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Spirit Power: The Best of Johnny Marr (Exclusive Gold Vinyl)
Regular price $38.00 Save $-38.00Spirit Power: The Best of Johnny Marr (Exclusive Gold Vinyl) Johnny Marr will release a compilation of solo songs, Spirit Power: The former Smiths guitarist curated the collection from the last 10 years of his output and recorded a pair of new tracks, "Somewhere" and "The Answer."
Come on Feel - 30th Anniversary
Regular price $40.00 Save $-40.00Expanded 30th anniversary re-issue of The Lemonheads’ classic 1993 album. The breakthrough record that took American alt rock global and catapulted Evan Dando into the hearts of a generation. With a wealth of unreleased demos, alternative versions and rarities - including covers of Victoria Williams, Buddy Holly and The Flying Burrito Brothers plus the Cole Porter standard ‘Miss Otis Regrets’.
In the 90’s Evan’s Lemonheads produced hit after a hit, a string of super cool singles: ‘Big Gay Heart’, ‘Into Your Arms’, ‘It’s About Time’, and ‘The Great Big NO’. Pure genius filling the radio waves and taking the stage... Some 30 years on; Evan is still knocking that song writing thing out of the park and ‘Come On Feel The Lemonheads’ sounds as fresh and perky as it ever did. Amid the hits on the original record are stencils and outlines for yet more magical music and now this deluxe edition adds a second disc of demos and acoustic versions, plus a host of one-offs from sessions and compilations that add further colour to the myth and how it was created.
There’s the cover of Victoria Williams’ ‘Frying Pan’ from her ‘Sweet Relief’ album, which is joined by an eclectic set of flipsides and out-takes, like their version of ‘Little Black Egg’ by The Nightcrawlers, Evan’s homage to Gram Parsons on the winsome ‘Streets Of Baltimore’ and Buddy Holly’s melancholy ‘Learning The Game’. Evan knows a good song when he hears it, as ‘Come On Feel The Lemonheads’ certainly proved.
“Come On Feel was home to some of his best, sharpest writing – fabulous sunny powerpop and beautiful ballads” The Guardian
Beacon Street Collection
Regular price $32.00 Save $-32.00Produced by No Doubt and recorded in various locations around Southern California, including the band’s homemade studio on Beacon Avenue in Anaheim, California, the originally self-distributed ‘The Beacon Street Collection’ features 10 tracks that the band released independently during the creative period prior to their blockbuster debut album, Tragic Kingdom. Now officially available on vinyl for the first time! This LP is pressed on 180g black vinyl.
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3 Feet High And Rising - Magenta [Explicit Content]
Regular price $40.00 Save $-40.00Double magenta colored vinyl LP pressing. 3 Feet High and Rising is the debut studio album by hip hop trio de la Soul and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number, " "Buddy, " and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held it's annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, de la Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a "hippie" group, based on their declaration of the "D.A.I.S.Y. Age" (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).
Live Through This
Regular price $32.00 Save $-32.00Limited vinyl LP pressing. Live Through This is the second studio album by Hole, the band led by Courtney Love. Considered a contemporary classic, this record was included in Rolling Stone Magazine's list of 500 Greatest Albums Of All Time. Features production by Sean Slade and Paul Q Kolderie with mixing by Scott Litt and J Mascis. Live Through This was Hole's only album to feature bassist Kristen Pfaff before her death in June 1994. Recorded in October 1993, the album marked a divergence from the band's unpolished hardcore aesthetics to more refined melodies and song structure. The album's lyrics and packaging reflect Love's preoccupation with beauty, and it's songs contain repeated motifs of milk, motherhood, anti-elitism, and violence against women.
I Know I'm Funny Haha
Regular price $25.00 Save $-25.00I Know I'm Funny haha is Webster's most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster's sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city's rap and R&B community. The album began for Webster with the stirring ballad "In a Good Way," as in "You make me want to cry in a good way"-an instantclassic Faye Webster one-liner. It's beguilingly simple, the kind of melody and arrangement that seem to have existed forever. A sense of relief charges the neo-psychedelic pop of "Cheers," where Webster experiments with an overdriven guitar tone. She also collaborated, on "Overslept," with the Japanese artist Mei Ehara, who she calls the biggest influence on her new music. Webster's music is full of personality. Many of her songs contain bits of girl-group-esque talk-singing, which color her atypical storysongs. Webster says she's in a growth mindset, pushing herself to learn more, to be more vulnerable. "Growth is really important to me," she says. "I hope people will relate to my songs, and not just be like 'this is a good record' but 'this makes me feel something. This is making me think differently, this is making me question things.' I told myself a few years ago that I was going to be more honest in my songwriting, that honesty is the best route to take with music. If I have a voice and people are listening to me, I'm not going to waste it."
Tracks
Life's Too Good
Regular price $40.00 Save $-40.00Reinventing the wheel of alternative pop, Icelandic group Sugarcubes (that boasted the mighty Björk within its ranks) burst onto the international music scene with their debut, featuring the unforgettable track ‘Birthday’.
It’s sometimes hard to recall now just how much of an impact The Sugarcubes debut single ‘Birthday’ made when it’s magical off-kilter melody first hit the airwaves via John Peel’s show in the latter part of 1987 (it took the number one spot in his ‘Festive 50’ that Christmas).
In particular, the song’s extraordinary singer/ narrator, Björk Guðmundsdóttir was the subject of much wild speculation in the UK music press. “Can she possibly be human?” wondered Melody Maker’s foaming Single of the Week review (mirrored in NME). “A record of debilitating beauty,” it continued. “Nothing this year has had us more thoroughly vanquished.”
And when the singles ‘Coldsweat’ and later, ‘Deus’ followed it, the somewhat more visceral tones of one Einar Örn Benediktsson introduced an electric counterpoint to Björk’s lustrously divine howl.
Over 1988, The Sugarcubes – courted by a UK press hungry for the scoop on Iceland’s first bona-fide indie rock sensations – thrilled, confounded, irritated and intrigued in equal measure, the band regularly pushed to explode the patronizing attitudes and expectations they encountered from the get-go.
Whatever, the band were undisputedly, breathtakingly different and when Life’s Too Good dropped in April ’88, its wild jumble of raucous pop, skewed jazz, punk, absurdist rock’n’roll, menace, sarcasm and sublimity lived up to expectations. By the end of the year it had clocked up nearly half a million sales and The Sugarcubes had almost singlehandedly established Icelandic music in the popular consciousness. It still sounds fantastic today.
By the end of ‘88 all three singles had charted in the year’s Independent Top 40 best-sellers, the album going into the national Top 40 and the band making appearances in the top five of most categories in the ‘indies’ end of year polls.
Vide Noir
Regular price $38.00 Save $-38.00Vide Noir was written and recorded over the past two years at Lord Huron's Los Angeles studio and informal clubhouse, Whispering Pines, and was mixed by Dave Fridmann (The Flaming Lips/MGMT). Singer, songwriter and producer Ben Schneider found inspiration wandering restlessly through his adopted home of L.A. at night: "My nighttime drives ranged all over the city – across the twinkling grid of the valley, into the creeping shadows of the foothills, through downtown's neon canyons and way out to the darksome ocean. I started imagining Vide Noir as an epic odyssey through the city, across dimensions, and out into the cosmos. A journey along the spectrum of human experience. A search for meaning amidst the cold indifference of The Universe," he says.
Lead single "Wait by the River" is already the subject of early critical praise; the Los Angeles Times proclaims, "It's a gorgeous song, one with the majesty of a 1950s doo-wop ballad," while SPIN adds, "[‘Wait by the River'] offers a refined, waltz-like sound that can't quite cover for the sins of a fatalistically obsessed narrator." UPROXX furthers, "The track sounds like something you'd slowly sway back and forth to in close proximity with a special someone at a ‘50s high school dance, like a more doo-wop Fleet Foxes, a vibe they previously proved they can nail with ‘The Night We Met.'"
A true multi-media artist, Schneider has once again created an adorned world to inhabit within Vide Noir: the album will be accompanied by a wealth of imagery, films and immersive experiences crafted to expand upon its narratives and themes. This builds on Schneider's past work, which used videos, a comic book, a choose-your-own-adventure hotline and assorted Easter eggs as means of deepening the listener experience.
Waiting To Spill
Regular price $27.00 Save $-27.00Vinyl LP pressing. 2022 release, the sophomore album from The Backseat Lovers. Includes the single "Growing/Dying".
NFR
Regular price $48.00 Save $-48.00Grammy-nominated for Album of the Year and Song of the Year ("Norman Fucking Rockwell"), Norman F---ing Rockwell! is the sixth studio album by Lana Del Rey and follow-up to 2017's Lust For Life. The 14-track collection was largely produced and co-written with frequent collaborator Jack Antonoff (St Vincent, Taylor Swift, Lorde) while Rick Nowels and Zach Dawes also make contributions.
Del Rey teased new material for over a year, releasing a few stand-alone singles including "Venice Bitch," "Mariners Apartment Complex" and "Hope Is A Dangerous Thing For A Woman Like Me To Have – But I Have It," plus a cover of Sublime's "Doin Time" for the band's 2019 documentary.
The singer notes that the album is, "in the vein of a Laurel Canyon sound. And it's kind of transformed a little bit because there's some surf elements to some of the songs – it's not really surfy like Dick Dale but a lot of electric guitar, a little Red Hot Chili Peppers influence in there." The pulp-inspired pop art cover was shot by young sister Caroline 'Chuck' Grant and features the torch singer embracing actor Duke Nicholson in front of a painted backdrop.
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