Music Releases 07-06-18
Everything is Love
The Nude Party
The Nude Party [LP]
Yellow Submarine: Limited Edition Picture Disc Vinyl Single
Years & Years
World Be Live [LP]
Northern Chaos Gods [White LP]
Outlaws 'Til The End, Vol. 1 [LP]
Night Time People [LP]
Silver Eye: Deluxe Edition
21st Century Liability
Popular Music (Live)
Lucifer II [LP]
Quick Eternity (Four Tet Remix) [12in Single]
The Complete Warner Bros.-Seven Arts Recordings
Get Out Of The City [LP]
Runaway - Single
Megaphone - Single
Have It All (Easy Star All-Stars & Michael Goldwasser Reggae Mix) - Single
Movie Releases 07-06-18View More
Music Releases 07-13-18
‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors.’ Here David Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. The album begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” In addition to the core musicians and guests, LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Lamp Lit Prose will be the ninth release for Dirty Projectors and comes with collaborations from HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose was recorded at Ivo Shandor in Los Angeles.
Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011 . They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation. Defeat has inspired some of our best art. If you survive something terrible, you surface on the other side, walk toward the light, and come back to life. If you’re an artist, this kind of new self-knowledge can lead to creating something universal and remembered, something that can live longer than you do. While Deafheaven have managed to cross over this road in the past, they’ve nailed the feeling wholly with Ordinary Corrupt Human Love, a feeling that comes with experience and wisdom. Yes, everybody deals with hurt, everybody’s been the cause of their own implosions, and everybody has the capacity to overcome and love again. Deafheaven have found a way to externalize all of this, and in making their most complete record to date, they turn it into a balm and a cathartic exorcism.
Between the Buried and Me - Automata II - New CD Album This is PART TWO of BETWEEN THE BURIED AND ME’s two-part eighth album and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. They continue to expand their ever-evolving style, upholding a tradition of progression in the process. Track Listing: 1. The Proverbial Bellow 2. Glide 3. Voice Of Trespass 4. The Grid
Back Roads And Abandoned Motels consists of the Jayhawks' versions of songs originally written by front man Gary Louris with and for other artists, including "Come Cryin' to Me" (originally released on Natalie Maines' Mother in 2013); "Everybody Knows" and "Bitter End" (released on Dixie Chicks' Taking The Long Way in 2006); "Gonna Be a Darkness" (written and performed by Louris and Jakob Dylan for True Blood: Music From The HBO Original Series - Volume 3 in 2011); "Need You Tonight" (originally released on Scott Thomas' Matson Tweed in 2015); "El Dorado" (originally released on Carrie Rodriguez' She Ain't Me in 2008); "Bird Never Flies" (originally released on Ari Hest's The Break-In in 2007); "Backwards Women" (written with Wild Feathers but never recorded) and "Long Time Ago" (written with Emerson Hart of Tonic but never recorded). In addition the album premieres two brand-new songs.
New Vinyl: $23.99 Add to Cart
Includes 1968 mix, 1971 mix and 7 live tracks from Winterland 10/22/67:
Co-produced by Dave Izumi in Izumi's own Echo Zoo studio in Eastbourne, work began on Outsiders in early 2017. The album, though instantly recognisable as a Magic Numbers record in it's melodies, begins with a more raucous punch sonically. The confidence is more evident than ever before, noticeable immediately in the more bluesy, gnarly guitar sound. Songs like 'The Keeper', even having a distinct T. Rex feel. I've been revisiting lots of early rock'n'roll and blues records, Bo Diddley, Howlin' Wolf", Stodart explains. "I've fallen madly in love with the electric guitar again for sure. I love T. Rex, and Bowie. The silver lining of the sadness of losing ?David Bowie?? was that you go back and become obsessed again. Even the way he left us was a work of art.' There's also been a subtle but significant shift in Stodart's lyrical themes. 'It wasn't a conscious decision to refrain from looking inward but I did feel a shift creatively with the things I wanted to say and share this time around. It's allowed me the opportunity to play with characters like Michele & I have done on 'Ride Against The Wind" which we based upon a fictitious motorcycle girl gang who've grown tired of conforming and towing the line in their everyday lives." This sense of fun is also reflected in the occasional references Romeo throws in of other people's songs, such as namechecking Kate Bush's "Hounds Of Love", and "Everybody's Talkin'" by ?Fred Neil??. "I enjoy throwing in those things in a way to see if people notice, it makes songwriting more playful." The lead single is the epic Neil Young meets Fleetwood Mac" Sweet Divide". "The couplet "Maybe there's no grand design/What if this is all we find?" hints at a humanist, even atheist interpretation. "No-one knows what's to come," says Romeo. "We're all just fumbling in the dark, searching, sometimes it can be comforting to acknowledge that. The expansive, extraordinary "Runaways" is one of the album's standout moments. "It's a love song for the misfits in society" Romeo explains, 'It's saying we're 'scorned lovers' 'damaged goods' but let's stick together and embrace it, I think there's a beauty in that'
With their new album, All That Reckoning, The Cowboy Junkies once again gently shake the listener to wake up. Whether commenting on the fragile state of the world or on personal relationships, this new collection may be the most powerful album the Cowboy Junkies have yet recorded. Its a deeper and a more complete record than weve ever done before, says songwriter / guitarist Michael Timmins. These songs are about reckoning on a personal level and reckoning on a political level.
Rayland Baxter’s new album is a dream realized. Since he first started writing music, this roving rock ‘n’ roll philosopher dreamed of a space where he could devote every waking hour to creating. The hard-touring musician finally found it in the form of an abandoned rubber band factory in Franklin, KY, where he covered the windows, threw a mattress on the floor, and with guitar and piano in tow, spent three straight months writing. At night he would sit and listen to the sounds around him: coyotes, the howling wind, the faint prattle of the nightly TV news. The result of this isolation quest is ‘Wide Awake’ (July 13/ATO Records), a ten-song collection that celebrates the best aspects of humanity and grasps at understanding the worst.
Leading with his heart as much as with his head, AHI is an emotional yet discerning lyricist who would rather demonstrate love than use the word itself. He allows his light to shine inward but only to a degree, admitting to some autobiography on In Our Time but as glimpsed through an imaginative lens. While his music possesses a quality of timelessness, the sounds here reveal a broad spectrum of influence and also toe the line between retro and revelatory. None of that is by accident: the album, like its 2016 predecessor, We Made It Through the Wreckage, was recorded in Nashville -- a place AHI finds attractive for its sound and skilled studio hands rather than its glitzy polish -- and this time on analog-to-tape with flourishes of digital technology.
Body/Head is the duo of Kim Gordon and Bill Nace. Creative alchemy doesn’t just happen in the studio or in the practice space; so much of it is the product of solo time with one’s instrument, learning how body and wood and electronics fuse, and of subconscious processes as one lives one’s daily life—picking up the ambient noise of the world outside, listening to others’ work, talking through ideas with friends. For Kim and Bill, time together these days is limited to live performances and recording, so they’ve got to bring all their magic to every encounter. Lucky for us, these are two experimental sorcerers of significant renown. Their debut album together as Body/Head, Coming Apart, from 2013, was more of a rock record—heavy, emotional, cathartic, spellwork in shades of black and grey. The Switch is their second studio full-length, and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document No Waves), but much of it happened purely in the moment. Working in the same studio and with the same producer as Coming Apart, here Body/Head stretch out, making spacious pieces that build shivering drones, dissonant interplay, Gordon’s manipulated vocals, and scraping, haunting textures into something that feels both delicate and dangerous. Less discrete songs than one composition broken up into thematic movements, a slow-moving narrative that requires as much attention and care from the listener as it did from everyone involved in its creation, it is a record that sticks around after it’s done playing. This is Nace’s favorite of Gordon’s guitar work; she’s truly come into her own as a guitarist, having built up her confidence through solo shows. The way the duo work together, you’d never know they spend so much time apart; on The Switch, their vision and focus feel truly unified. If Coming Apart was dark magic, The Switch works with light, though it never forgets that these approaches are two sides of the same coin, and that binaries—black/white, near/far, emotion/analysis, body/head—are made to be broken open, and that the truth of things is in the energy between. “Tenuously and perfectly balanced between experimental challenge and punk efficiency.” - Pitchfork “All sorts of wild, enthralling noises with little more than a pair of guitars and some amplifiers.” - The New York Times “Their minimalist drones evoking the tumultuous inner spaces of the heart and the mind”. - SPIN
Ten years after Mamma Mia! The Movie grossed more than $600 million around the world, fans are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. With the film’s original cast returning and new additions including Lilly James and Academy Award® winner Cher, the musical comedy will open on July 20, 2018. Original ABBA member Benny Andersson produced and arranged the upcoming soundtrack.
Still Run is the new album from Brooklyn, NY based alternative band Wet, and is the follow up to the band’s critically acclaimed debut album Don’t You from 2016.
Still Run shows Wet with a more upbeat and pop driven sound than their debut. The band’s new sound and new outlook, is informed by lead singer and songwriter Kelly Zutrau taking more creative control of the project. Much of Wet's shift stems from Zutrau's more forceful vocals, which allow her direct, yet poetic lyrics to resonate more deeply, and which leap out of the sunnier production. Producers like Rostam (Haim, Solange), Andrew Sarlo (Big Thief), and John Hill (Santigold, M.I.A.) assisted primary producer and Wet band member Joe Valle, who brings a new comfort level to his production style, presenting dark lyrics in a brighter way that highlights their innate intensity and lets Zutrau's songwriting shine. "There are a million ways to make a good song sound good," she says. "But what matters to me most in the end are the vocal, and the songwriting, and whatever serves those best."
Wet is recognized for their deeply-hued emotional pop, well documented by the New York Times, Spin, and NPR among many others. Rolling Stone noted that Wet “set themselves apart with music that combines the elegant ache of Nineties R&B with the raw honesty of indie pop…”. Still Run is a testament to taking that control and pursuing one's artistic vision—and it also shows how any hiccups that might crop up along the way can make the vision's eventual realization more satisfying.
Birds In Row are a melodic/abrasive band from Laval, France. Blurring the lines between hardcore, punk, and related sub-genres, Birds In Row offer something of substantial weight to their listeners. Collectively carrying somber hearts and poignant souls, they navigate through melancholic seas to shape beautifully hook-laden songs unlike anything else out there today. “We Already Lost the World” is their latest, a stunning nine song album that blends post punk and angular rock influences into something emotional and electric. Recorded and mixed by Amaury Sauve at The Apiary, and mastered by Thibault Chaumont at Deviant Lab.
New Vinyl: $39.99 Add to Cart
In 1997, PBS began airing Sessions at West 54th, a program far removed from the live music fare aimed at the older set that one usually finds on the network. Instead, Sessions at West 54th brought the hottest and hippest acts to New York to perform live in front of a studio audience. And one of the first acts asked to appear was Ben Folds Five. Which was a very big deal to the leader of the band. “I viewed it as an equal to a classic BBC live music television show,” says Ben Folds. “I walked into it thinking, 'This is the one I leave [behind],' because it felt like some kind of a time capsule gig.” Now, we at Real Gone Music are thrilled to present the complete performance by Ben Folds Five as recorded at Sony Music Studios (only three songs aired on the original PBS broadcast). This 2-LP/CD release represents the first live album to be released in either format from the “vintage” years of the trio (consisting of Folds, drummer Darren Jessee and bassist Robert Sledge). Among the 15 tunes are three from the group’s self-titled debut, nine from their then-current release Whatever and Ever Amen featuring their hit “Battle of Who Could Care Less,” and three songs that had not been released at the time (“Emaline,” “Theme from ‘Dr. Pyser’,” and their radically reimagined cover of Flaming Lips’ “In She Don’t Use Jelly”). Folds and crew were always a great live band—they even recorded their studio albums in a largely live setting—but this performance crackles with palpable intensity, brought home by this recording’s flawless fidelity. But don’t take our word for it—as Folds says in Bill Kopp’s liner notes that accompany the release, “That gig was pretty special.” Available on CD or in a gatefold blue vinyl double-LP limited to 1000 copies!
New Vinyl: $51.99 Add to Cart
The Rolling Stones’ No Security tour ran from January to June 1999 through North America and Europe. It followed on from the colossal Bridges To Babylon tour and took its name from the “No Security” live album recorded on that 1997/98 tour. In reaction to the huge stadiums played on Bridges To Babylon the conscious decision was made to book smaller venues for the initial North American leg of the No Security tour. This latest addition to the acclaimed From The Vaults series was filmed at the San Jose Arena in front of an audience of a little over 30,000 (intimate by Rolling Stones standards!) at the end of the North American dates. Previously unreleased, it captures the band in top form playing a set that spans from mid-sixties hit singles up to the then current Bridges To Babylon album.
Mick Jagger (vocals, guitar, harmonica); Keith Richards (guitar, vocals); Charlie Watts (drums); Ronnie Wood (guitar)
With: Darryl Jones (bass, backing vocals); Chuck Leavell (keyboards, backing vocals); Bobby Keys (saxophone); Tim Ries (saxophone, keyboards); Michael Davis (trombone); Kent Smith (trumpet); Lisa Fischer (backing vocals); Bernard Fowler (backing vocals, percussion); Blondie Chaplin (backing vocals, percussion, acoustic guitar)
The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson s father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin
Movie Releases 07-13-18
Amy Schumer stars as Renee, a woman who struggles with feelings of insecurity and inadequacy on a daily basis. After suffering a fall, she wakes up believing she is suddenly the most beautiful and capable woman on the planet. With this newfound confidence she is empowered to live her life fearlessly and flawlessly, but what will happen when she realizes her appearance never changed? This hilarious and relatable comedy also stars Academy Award nominee Michelle Williams, Rory Scovel, Busy Philipps, Aidy Bryant and Emily Ratajkowski, and is being hailed by critics as "funny and emotionally revealing" (Justin Chang, Los Angeles Times).
Music Releases 07-20-18
Ty Segall & White Fence
The Tree [LP]
Hive Mind [LP]
Beautiful Life [LP]
Light Of Mine
1,2, Kung Fu [Limited Edition Pink LP]
Other Nature [Translucent Green LP]
Devouring Radiant Light [LP]
I'm Only Dreaming...Of Days Long Past [LP]
Live At Mauch Chunk Opera House [LP]
The Agony Scene
Temporary High [LP]
No Question [LP]
Mc Paul Barman
(((Echo Chamber))) [LP]
Say What You Will...Everything Can Happen: Reissue