Music Releases 09-28-18
By most bands’ fifth LP, the sound is pretty set. Parameters established. Refinement dissipated in favor of to-formula execution of what’s worked in the past. Fair enough. All Them Witches go a harder route.
In 2017, the Nashville four-piece offered what might’ve otherwise become their own template in their fourth album, Sleeping Through the War. Also their second for New West Records behind 2015 mellow-vibing Dying Surfer Meets His Maker, it brought a larger production value to dug-in heavy psych blues jamming, with oversight from producer Dave Cobb (Jason Isbell, Sturgill Simpson).
After exploring new ground through their early work on 2013’s Lightning at the Door and 2012’s Our Mother Electricity as well as Dying Surfer, the band had arrived at something new, sprawling, and grander-feeling than anything before it.
So naturally in a year they’ve thrown that all to the Appalachian wind, turned the process completely on its head and gone the absolute other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Take that, expectation.
The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have ever recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witches’ All Them Witches isn’t self-titled by mistake.
It’s the band confirming and continuing to develop their approach, in the shuffle of “Fishbelly 86 Onions,” the organ-laced groove of “Half-Tongue,” the tense build of “HJTC” and the fluid jam in closer “Rob’s Dream.”
It’s a reaction to being a “bigger” band. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parks’ vocals to McLeod’s commanding slide in “Workhorse” and drifting melancholy at the outset of “Harvest Feast,” All Them Witches is their laying claim to the essential facets of their identity.
And most crucial to that identity is its shifting nature. All Them Witches didn’t get to this point by resting on laurels, and if anything, the urgency of these tracks – fast pushers and sleepy jams alike – is among their greatest strengths.
It’s a rawer delivery, as stage-ready as the band itself, and as ever, it captures All Them Witches in this moment. Is it who they’ll be tomorrow? Who the hell knows? Check back in and we’ll all find out together. That’s the whole idea.
Centered around Butler’s virtuoso guitar stylings and powerful, progressive lyricism, HOME draws upon a remarkable variety of musical genres, spanning folk, blues, funk, classic rock ‘n’ roll, and beyond. Out September 28, HOME is a message of redemption, a reflection of the inner and outer worlds Butler was experiencing and observing during this chapter of his life. The John Butler Trio is guitarist/vocalist John Butler, bassist Byron Luiters and percussionist Grant Gerathy. Packaging is Double LP White Vinyl.
LP will be packaged Die-cut jacket with 2 triangle flaps will have 1 pocket to hold insert. 21 minute Instrumental song, Play , featuring Dave Grohl playing all instruments Other Specifications: Project Update: Recorded at East/West Studios in LA (Concrete and Gold studio) Audio recorded by Darrell Thorp (Concrete and Gold) Project came together to help promote music education in schools
4-track 12" Vinyl EP. Recoded live at Copenhagen's Royal Arena in October 2017, Performing new album Skeleton Tree's beautiful compositions alongside songs from their essential catalogue, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & the Bad Seeds from their celebrated 2017 world tour.
Rod Stewart will release his 30th studio album – “Blood Red Roses” – September 28th on Republic Records! The album highlights Stewart’s acclaimed songwriting roots – blending the poignant observation, self-reflective introspection and playful swagger which established him as one of the world’s best-selling artists of all time. “Blood Red Roses,” a deeply personal 13-track collection of originals and three covers, is quite simply peak Rod Stewart. The album’s first single, “Didn’t I” is about the damage drugs can do from a parent’s’ point of view. This new album, his first in three years, follows international bestsellers “Another Country” (2015) and “Time” (2013) and will be released nearly 50 years to the date of when he signed his very first solo recording contract.
Rick and Morty is the critically acclaimed, half-hour animated hit comedy series on Adult Swim that follows a sociopathic genius scientist who drags his timid grandson on insanely dangerous adventures across the universe. Rick and Morty stars Justin Roiland (Adventure Time), Sarah Chalke (Scrubs), Chris Parnell (Saturday Night Live) and Spencer Grammer (Greek). The series is created by Dan Harmon (Community) and Roiland who also serve as executive producers. •Rick and Morty was the most-watched TV comedy of 2017, and the second-most-watched show overall, among adults 18-24. •The Season 3 premiere (via a secret, internet-only stream) registered 3M unique visitors via Adult Swim's site. The corresponding Facebook live stream recorded 43.3M impressions and 8.7M video views. •The season 3 finale drew 3.9M viewers in the 18-24 range and was the most-watched telecast of the day with adults 18-24, 18-24, and 18-49. •Rick and Morty was recently renewed by Adult Swim for an unprecedented 70 episodes (the past season was ten episodes). This release is the first official collection of music from Rick and Morty. All formats feature 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show. The box set includes a special bonus track on a 7”.
Recorded in a church in New Orleans, and produced by T-Bone Burnett, Jon Batiste’s major label debut is a stunning showcase of the brilliant pianist and vocalist. Primarily just Jon and his piano, Hollywood Africans includes standards, unexpected covers, and original songs. This release displays Batiste’s dynamic talents and highlights his musicality and virtuosity on his instrument.
In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.
As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned “Mr. Tillman” (foreshadowing its release as the fi rst single on God’s Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12” on-the-spot single of “Now I’m Learning to Love the War,” which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net.
Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare.
Over 30 years after the remix album Vital Idol was released and was certified platinum with over 1M sold, made 'Mony Mony' a global smash, and practically invented the dance-rock remix genre in the 80's, comes this modern day volume 2...Revitalized! This compilation of all brand new remixes of Billy's classic hits and some lesser known gems features Moby, Crystal Method, Paul Oakenfold, RAC, Cray, and more. 11 remixes including the hits Rebel Yell, White Wedding, Eyes Without a Face, Flesh For Fantasy, and Dancing With Myself.
David Guetta will release his long-awaited seventh studio album, 7, in stores and at all DSPs on Friday, September 14th. The full album will contain 27 tracks on two sides - 15 pop songs and 12 dance/electronic songs. The dance/electronic tracks will be branded as a Jack Back artist album, marking the relaunch of David Guetta's famed record label by the same name. ‘7' is a robust body of work, featuring new singles from a mix of incredible vocalists including Nicki Minaj, Jess Glynne, Lil Uzi Vert, Sia, Jason Derulo, G-Eazy, J Balvin, Anne-Marie, Bebe Rexha, and more.
Several single campaigns preceded the album, starting with "2U (with Justin Bieber)" last Summer. In Spring of 2018, the superstar producer released "Like I Do" with Martin Garrix and Brooks, and "Flames" with hitmaker Sia. The three songs have become global monster hits, racking up over one billion streams to date. If the success of his latest singles is any indicator of the quality of ‘7', Guetta is poised for a massive launch with the release of his full-length album this fall.
AAARTH makes a statement unlike its predecessors. Drawing inspiration from a worldwide climate of political and social uncertainty the band transplanted themselves in Utah’s vivid natural landscape immersed in a collage of colors and light, the ever fluid and expansive Southwestern sky mirroring our rapidly-changing world. The deep burnt-orange rocks and canyons became touchstones as the band formed the sonic landscapes of AAARTH. From soaring choruses to percussive pulsating guitars, The Joy Formidable paint an 11 song musical tapestry deftly balancing a sound as grounded as their ancient surroundings and as elusive and mind-bending as a gloaming desert sky.
Since the late '80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. "My sense of humor is dark, and these are dark times," says Arm. "I suppose it’s only getting darker." Digital Garbage opens with the swaggering "Nerve Attack," which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of "Kill Yourself Live," which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: "people really seem to find validation in the likes—and then there's Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere." Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman," on which Arm bellows "We'd rather die in church!" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of "Next Mass Extinction" calls back to last summer's clashes in Charlottesville. Mudhoney's core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice—remains on Digital Garbage, which the band recorded with longtime collaborator (and Digital Garbage pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy "21st Century Pharisees" builds its case with Maddison's woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with "Oh Yeah," a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. "I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation," says Arm. "But, you know, that probably doesn’t make for great rock." Mudhoney, however, know what does make great rock—and the riffs and fury of Digital Garbage will stand the test of time, even if the particulars fade away. "I've tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away," Arm laughs. "You don’t want to say in the future, 'Hey, those lyrics are still relevant. Great!'”
The one and only Cher will be releasing Dancing Queen, a new album of all Abba hits. The Oscar, Emmy and Grammy Award winning icon was inspired to record the album following her stunning performance in the recently-released mega-hit film, Mamma Mia! Here We Go Again. Commented Cher: "I've always liked Abba and saw the original Mamma Mia musical on Broadway three times. After filming Mamma Mia! Here We Go Again, I was reminded again of what great and timeless songs they wrote and started thinking 'why not do an album of their music?' The songs were harder to sing than I imagined but I'm so happy with how the music came out. I'm really excited for people to hear it. It's a perfect time." Dancing Queen was recorded and produced in London and Los Angeles with Cher's longtime collaborator Mark Taylor, who previously produced Cher's global smash "Believe" which was number one in over 50 countries.
Longbranch/Pennywhistle, the legendary 1969 collaboration between late Eagles co-founder Glenn Frey and his longstanding songwriting partner, JD Souther is making its debut on 180-gram vinyl. Previously available on CD and digital as a part of Glenn Frey’s Above The Clouds: The Collection box set, this long out of print album and blueprint of the California Sound is now available as standalone CD and LP release.
After his celebrated self-titled 2016 debut, Roosevelt aka Marius Lauber steps outside. While the debut album was deeply rooted in club culture and neon lit Nightmoves, his new album, entitled Young Romance, sees the 27 year-old producer embracing a new found love for bigger, bolder and sunnier pop songs - a fearless leap towards the light with songs that will further establish him as one of the most talented young artists of the day.
News of a previously unreleased recording by any of jazz s 'holy trinity is a reason to get excited. Now two have come along in the space of a few months. For hot on the heel s of Impulse s hit Coltrane release comes this precious lost treasure from prime-era Monk, featuring his most critically acclaimed Quartet. Mønk is a memorable live set (Copenhagen, Denmark) from 1963, featuring among other gems, glorious versions of soon-to-be classics Bye-Ya and Monk s Dream that outdo even the famous studio versions. It's most definitely Monk in is pomp, heralding a year in which Monk would become one of only 4 jazz artists to ever appear on the front cover of TIME magazine. The original tapes, having been saved from a skip, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process, making this a treat for audiophiles, enthusiasts, historians and music lovers of all shapes and sizes."
The Black Lillies are back! Known for their captivating blend of rock & roll and country, they have become one of Americana music's biggest success stories: an internationally-renowned band of roots-rockers, armed with songs that blur the boundaries between the genres. They are a mainstay on radio and album sales charts, with a sound that is as powerful in the quieter moments as it is explosive during the jubilant ones. The band's pared down configuration has resulted in a bigger, deeper sound built on undeniable chemistry, lush three-part harmonies, and instrumental virtuosity with a funky edge.
American Reckoning, the new acoustic album from Pittsburgh political punk band Anti-Flag, strips down some of the band’s latest hits to get to the heart of the message. It features acoustic versions of songs off of their last two albums, American Spring (2015) and American Fall (2017), as well as covers of some of the classics that inspired them. American Reckoning functions as an account of one of the country’s most tumultuous political times told by some of music’s sharpest political minds.
Singer-songwriter José James is releasing Lean On Me, a tribute album including 12 of Bill Withers' most undeniable and soulful songs produced by Blue Note president Don Was and recorded in Capitol's legendary Studio B with a dream team band: Pino Palladino (bass), Kris Bowers (keys), Brad Allen Williams (guitar) and Nate Smith (drums). Withers' nuanced perspective on romantic love rings out: the ache of “Ain't No Sunshine,” echoed by Bowers' expressive Rhodes; the celebration of vulnerability on “Use Me,” featuring Takuya Kuroda's Voodoo-evoking brass arrangements; and the bittersweet balladry of “Hello Like Before,” here in a dreamy hue. And then there's “Lovely Day,” which displays Lalah Hathaway's voice dancing along with James’ to all that ineffable joy.
The Bright Light Social Hour is if you combined Cat Stevens with a bit of Philadelphia Soul, a splash of Stax and a ton of Can. Maybe not? Combine your own list of bands… that would be The Social Hour as long as none of the bands suck. Their new EP, Missing Something, was self-produced, mixed by Jim Eno (Spoon) and mastered by Dave Cooley. Press includes; Huffington Post, Austin Chronicle, Glide Magazine and Remix. There will be regional touring, a campaign at AAA, comm specialty and college radio for "Trip With Lola," and two videos. The LP is 180g, translucent pink vinyl.
In the process of sourcing archive material for the box set, Dave shared with Marc two new pieces of music, inspiring him to begin working on lyrics for them. Due to long lead manufacturing times for box sets, neither ‘Northern Lights’ (Soft Cell's first single since 2002) nor its companion ‘Guilty (Cos I Say You Are)’ was ready in time to make the tracklisting. Instead, however, both form part of the 1CD collection ‘The Singles – Keychains & Snowstorms’ alongside all the classics.
Over the course of the 12 emotionally hard-hitting tracks on the album, Speak My Mind, The Willis Clan paints an intimate portrait of a family individually and collectively confronting and finding their ways through the darkest and most harrowing of circumstances. The Willis Clan does so through music and lyrics as a means of processing and healing from a tragedy that nearly stopped the siblings' meteoric career in its tracks. Though The Willis Clan hopes that the experiences they express in the songs on Speak My Mind can enlighten, inspire and empower listeners who come along for the musical journey, the moments of painful and deep introspection (and the questioning why) are beautifully balanced by uplifting threads of hope that run through the songs.
Gouge Away are a hardcore punk band from Fort Lauderdale, Florida. “Burnt Sugar” is their latest album, co-produced by Jack Shirley (Deafheaven, Oathbreaker) and Jeremy Bolm of Touche Amore. With “Burnt Sugar” Gouge Away dive into personal and social political subject matter without getting the bends on their way back to surface. Carrying an emotional vulnerability and honesty that few bands own in today’s music world.
Linda Thompson celebrates the music of the English music hall. • Special guests include: Teddy Thompson, Colin Firth, Martha Wainwright, Jools Holland, Justin Vivian Bond, John Foreman, Cara Dillon, and more. Linda Thompson’s career begins in the much beloved late ’60s, early ’70s British folk-rock scene. At first, she was mostly a session singer and a part of a short-lived duo with Paul McNeill with whom she released two singles in 1968 and 1969. McNeill happened to be friends with Sandy Denny, and soon so was Linda. She became one of the “supergroup” of musician friends related to Fairport Convention for the 1972 The Bunch album, a side project of sorts, featuring rock hits of the ’50s. The album’s single featured Linda and Sandy Denny covering The Everly Brothers’ “When Will I Be Loved.” Also in 1972 Linda married Richard Thompson and Linda (with Sandy Denny) can be found in the credits for Richard’s 1972 solo debut, Henry The Human Fly. Beginning in 1974, albums started appearing by Richard & Linda Thompson winding up with the classic Shoot Out The Lights in 1982 which also signaled the end of their marriage. Enter the English theatre! In 1984, Linda was singing with The Home Service at the National Theatre’s production of medieval mystery plays, before releasing her first solo album One Clear Moment in 1985. Unfortunately, due to dysphonia (a condition affecting her voice and ability to sing), One Clear Moment remained her only solo effort until 2002’s Fashionably Late by which time she had found a will and a way to continue singing despite the dysphonia. In 1987, the song “Telling Me Lies” from One Clear Moment was covered by Emmylou Harris, Dolly Parton and Linda Ronstadt for their Trio album and was nominated for the 1987 Best Country Song Grammy. In the 21st century, Linda has released or been a part of five albums to date bringing us to My Mother Doesn’t Know I’m On The Stage. For long-time Linda Thompson fans, an album of comedy, theatrical and popular songs that made up the music hall music of the 18th and 19th centuries, may seem a bit of a surprise, when actually, Linda has deep ties to the music: “I suppose the genesis of this record is that music hall and variety (vaudeville, for my American friends), was always a big part of my life. I’m only a hop skip and a jump removed from it. My grandparents were born in the late 1800s. My parents were born near the beginning of the 20th Century. My paternal grandmother had seen Marie Lloyd and Vesta Tilley, and the like. My dad grew up on Max Miller, and The Crazy Gang. He took me to theatres, both in London and Glasgow, to see Shows. I missed Max Miller, but I knew every word of his act, and all of the songs. I did see The Crazy Gang, who were sensational. I actually worked with one of them in 1967. Monsewer Eddie Grey. Lovely guy. Tommy Trinder was top of the bill, something made me steer clear of him tho.” With family and special guests on board, the album was mostly recorded in May of 2005 at the Lyric Hammersmith in London. While Linda sets the proceedings in motion, special guests appear quickly. “Beautiful Dreamer,” the Stephen Foster classic, is performed by Martha Wainwright. Says Linda, “I have always loved this song. Have sung and listened to many versions of it for eons. I have never ever heard a more beautiful rendition than this. Never.” Also along for the ride is actor Academy Award®-winning actor Colin Firth, who happens to be a fan of Linda’s son, recording artist, Teddy Thompson. Teddy brought Firth into the project and he handles the title track with all the wit and charm the title conjures. Teddy appears as well, handling lead vocal duties on several songs. Tony®-nominated cabaret artist, Justin Vivian Bond takes a turn at “A Good Man Is Hard To Find,” while both music hall singing legend, John Foreman, and renowned English folksinger Bob Davenport, tie the album back ...
“The Lamb was written during a time of intense paranoia after a home invasion, deaths of loved ones and general violence around me and my friends,” says Lillie West, the Chicago-based songwriter behind Lala Lala. “I began to frequently and vividly imagine the end of the world, eventually becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and the choices I’d made, often wondering if they were correct and/or kind.” West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood -- her fraught insecurity, struggles with addiction, and the loss of several people close to her. Across the album’s 12 tracks, West carefully examines the skeletons in her closet for the first time, hoping to capture honest snapshots of her past selves. Many of the songs show West asking herself agonizing questions about her life with a clever and hopeful curiosity. On the album’s first single and opening track, “Destroyer,” she reflects on feeling self-destructive and the delayed realization something in the past has irrevocably hurt you. In “Water Over Sex,” West laments her old precarious lifestyle, while trying to readjust to her newfound sobriety, and ”Copycat” confronts her feelings of alienation and boredom. “Some of this album is about being frustrated that everything is always repeating itself and being bored with your own feelings,” she explains. “‘Copycat’ in particular is about how everyone talks exactly the same on the Internet and how it sometimes feels futile to try and be yourself.”
European Heartbreak was recorded and co-produced in Los Angeles, California with Chris Cohen from Deerhoof and in Richmond, Virginia with Trey Pollard (Natalie Prass, The Waterboys, Bedouine) overseeing horn and string overdubs from Spacebomb Studios. A vast step forward from her critically acclaimed debut album Fading Lines, this selection of songs flit around Europe, from Berlin to Spain to the south of France. It's European not just in lyrical theme but in the sly sophistication of its music. These songs carry with them the air of open-topped cars on cliff top roads, cocktails on the terrace at sunset but the lyrics undercut that sunny mood, artfully and skillfully.
Having made waves with their 2015 debut, The Life I Remember, the band have dramatically progressed beyond the melodic death metal sound of that release into something more complex, emotional, distinct, and devastatingly heavy. Evolution was not just the title of Once Human s sophomore release last year it was an armorplated declaration. And it evolved into something big. The video for their lead-off single Eye Of Chaos by now gathered more than 7 million views on YouTube alone. Stage Of Evolution is the consequential mutation of the Evolution album from studio to stage. It was recorded during last year s US tour and features not only songs from the studio album but also a cover of Machine Head s Davidian , a track from their 1994 debut album Burn My Eyes, co-written by Logan Mader. The track also features guest vocals by Fred Leclercq of Sinsaeneum and Dragonforce.
Anthology box set of Stereolab's Switched On compilations of singles and rarities, originally issued between 1992 and 1998. Contains Switched On, Refried Ectoplasm [Switched On Volume 2], and Aluminum Tunes [Switched On Volume 3]. Reverse board clam shell box with disks in individual card wallets and insert.
Wolfheart`s music embraces the sheer force and beauty of Finnish nature with fiery passion. The four piece from Lahti labeled its epic and harsh sound “Winter Metal“ which is indeed a thrilling score to nocturnal soul-searching in deep, snowy forests. The fourth album Constellation Of The Black Light proves to be uncompromising and dives headfirst into Black Metal, Nordic Death Metal, soaring melodies and complex arrangements as on the opener ‘Everlasting Fall‘ – the start of a colossal journey that these Finns embark on with their typical melancholy. They have a knack for sparse piano parts (‘The Saw‘) and the guts to be dramatic (‘Defender‘). So Wolfheart succeeds in finding the right balance between Extreme Metal and a little Doom romance: a demanding work of art that is second to none.
Estrela Mágica is a starcrossed collaboration between Samira Winter (Winter) and Glenn Brigman (Triptides). Sighting influences from Brazil’s colorful Tropicalia movement as well as the phased out sunshine psychedelia of the American 1960’s, Winter and Triptides started blending together their favorite musical colors into a brand new sonic palette. Two years and a dozen home recording sessions later, they had crafted enough material to form Estrela Mágica.
One of the earliest MC5 singles! Packaged in new envelope style sleeves, with rare unseen band photos! The Motor City Five pressed on black vinyl at Third Man Pressing in the Motor City! Includes brand spankin’ new liners by David Fricke of Rolling Stone, who says, “In a 1966 live recording, the MC5 played ‘Looking at You’ like Motown raga. At United Sound, the band hit the zigzag riff at light speed and stayed there, framed by searing lead guitar and explosive drumming. ‘Borderline’ was a frantic jigsaw of power-chord jolts and sheet-like harmonies detonated again, at the Grande, for the live recording of the MC5's first LP, Kick Out the Jams.”
"Looking At You"/"Borderline"
Limited colored vinyl LP pressing including digital download. 2018 release, the fifth studio album from Canadian emo punk-rock band Living with Lions. Island marks the band's return for their first full-length album since 2013's Some of My Friends Appear Dead to Me.
If life was at all fair Ural Thomas would be a household name, his music slotted into countless sweet, seductive mixtapes between James Brown, Otis Redding, and Stevie Wonder (all of whom Thomas has performed with.) Straddling the line between hot soul shouter and velvety-smooth crooner, Thomas released a few singles in the late 60’s and early 70’s; most notably “Can You Dig It”, which featured backing vocals from soul luminaries Merry Clayton, Mary Wells and Brenda Holloway. Thomas played over forty shows at the legendary Apollo Theater before turning his back on an unkind business and heading home to Portland, OR. It goes without saying that a man practically built out of rhythm would never stop playing music. Thomas began hosting a regular Sunday night jam session at his home that ran for nearly twenty years. A de facto mentor to many of the younger players, Thomas reminds us all that “If you care about what you’re doing, you need to build those muscles and do the work. Don’t get discouraged, do it for love. Even if you’re digging ditches, do it with passion.” In 2014, local soul DJ Scott Magee sat in on drums. The two became fast friends and at Magee’s urging Thomas decided to give his musical career another shot. Magee became the musical director, they put together a band, and in 2016 released a self-titled album on Mississippi Records. In 2017 Thomas signed with Tender Loving Empire and began work on what, in many respects, will be his debut full length. Diving deep into lifetime of melodic creativity, Thomas and his band got to work. Recorded in Magee’s studio Arthur’s Attic, The Right Time features the air-tight work of Magee on drums, percussion, and backing vocals, Bruce Withycombe (The Decemberists) on baritone sax, Portland jazz scene fixture Brent Martens on guitars and vibraphone, Arcellus Sykes on bass, Steve Aman (Lady Rizo) on piano and organ, Dave Monnie on trumpet, Willie Matheis (Cherry Poppin’ Daddies) on tenor sax, and Jasine Rimmel, Joy Pearson, Sarah King, Rebecca Marie Miller on backing vocals. The Arco Quartet performed the strings, and the record was engineered and mixed by Jeff Stuart Saltzman (Blitzen Trapper) and mastered by JJ Golden (Sharon Jones, Ty Segall). One might think after a sizeable taste of early success Thomas would be more than a touch bitter – yet the opposite is true. “We have to be positive if we want the world to get better” Thomas advises. “We’ve come a long way, but if you carry a grudge with the whole world you’ll stop your growth. We’re a family, all just brothers and sisters, descendants of Adam. You can’t get anywhere without an open heart.” A developing artist at nearly eighty years old, for Thomas music has always been about bringing people together. “If we play for twenty people we cook it like it’s twenty thousand” says Thomas. “If we make someone smile we’re satisfied. They’re ain’t no difference between us. It’s all love and brotherhood. If folks listen to my record and feel that I’ll feel very blessed.” Standing in bold defiance of the idea that aging is a reason to slow down and stop living, for Thomas the right time to get down is the next time someone plugs in a guitar or puts on a record. Ural is ready – are you?
It’s Skrillex meets Slipknot. It’s a singular entity. It’s ZARDONIC. It’s that brilliant blend behind the burgeoning fervor for Zardonic around the world. Whether performing for 10,000 people in Russia, headlining festivals across South America, dominating Europe and Japan, Zardonic represents an immediate yet timeless musical apex striking a nerve across nationalities and false boundaries of any kind.