Limited vinyl LP pressing. Cosmic Thing is the fifth studio album by new wave band The B-52’s, released in 1989. It contains the singles “Love Shack” and “Roam”. The success of the album served as a comeback after the death of guitarist Ricky Wilson in 1985. Six of the album’s songs were produced by Nile Rodgers in New York City, and the remaining four by Don Was in upstate New York. The band embarked on the Cosmic Tour to promote the album.
Electronic are proud to present the release of their self-titled album. Pressed on 180g black vinyl, this reissue features the black cover on vinyl for the very first time, which was first used on the CD version released in 1994.
Electronic were the coming together of Bernard Sumner and Johnny Marr in 1987. This was the year of the sudden and wholly unexpected demise of The Smiths, who imploded in July after Marr left the group. Two months later, midway through a North American tour, Bernard Sumner shocked his bandmates by announcing that he planned to take time out from New Order. Marr and Sumner had met in 1984 when Marr added guitar to Atom Rock by Quando Quango, an electro-dance track co-produced by Sumner. Marr sums up their coming together for Electronic; ‘We were two musicians who wanted to get away from the suffocating politics of the band. At the same time, it was OK for duos and DJs and non-groups to make records, and that really appealed to Bernard and me.”
The project was a joyous Venn Diagram of Sumner and Marr’s influences. Although ostensibly coming from different disciplines, the experimental dance-pop of New Order and the fullbodied jangle of The Smiths, their common interests were many: dance music, a good tune and pushing musical boundaries. At the time of release (May 1991), ‘Electronic’ was met with huge acclaim and stands up as one of the most important electronica albums of all time.
On May 26, 2016 The Flaming Lips performed their classic album The Soft Bulletin in its entirety with the Colorado Symphony at Red Rocks Amphitheater in Colorado.
The Flaming Lips (Wayne Coyne, Steven Drozd, Michael Ivins, Derek Brown, Jake Ingalls, Matt Kirksey and Nicholas Ley) were accompanied by a 69-piece orchestra and 56-strong Chorus. The performance was conducted by the internationally celebrated conductor Andre de Ridder.
The Flaming Lips performed the 12-track album in its original sequence with new arrangements for each song that use the orchestra and chorus to great effect.
This entire concert was produced by The Flaming Lips, Scott Booker and their long-time collaborator Dave Fridmann. The resulting live album is being released to celebrate the 20th anniversary of The Soft Bulletin, originally released in 1999. The album was the band’s breakthrough moment and featured the hit singles “Race For The Prize” and “Waitin’ for a Superman”
“Colorado” is the first new Neil Young with Crazy Horse album since 2012’s “Psychedelic Pill”. The album will be released on October 25th and features 10 new Neil Young compositions. It includes several songs that Neil has been playing live in the past few months (eg: “Rainbow of Colors”, “Green Is Blue” and “Milky Way”), and the epic 13+ minute track “She Showed Me Love”.
The vinyl version of the album comes with a bonus 7″ single, featuring an album outtake “Truth Kills”. The 7″ also includes a live, solo version of “Rainbow of Colors” from Portland, OR, on May 17, 2019 – the first time Neil ever performed this song live.
This incarnation of Crazy Horse is Neil Young on vocals, guitar,
piano, harmonica and vibes, Billy Talbot on bass, Ralph Molina on drums and features the return of Nils Lofgren on guitar and piano, almost 50 years since he last appeared on a Crazy Horse album (1971).
After celebrating the classic Fantasma back in 2016, Japanese music hero Cornelius will be doing the same for follow-up Point, which he will be playing in full on a North American tour. What’s more, Keigo Oyamada will be treating his beloved 2002 album to an expanded and remastered reissue.
Following a string of full-album shows in his native Japan this summer, Cornelius will be playing the entirety of Point during a brief West Coast tour.
You can see all the North American dates for the Point tour below.
As for the Point reissue, the album will be remastered and expanded to include various B-Sides and remixes from the era by the likes of Kings of Convenience, Matthew Herbert and Yann Tomita.
Hey, I’m Just Like You is a return to Tegan and Sara’s rock and punk roots, with a punch of pop production. Recorded in Vancouver, Canada in April and May 2019, the album recasts the remarkable innate songwriting talents both possessed as teenagers, and allows these previously unreleased songs to benefit from the studio expertise they have gained in the past two decades – a period that has seen them release eight studio albums, earning seven Gold certifications and one Double Platinum certification in the process. Defiant and melodramatic, the songs capture the exultation and grief of first loves, first losses, ecstatic kiss-offs, and psychedelic tributes to friendship.
Joy Division are celebrating 40 years since the release of their seminal 1979 LP Unknown Pleasures with a new limited edition version of the album
The limited edition LP is pressed on a bold 180g ruby red vinyl with an alternative white sleeve resembling Peter Saville‘s original design idea. A T-shirt accompanies the vinyl release to help celebrate the album as a landmark in music, fashion, art and design. Additionally, Goodhood has created a selection of accompanying products comprised of apparel, shoes, bags and accessories which will be released June 14.
The new Warner Bros. record features 11 original tracks written by Lewis herself and recorded at Capitol Record’s well-known Studio B. Include many specials guests such as Beck, Jim Kentler, Ringo Starr, Ryan Adams, former Tom Petty and the Heartbreakers keyboardist Benmont Tench and multi-instrumentalist/producer Don Was.
The Grammy Award-winning maverick channels his signature sense of soul from the crossroads of rock ‘n’ roll, blues, jazz, hip-hop, reggae and punk. Clark’s most accomplished songwriting and virtuosic performances to date; This Land delivers socially relevant, transcendentally ambitious, and musically rich declaration as unapologetic, undeniable, and unique as he is.
He emerges with a body of work that is dynamic in every sense, embodying an ever-evolving sound that transformed him into an artistic force anointed by everyone from President Barack Obama to the late Prince. To sum up Gary Clark Jr. is more challenging every day. He’s a musical universe unto himself, expanding at a nearly immeasurable rate, ever harder to define – as a mind-blowing guitarist, a dazzling songwriter and engagingly soulful singer.
Mac Miller has accomplished every goal he ever set for himself. At least that’s what the magazines say about the Pittsburgh kid, and they’re right enough. With his first album he became a grassroots rap megastar. With his second he bared his weird soul and was praised for it. His 11 mixtapes boast a couple bucket lists’ worth of collaborators, from Bun B and Kendrick Lamar to Rick Ross and Juicy J. And in the same year that he toured the U.S. backed by a psychedelic soul band, he rapped all over Europe with Lil Wayne and 2 Chainz. He did indie. He’s doing major. He even bought himself a ridiculous house in the Los Angeles hills and made a TV show about it. Hell, he made a jazz record.
Exact same reissue from Black Friday Record Store Day, which was supposedly limited to 5000 copies. But here it is again, in unlimited form. Good job, Warner Bros and RSD. You fooled us again with another supposedly limited Record Store Day release.
The atmosphere of such a movie and score is unique, addictive and affecting and for me Hans Zimmer and Benjamin Wallfish created the own vision of the soundscape for this world; at times evoking the sensitivity of Vangelis, at times inevitably hitting with the force and violence of 30 years later but all the time delivering exceptionally rewarding film music I am sure they will managed to satisfy purists and new fans alike.
Round silver hype sticker on shrink: ‘5 LP BOX SET featuring the 2017 Master of the seminal album, additional recordings and an unreleased live album, all heavyweight vinyl. All three issued with gatefold sleeve and printed inner sleeves.
Although Jane’s Addiction’s 1987 self-titled debut was an intriguing release (few alternative bands at the time had the courage to mix modern rock, prog rock, and heavy metal together), it paled in comparison to their now classic major-label release one year later, Nothing’s Shocking. Produced by Dave Jerden and Jane’s Addiction vocalist Perry Farrell, the album was more focused and packed more of a sonic wallop than its predecessor; the fiery performances often create an amazing sense that it could all fall apart at any second, creating a fantastic musical tension. Such tracks as “Up the Beach,” “Ocean Size,” and one of alt-rock’s greatest anthems, “Mountain Song,” contain the spaciousness created by the band’s two biggest influences, Led Zeppelin and the Cure. Elsewhere, “Ted, Just Admit It…” (about serial killer Ted Bundy) and the haunting yet gorgeous “Summertime Rolls” stretched to epic proportions, making great use of changing moods and dynamics (something most alt-rock bands of the time were oblivious to). An incredibly consistent and challenging album, other highlights included the rockers “Had a Dad” and “Pigs in Zen,” the horn-driven “Idiots Rule,” the jazz instrumental “Thank You Boys,” and the up-tempo “Standing in the Shower…Thinking.” Like most great bands, it was not a single member whose contribution was greater: Perry Farrell’s unique voice and lyrics, Dave Navarro’s guitar riffs and wailing leads, Eric Avery’s sturdy bass lines, and one of rock’s greatest and most powerful drummers, Stephen Perkins. Nothing’s Shocking is a must-have for lovers of cutting-edge, influential, and timeless hard rock.
“Sidetracks is an impressive collection that makes clear Steve Earle’s leftovers make for a better album than most songwriters could construct from their top-shelf work — and that he can get over as a singer and not just as a songwriter performing his own work.”
The ten tracks that are featured on How Did We Get So Dark? were written in instrumental form during sessions in Brighton, Los Angeles and Nashville. Always trying to explore ways of stripping their enormous sound back to give it more space and impact, inspiration for the lyrics came from events in vocalist/bassist Mike Kerr’s life since the band first found huge success. While the album finds Royal Blood refining their melodic might, there are other moments that fulfil their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr’s falsetto, ‘Don’t Tell’ drops the intensity to mesmerizing effect, while ‘Where Are You Now?’ pulsates with a bounding energy that’s quite a step apart from anything else in their catalogue. The Royal Blood palette is also expanded with the inclusion of harmony vocals – something that they didn’t use on their debut.
The Canadian-American alt-prog collective’s fifth full-length outing, Grace Street delivers a heady mix of the accessible and the labyrinthine; a smartly structured, skillfully executed set of left-field radio hits with cosmic aspirations. Anchored by Ian Thornley’s mellifluous voice, which pairs the elastic falsetto of Coldplay’s Chris Martin with the seismic power of Peter Gabriel, the 13-track LP, despite its nearly 70-minute runtime, never forgets that strong songwriting is the fulcrum on which even the most adventurous run or clever time or key change finds equilibrium. Whether it’s the knotty “Tomorrow Down,” with its propulsive backbeat and Floyd-meets-Zeppelin chorus, the funky, Stones-ian “You Don’t Even Know,” the goose bump-inducing acoustic ballad “Useless,” or the ripping lead single “One Good Piece of Me,” the latter of which is a perfect rendering of soaring alt-rock and Asia-inspired pop smarts, Grace Street has a little something for everyone.
1999’s Echo served as Tom Petty and the Heartbreakers’ first official studio album since 1991’s Into the Great Wide Open with the frontman’s second solo endeavor Wildflowers (1994) and Songs and Music from She’s the One (1996) issued in the interim.
A self-described dark record rooted in the pangs of his recent divorce, Rick Rubin wonderfully balances the weight of the record’s themes with a revealing no-nonsense production which only adds to the intimacy of Petty’s songwriting. Home to the trio of Top 20 singles “Free Girl Now,” “Swingin'” and “Room at the Top,” Echo would also be the last album to feature contributions from the band’s longtime bassist/vocalist Howie Epstein who died of a drug overdose in 2003.