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John Coltrane

Sun Ship [Reissue]

Vinyl: $26.00 Buy

MP3 Album: $7.99 Download

Recorded on August 26, 1965 (and not released until after his death in heavily edited form), Sun Ship was the final recording by John Coltrane's quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on "Ascent" and "Attaining, " where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of "Dearly Beloved" suggest earlier balladic explorations such as "Alabama, " with Coltrane's keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner's great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On "Amen, " the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane's final period of transformation.
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Crescent is a 1964 studio album by jazz musician John Coltrane, released by Impulse! As A-66. It features his jazz quartet group of McCoy Tyner, Jimmy Garrison and Elvin Jones playing all original Coltrane compositions, with the leader playing tenor saxophone exclusively. It is commonly regarded as the saxophonist's darkest album. Only the brief, infectious medium-up "Bessie's Blues", and a samba-tinged groove in the midsection of the otherwise sedate "Wise One", break the sombre mood.
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Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon musick / in the light of the moon."What's most remarkable about the album 20 years after it's release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: "Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming."
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When George Thorogood and the Delaware Destroyers burst onto the national scene in 1977, roots rock music was all but absent from contemporary radio. Yet, the focus and excitement that George brought to the classic songs of his idols such as Chuck Berry, Elmore James, and Jimmy Reed was undeniable. Rounder Records had its first hit artist and the late 1978 release of his second album soon had Thorogood s interpretations of Bo Diddley s Who Do You Love? and Hank Williams Move It On Over blanketing the airwaves.
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The album Tribe Called Quest wanted to make from the very beginning. It's their most even, consistent album of the original trilogy that also includes People's Instinctive Travels... and the Low End Theory. But in spite of this, or maybe because of it, it's also their most uninteresting. With so many competent tracks, there's no chance for something to stand out above the pack, like "Scenario" did on Low End Theory or "Can I Kick It" did on People's Instinctive Travels. The celebration is there ("Stir It Up"), the jazz drums kick ("Oh My God"), and the stand-up bass dribbles, keeping perfect pace with Q-Tip's unmistakable mic-touch ("Electric Relaxation"). There's even a Native Tongues armistice/reunion with de la Soul ("Awards Tour"). Although it comes together like a seamless tutorial in jazz hip-hop style, it comes together so damn well that it's hard for any one track to excel, cursing the album with consistent quality.
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A Tribe Called Quest

Anthology

Vinyl: $30.00 Buy

MP3 Album: $11.99 Download

Explicit version 1999 2 X vinyl LP pressing collection featuring the best tracks from the NYC hip hop group's previous five albums including "I Left My wallet in El Segundo", "Can I Kick It", "Bonita Apple bum", "Check the Rhime" & many more. Guests include Busta Rhymes & Faith Evans.
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As one of acoustic music's most influential innovators, John Fahey has influenced musicians from many genres. This is the vinyl version of the release on which a who's who of indie rock artists pay their respect to the guitar-extraordinaire. Produced by M. Ward, here on double-LP 45 RPM Tortoise-shell colored vinyl. 

Fruit Bats--"Death of The Clayton Peacock", Pelt--"Sunflower River Blues", Sufjan Stevens--"Variation on 'Commemorative Transfiguration and Communion at Magruder Park'", Devendra Banhart--"Sligo River Blues", Calexico--"Dance of Death", Lee Ranaldo--"The Singin Bridge of Memphis, Tennessee (Brooklyn Bridge Version: The Coel)", M. Ward--"Bean Vine Blues No.2", Cul De Sac--"The Portland Cement Factory at Monolith, CA", Jason Lytle--"Dance of the Inhabitants of the Palace of King Phillip XIV of Spain", Immergluck, Kaphan, Krummenach & Hanes--"Joe Kirby Blues", Currituck Co.--"Medley: John Hurt Shiva Shankarah", Peter Case--"When The Catfish Is In Bloom", Howe Gelb--"My Grandfather's Clock"

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Finally, the album that put crunk on the map retuns to vinyl. Kings of Crunk helped establlish Lil Jon & The East Side Boyz as larger than life stars in the rap music scene. King of Crunk's overabundance of club anthems helped garner heavy radio rotation all across the country, leading to its double platinum certification. In honor of the 15 year anniversary of the record, it will be pressed on one-of-a-kind platinum vinyl. Now casual and die-hard rap fans alike can enjoy this classic the way it was meant to be; in a unique blinged out format.

SIDE 1: "Throw It Up (featuring Pastor Troy)" "Knockin Heads Off (featuring Jadakiss & Styles P)" "B***h (featuring Chyna Whyte & Too Short)" SIDE 2: "I Don't Give A F*** (featuring Mystikal & Krayzie Bone)" "Rep Yo City (featuring E-40, Petey Pablo, Bun B & Eightball)" "Push That N****, Push That N****" SIDE 3: "Diamonds (featuring Bun B & MJG)" "Nothin' On (featuring Oobie, Chyna Whyte & Bo Hagon)", "Ooh Na Na Naa Naa (featuring Oobie & Devin The Dude)" SIDE 4: "Nothing Free (featuring Oobie)", "Play No Games (featuring Fat Joe, Trick Daddy & Oobie)", "Get Low (featuring Ying Yang Twins)"

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The Black Angels

Phosphene Dream

Vinyl: $23.00 Buy

MP3 Album: $9.99 Download

The Black Angels third album, and first release on Blue Horizon, is the highly anticipated Phosphene Dream, which is set to come out on September 14th. Phosphene Dream marks a giant leap forward for the band. Produced and mixed by Dave Sardy (Oasis, Wolfmother, Band of Horses, Black Mountain) over a period of six months in Los Angeles, the album shows off a bold new direction for The Black Angels both sonically and musically, a fresh take on the neo-Psychedelic movement they've been at the forefront of for years.
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Coheed and Cambria have distinguished themselves as among the most gifted storytellers in rock. While the most conceptually abstruse Coheed records have always had a foundation in reality,The Color Before the Sunmarks the first time Sanchez is exposing his raw feelings, narrated from his own perspective. His own story is told through big, bright, driving, colorful songs that beam like power-pop, crunch like vintage '90s emocore and float with the expansive feel of space-rock.

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2020 marks the 25th anniversary of the release of Poverty's Paradise. This album won the Best Rap Album Grammy at the 1996 Grammys, which was a new category that year.  Anniversary edition comes on double 180g colored vinyl, with a bous 7” single. 

1. “Intro (Skit)” 2. “Poverty's Paradise” 3. “Clap Yo Hands” 4. “City of CI-Lo” 5. “Hang Out and Hustle (feat. Road Dawgs & Cruddy Click)” 6. “It's Workin (feat. Rottin Razkals)” 7. “Holdin Fort 8. Chain Remains” 9. “Feel Me Flow” 10. “Craziest” 11. “Radio (Skit)” 12. “Sunshine” 13. “Webber Skit (feat. Chris Webber)” 14. “Respect Due” 15. “World Go Round” 16. “Klickow - Klickow (feat. Rottin Razkals, Cruddy Click & Road Dawgs)” 17. “Double (Skit)” 18. “Slang Bang” 19. “Shout Out (feat. Gordon Chambers)” 20. “Outro” 21. “Connections”

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The 1992 debut solo record from Grand Puba of Brand Nubian is remastered and comes to double colored vinyl for RSD Black Friday. 

“Check Tha Resume”, “360°(What Goes Around)”, “That's How We Move It”, “Check It Out”, “Big Kids Don't Play”, “Honey Don't Front”, “Lickshot”, “Ya Know How It Goes”, “Reel To Reel”, “Soul Controller”, “Proper Education”, “Back It Up”, “Baby What's Your Name?”, “360° (What Goes Around) (SD50 Remix)”, “Who Makes The Loot?”

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Misfits

Earth A.D.

Vinyl: $20.00 Buy

Earth A.D./Wolfs Blood is the last album released by American horror punk band Misfits to feature founding member and lead vocalist, Glenn Danzig. Danzig released it on his Plan 9 label in December 1983, two months after he played his last concert with the band. It was noticeably harder and faster than their previous releases, showing more of a hardcore punk sound. Since it's release it has often been referred to as simply "Earth A.D." amongst fans. Originally released as a 9 song LP, it was later issued with the three tracks of the Die, Die My Darling EP incorporated into the track listing: "Die, Die My Darling", "Mommy, Can I Go Out and Kill Tonight?" and "We Bite". Glenn Danzig has said that the tracks "Bloodfeast" and "Death Comes Ripping" were originally intended for Samhain's first release, but were added to what would be the Misfits' final record in a last-ditch effort to save the band. Metallica covered "Die, Die My Darling" for their 1998 cover album Garage Inc, as well as "Green Hell", which was originally covered by Metallica for their 1987 album, Garage Days Re-Revisited, as part of a medley with "Last Caress". British extreme metal band Cradle of Filth covered "Death Comes Ripping" for their 1999 release From the Cradle to Enslave.
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Misfits

Legacy of Brutality

Vinyl: $20.00 Buy

MP3 Album: $8.99 Download

Legacy of Brutality is a compilation album of early songs by the New Jersey punk rock band Misfits. The album contains overdubbed mixes of previously unreleased tracks, mainly from the January-February 1978 Static Age sessions. Besides the Box Set, this is the only album to contain the songs "American Nightmare" and "Who Killed Marilyn?". This compilation was one of the first (aside from bootlegs) to release many of the Static Age tracks to the common public. Glenn Danzig, having mixed and produced it, overdubbed much of the album's material without consulting any former band members.
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Misfits

Collection 2

Vinyl: $20.00 Buy

MP3 Album: $9.99 Download

Collection II is the companion album to The Misfits' Collection I. Both compilations collect all the early singles and the entire Earth A.D./Wolfs Blood album, and are meant to complement Walk Among Us (not represented because Warner Bros. Owns the rights) and Legacy of Brutality with little overlap. All the early singles are supposed to be represented, although alternative versions of some songs are used instead of the original releases.
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Misfits

Static Age

Vinyl: $20.00 Buy

MP3 Album: $8.99 Download

Static Age is an album by the American horror punk band the Misfits. It was recorded in 1978 but was not released in it's entirety until 1997.
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2002 vinyl LP reissue. The raw energy of The Adolescents announced the birth of the So. Cal. Punk scene. Brash lyrics and furious playing were their hallmarks that led to a cult status among punk afficianados. Their self-titled album from 1981 set the proverbial stage for everyone from The Dead Kennedys to Green Day and Offspring. Scoring a punk hit with "Amoeba," The Adolescents soon outgrew each other and split apart. Yet their attitude and high-intensity playing live on. Original copies of their only LP are nearly impossible to find, but this reissue on vinyl is a treat for punk fans and collectors. It is one of those rare albums you just can't miss. Frontier Records. Recorded at Perspective Sound, Sun Valley. Mastered at A&M, Hollywood by Frank DeLuna
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Isle of Dogs tells the story of Atari Kobayashi, 12-year-old ward to corrupt Mayor Kobayashi. When, by Executive Decree, all the canine pets of Megasaki City are exiled to a vast garbage-dump, Atari sets off alone in a miniature Junior-Turbo Prop and flies to Trash Island in search of his bodyguard-dog, Spots.

Isle of Dogs (Original Soundtrack) includes Academy Award-winning composer Alexandre Desplat’s original score, compositions from acclaimed Japanese films Seven Samurai and Drunken Angel, The West Coast Pop Art Experimental Band’s brand of American psychedelia, and The Sauter-Finegan Orchestra’s eccentric euphonies.

“I Won’t Hurt You” originally appeared as a B-side on the debut 1966 single by Los Angeles-based psychedelic group The West Coast Pop Art Experimental Band. The Sauter-Finegan Orchestra’s 1952 single “Midnight Sleighride” incorporates piccolo, xylophone, triangle, chanting, and, of course, sleigh bells. Japanese composer Fumio Hayasaka worked with legendary filmmaker Akira Kurosawa on many projects, including Seven Samurai (1954). Isle of Dogs (Original Soundtrack) includes a composition from Seven Samurai, performed here by the Toho Symphony Orchestra, as a cinematic nod to Kurosawa’s work.

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Recorded between March and July of 1968 at Olympic Sound Studios in London, mixed at Sunset Sound in Los Angeles, Beggars Banquet was the first Stones album produced by Jimmy Miller, and marks the start of what is considered their most prolific album era. Opening with the iconic hit “Sympathy For The Devil,” the album features many of The Stones’ most memorable tracks, including “Street Fighting Man,” “No Expectations,” and “Parachute Woman”. Beggars Banquet (50th Anniversary Edition) is housed in an overwrap of the “inoffensive” wedding invitation art, which was initially issued as a replacement cover when the original intended album art was rejected. The landmark album has been newly mastered by Grammy Award winning engineer Bob Ludwig and will be available on all formats.

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