the Byrds and was looking to take air with a new project. âItâs basically a Southern soul group playing country and gospel-oriented music with a steel guitarâ he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&Mâs Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsonsâ Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before for day one of the 1970s. Parsons himself mightâve disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Musicâs most distinguishing stringed signifier.
Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylumâs raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became âthe dominant American rock style of the 1970s,â as Peter Doggettâs comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genreâs real Wild WestâAmericaâs one-off private press label substructure.
I [have] some sort of ârepâ for starting what has turned out to be pretty much of a âcountry-rockâ plastic dry-fuck.â â Gram Parsons, 1972
It’s that time of the year when we share with you our favorite records of 2016. This year has been rough. We’ve lost some truly amazing artists–Prince, Bowie, Leonard Cohen, Lemmy, Phife Dawg, Leon Russell, Alan Vega, Mose Allison, and others. The best thing to take from these losses is it gives us a chance to reflect on their art and immerse ourselves in their records again…sometimes for the first time. Luckily, since the resurgence of vinyl, these artists find new life in our shop bins with a constant array of reissues and vault releases. At least we have their records. Bowie left way too soon but he may have left us the best record of the year…maybe his career? Leonard Cohen knew his time was up and his records (including his last one) seem to make more sense now…maybe? Prince was gone in an instant but worked on new material right up ’til his death. Anyways, 2016 was tough and we’ll leave it at that.
Now for our list! As tough as the year got at times there were always great records coming out. This may be the strongest year for new music since we opened our doors in 2012. Â We saw the return of Radiohead, Bob Dylan winning a Nobel Prize, A Tribe Called Quest back in the spotlight, a political cry from Drive-by Truckers, new indie-rock classics from Car Seat Headrest and Parquet Courts, and lots more! We aren’t going to put these in any order because ranking them seems too hard and a waste of time. If you’d like to purchase any of these (we are a record store after all) you can go to our webstoreÂ or swing by the shop. So here we go…
Our favorite records of 2016
–David Bowie BlackstarÂ
Bowieâs final record is a masterpiece from the cover artwork and record packaging to the experimental jazz backing band. Bowie set up the release of Blackstar in an unprecedented work of performance art as he passed away just days after the release leaving the songs bathed in mystery and new meaning. Bowie is one of the most important artists of all time and Blackstar is an excellent parting gift and ending to an amazing and groundbreaking career. If you havenât already poured over this record, now is the time. This year also sees the vinyl reissues of Bowieâs early, crucial catalog.
Life of Pablo isÂ probably the most traditional rap record Yeezy has made in years. The gospel-rap opener âUltralight Beamâ is one of Kanyeâs best songs ever–thanks Chance the Rapper. Kanye is also pushing the boundary of what it means to release a record in 2016, or if itâs possible for a record to ever be creatively finished. He’s also pushing the boundaries of live performance. If you get the chance, GO SEE HIM LIVE! This record didnât see a physical releaseâexcept for that one thing you probably saw in the store đ
–Radiohead A Moon Shaped Pool
Radioheadâs first album in four years is one of their greatest achievements. King of Limbs left fans wanting more as the record clocked in at just over 30 minutes. A Moon Shaped Pool is lengthier and much more minimal at the same timeâin a good way. This isnât necessarily a rock record but more a collection of songs where Jonny Greenwood flexes his orchestral muscle while Thom Yorke performs some of his best lyrics to date. The record gives fans some excellent debatable talking points for discussions on where this record ranks in the Radiohead catalogâŠwe think it should sit near the top with Kid AÂ and OK Computer.
Angel Olsen almost goes full on rock with this new record and we can’t get enough of it. We’ve been a fan of hers since her first record and she just keeps getting better and better. This is easily one of the best records of the year.
“If Burn Your Fire was Olsenâs poetic manifesto, then My Woman lives freely within its world. Together, the two albums remind me of something Patti Smith once said, in 1976, distinguishing the literary HorsesÂ from its follow-up, Radio Ethiopia, by calling the latter âtotal physical energyâ and also more implicitly feminine. My Woman walks a tightrope of love to figure out what it isâhow to find it, how to allow it in, how to feel it, how to fight for it, how to let it goâby a person who does not lose herself in the process.” -Pitchfork.com
Charles Bradleyâs third album is his first to full on politicize and the timing is perfect. Bradley sings about the need for change and the even more stressingÂ need for love to conquer all. His cover of Black Sabbathâs âChangesâ may be the song of the year. This is one of the best modern soul records to drop in recent years.
PUT ON TURNTABLE. PLAY. FLIP. REPEAT. OVER AND OVER AND OVER AND OVER. 2016 JAMMER ALERT!
“Dev Hynes’ work–populist, experimental, healing, agitating, straightforward, multi-layered–demonstrates this unfailingly. Prince’s radical pop spirit lives on in many artists. But none are channeling it more fully, or artfully.” -RollingStone
“Whatever one makes of the songs presented here, at least we should all be able to agree that another addition to Caveâs legendary, beyond comparison catalogue is in itself enough of a reason to feel very satisfied.” -Drowned in Sound
“Skeleton Tree is an extraordinary piece of work, one that might impact upon you profoundly if you choose to bed-down in its dark corridors of hurt.” -MOJO
“It feels distasteful to rate so powerful, so raw an album in any aesthetic terms and yet it brilliantly, blackly, radiates life. Skeleton Tree is a work of mourning, yes; a work of reverie, yes; and also an immensely moving attempt to reach out of blackness towards life.” -The Wire
(COPIES AVAILABLEÂ IN THE SHOP)
–Leonard Cohen You Want it Darker
Cohen’s final, and masterful, goodbye of a record. Like Bowie, this final act ranks right at the top of a beloved artist’s output. It’s bleak and sad, but it’s so damn good, and when it needs to be it’s the sweetest thing you ever heard.
“You Want It Darker could be addressed to fans pining for a return to Cohenâs bleakest songwriting; or a lover, or a higher power.” -The Observer (UK)
“This is one of his most intense albums. It feels personal too.” -MOJO
“It’s become a cliche to treat every latter-day Cohen album like a potential swansong but it’s hard to imagine a richer, finer or more satisfying finale than this.”
Primarily written while Tyler was on sabbatical in Oxford, Mississippi, where he stayed at the cabin of a family friend within a stoneâs throw of William Faulknerâs house, Modern Country is a collection of songs about the vanishing America that still exists on back roads, in small towns, on AM radio stations. In an election year when so many certainties and assurances have vanished, Tyler doesnât offer optimism or pessimism but rather a calm and measured commentary in our age of anxiety. 2016 would’ve been much tougher without this record.
“By and large, We got it from HereâŠ has the classic Tribe sound: a warm and crisp confluence of East Coast hip-hop, jazz, and more, all mixed and mastered impeccably. While some aspects of the sound are dated, others feel fresh.” -Consequence of Sound
“Completed after Phifeâs death, the recordâs also an unabashed tribute to him. Q-Tipâs the handsome one, charismatic, the versatile one with pop appeal, and so it has always been easy to think of Phife as something of a foilâa little funnier and scrappier, maybe, but not the driving artistic force. But anyone who made a home inside these records over the past quarter century knows Phifeâs the groupâs beating heart: its source of joy; the wry, horny prankster; the life of the party. Q-Tipâs an optimistâhe believes in peopleâbut Phife is the reason why. We talk about rappers as poets, as journalists, as masters of ceremony. Phife is the rapper as guy you want to hang out with. Hearing him light up a track like âWe the Peopleâ or the instant classic âBlack Spasmodicâ is at once chill-inducing and a reminder of how much life an emcee can pack into a couple bars.” -The A.V. Club
Out on June 3rd,Â the Chicago groupâs debut album is soulful and different from anything else weâve heard this year inÂ the world of indie rock.Â Formed from the core of guitarist Max Kakacek (ex-Smith Westerns) and singing drummer Julien Ehrlich (ex-Unknown Mortal Orchestra),the band itself is something bigger, something visionary.
“Bass, horns, strings, organ and choir provide the backbone, and when Whitney allow themselves to kick it up a gear and really let rip, as on âGolden Daysâ (with its cathartic âNa na naâ outro) or the George Harrison-meets-The Band magnificence of âDaveâs Songâ, theyâre untouchable.” -NME
We first heard this record a few months ago and immediately pegged it for one of the best records of the fall. Upon first listening itâs hard to pinpoint what genre Kadhja should be placed under and thatâs a good thing. The record is free jazz, hip-hop, pop, r&bâŠall in one. Did you like the Kamasi Washington record? Do you dig Amy Winehouse? Do you listen to Grimes AND Nina Simone? This record is for you!
And on top of all that the vinyl comes pressed on GLOW-IN-THE-DARK WAX!
“A Loud Bash of Teenage Feelings, like all Beach Slang releases, is made for the purpose of inclusivity. James Alex may be forty-two but Beach Slang, in sound and energy, remains ageless.” -Punknews.org
“By grounding their idealism in simple, anthemic rock and a vague mythology, theyâve created an angsty, mutable codex of sorts, an inclusive machine by which to punch all the hearts.” -SPIN
“While some of the lyrics may be a little too on the nose for some, regardless of age (“This crummy town is filled with wild boredom”), there is no age limit on angst or catharsis.” -Allmusic
“Gifted a falsetto reminiscent of famed Kentucky balladeer John Jacob Niles (1892-1980), his voice soars along rural Americana and across desolate plains (“Where I’m Calling From”). Through the tense, starry twilight of “Outlands,” tranquil, meandering rivers and sprawling juniper trees (“Juniper Arms”) outline a rocky terrain wherein “Some Beast Will Find You by Name.” To that topography, add Adam Torres.” -Austin Chronicle
“Some of the purest, restorative, most unburdened music imaginable.” -MOJO
With a stellar background in gospel, Durand Jones got his start in the church, singing in the choir of his hometown in rural Louisiana. When his music career took him to Bloomington, Indiana, he was selected to join the legendary Indiana University Soul Revue, and it was through his involvement that he met writer/producer duo Aaron Frazer and Blake Rhein. The three began writing original soul music, recording themselves straight to tape in the basements of Bloomington, and now theyâre releasing their debut album. For fans of Charles Bradley and Leon Bridges.
“Indie rock may not be dying, but itâll be hard for people to make it sound as alive as Toledo does on Teens of Denial. This is the sort of record where you wish like hell you could hear it again for the first time and thatâll keep rewarding return visits for years to come.” -Paste
“With or without artfully-cribbed melodies, the music is undeniable.” -RollingStone
Many folks thought Sturgill was just going to drop Metamodern Part 2, but he didnât. He changed it all up and itâs just the move he needed to make. This isnât a country record really. Itâs more soulful than anything heâs ever done and thereâs even a Nirvana cover. Sturgill fans were surprised by the production on this one but we think heâs heading in the right direction and this just may be his best record to date.