Music Releases 11-10-23
Vinyl: $29.99 Buy
AJR -"The Maybe Man" Republic Records; Mercury Records/Republic; Alternative EXPLICIT
Last November in London, Cat Power took the stage at Royal Albert Hall and delivered a song-for-song recreation of one of the most fabled and transformative live sets of all time. Held at the Manchester Free Trade Hall in May 1966—but long known as the “Royal Albert Hall Concert” due to a mislabeled bootleg—the original performance saw Bob Dylan switching from acoustic to electric midway through the show, drawing ire from an audience of folk purists and forever altering the course of rock-and-roll. In her own rendition of that historic night, the artist otherwise known as Chan Marshall inhabited each song with equal parts conviction and grace and a palpable sense of protectiveness, ultimately transposing the anarchic tension of Dylan’s set with a warm and luminous joy. Now captured on the live album Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert, Marshall’s spellbinding performance both lovingly honors her hero’s imprint on history and brings a stunning new vitality to many of his most revered songs.
This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.
1962-1966 (The Red Album): Expanded [2CD]
1962-1966 (The Red Album): Expanded [3LP]
1967-1970 (The Blue Album): Expanded [2CD]
1967-1970 (The Blue Album): Expanded [3LP]
1962-1970 (The Red and Blue Albums): Expanded [6LP Box Set]
Now and Then [Vinyl Single]
Vinyl: $75.98 Buy
This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 9 additional tracks added chronologically, including “Blackbird”, “Glass Onion” and the new song, “Now And Then”. The last Beatles song, “Now And Then” completes John Lennon’s 1970s vocal and piano demo recording with parts played by Paul McCartney, George Harrison and Ringo Starr, as well as a new arrangement for strings. The 3LP collection now features 37 tracks, 6 of which have new mixes for 2023. The set’s 9 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1966 – 1970 collection is a joyous celebration of The Beatles’ timeless musical legacy.
1962-1966 (The Red Album): Expanded [2CD]
1962-1966 (The Red Album): Expanded [3LP]
1967-1970 (The Blue Album): Expanded [2CD]
1967-1970 (The Blue Album): Expanded [3LP]
1962-1970 (The Red and Blue Albums): Expanded [6LP Box Set]
Now and Then [Vinyl Single]
Celebrating the 25th anniversary of R.E.M.’s eleventh studio album, Up. This special pressing – replicating the original package – offers the newly remastered album across 2-LPs, pressed on 180-gram vinyl. The album features the singles "Daysleeper,” “Lotus,” “Suspicion” and “At My Most Beautiful.”
RUSH! (ARE U COMING) is the expanded edition of the album, RUSH!, by Måneskin that was originally released in January of 2023. This vinyl edition contains 7 additional songs not included on the 1-LP including “Supermodel,” “Mammamia” along with 5 brand new tracks never before released that make up the entire first side of the double LP.
MP3 Album: $9.99 Download
New Order are delighted to announce a remastered set of formats of Substance 1987, released via Warner on November 10th.
A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.
A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture-and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."
Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonometry," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."
Mick Jenkins releases new single "Smoke Break-Dance" featuring JID, which arrives today alongside an Andre Muir-directed music video. Produced by Stoic, the song is the first taste of his forthcoming album The Patience that will arrive on November 10th via RBC Records/BMG. The Patience marks Jenkins' first full length release since 2021's Elephant in the Room.
Speaking about the album, Jenkins shares:
The Patience: As best I can be, I am a person who does everything within his power to change his situation. I think with some level of consistency, that behavior inevitably leads you to a point where you have to wait. A point where the things that now need to happen to move you forward are no longer in your control. I see this as a period of time in one's journey, no matter the length, where the unseen things must take place; The muscles must tear and repair, the understanding of a concept coming to you in a moment completely devoid of artistic intention. It’s through these moments where I’ve found myself being the most frustrated with patience.
And this body of work sounds like that frustration.
The body of work reflects Jenkins' status as a young veteran in his craft. First breaking out with his 2014 mixtape The Water[s], he has established himself as one of the most dexterous contemporary lyricists over the course of 3 full length albums and 4 EPs since that mixtape's release. The Patience is the sound of an artist that is still young and at the full height of their artistic powers, wizened by the years spent grinding to reach this point, but eager to prove their continued vitality. The result is Jenkins' most urgent artistic statement since his breakthrough.
aespa presents their fourth mini-album, featuring the title track `Drama' with its powerful track loop and captivating hook. This album showcases aespa's vocal growth with a variety of genres including charismatic hip-hop, lovely bright dance music, and sweet acoustic pop. With this album, aespa brings a new chapter to their SMCU lore by writing stories on their own way through unique music and visuals - now breaking out from the trauma caused by a series of events with Season 1's `SYNK OUT' and `Hallucination Quest', and also the unknown anomalies in Season 2
Until now, Art Feynman — the eccentric alter ego of accomplished producer Luke Temple — has strictly been a solo act, a way for the artist to explore surprising sonic landscapes without the burdens of identity. Slightly twisted takes on Kosmische musik, worldbeat, and art pop can all be found scattered across the Art Feynman discography, but with his new album Be Good The Crazy Boys, Feynman fully immerses himself into pools of collective madness.
Unlike his first two albums, Crazy Boys was recorded live in the studio with a full band, a first for Feynman, capturing a spirit of restless anxiety that recalls the most frenetic work by Talking Heads, or Oingo Boingo at their darkest. Despite these callbacks, the collection remains firmly rooted in modern concerns, with songs about fearing the end of the world and struggling with FOMO — narratives that would be relatable if they didn’t sound so completely unhinged.
Vinyl reissue of two of Isis' early EPs, packaged togeher in a 2LP set with new artwork
"LEFT" sees Helmet – comprising frontman Page Hamilton, drummer Kyle Stevenson, guitarist Dan Beeman, and bassist Dave Case – carve out a musical landscape that is taut, muscular, and direct. Hamilton’s lead guitar lines feel like everything from downed power lines arcing to exploding resistors in shortwave radios. On "LEFT" every snare crack hits like gunfire, every solo seemingly a manifestation of rabies-induced psychosis.
Guided by Hamilton alongside co-producers Jim Kaufman and Mark Renk, and mastered by Howie Weinberg, the 11 songs on the new album are leaner and meaner in their execution than previous aural throwdowns. "LEFT" is powered by unbridled determination, a renewed sense of purpose and a desire to create more new dialects within the musical language Hamilton invented via his use of drop-D tuning.
Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. These four-disc LP and CD box sets include 12 and 16 page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.
Vinyl: $20.98 Buy
Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York’s Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman’s own past, present and future.
This recording has never before been released or even bootlegged. It captures the Jimi Hendrix Experience at a unique moment in their illustrious career. Before a sold out audience of 17,000 people, the Experience overwhelmed an unsuspecting audience with a superb show that encompassed his renditions of songs by the Beatles, Bob Dylan, Howlin’ Wolf and Muddy Waters as well as signature songs such as “Purple Haze” and “The Wind Cries Mary”. Are You Experienced, the group’s debut album, had not yet been released by Jimi’s label Reprise.
In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads’ toes tapping. Music Is Victory Over Time is the band’s 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form.
The album’s beguiling title stems from a note scrawled in a book about electronic music donated to PITGOOSE Prisoner Books, the grassroots prison literature program run out of The P.I.T. (aka Property Is Theft - McHugh’s Anarchist community space, venue and info-shop located in Los Sures, Williamsburg). Scrawled as marginalia modifying a paragraph about durational minimalist composition, the concept illuminates music’s material and spiritual power to subdue the sensation of the passage of time, both as an experiential phenomenon and as a creative, communal and socio-political force. McHugh says: “The notion resonated with the our individual and communal experiences of loss, trauma, stasis and frustration since 2020, our three-year semi-silence as a band relative to our previous characteristic prolificacy, and our progress, projects and evolution since.”
Album opener World People is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler — a triumphant call to arms to all peoples. Live fave Too Gary’s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means “that’s too scary”). T.A.S.C. (or “Theme For Anarchist Sports Center”) is inspired by Sonny Sharrock’s maligned 80’s output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite “sitcom ending.” The sun- scorched Foams - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of Tumulus’ might reference an ancient burial mound, but the music itself might be the group’s most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. There Goes Ol’ Ooze is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. Song For The Gone closes out the album, showcasing a sincerely tender moment for the gang, written and recorded initially at McHugh’s home on Spanish guitar in 2020 (as an expression of love and resolve for dear friends who had recently, tragically died) its cascading, bluesy melody attuning itself to our own collective unconscious grief.
Having the distinct pleasure of being the first band to record in John Dwyer’s new LA-based recording studio Discount Mirrors (after Ohsees, who were literally loading out as the band loaded in), Music Is Victory Over Time boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. McHugh says “JPD would blast in and fuck with the board, interject ideas, tell stories, whip up a frenzy if we needed. We stayed in the adjacent room, lived on tacos and chocolate, overdubbed in sweatpants. All the right moves.” The band also had full access to the studio’s epic armory of gear: amps, axes (it’s Dwyer’s Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe.
The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown.
Listening to Music Is Victory Over Time, Sunwatcher’s rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It’s good to have them back.
JC Sanford follows up his two previous trio albums (Imminent Standards Vol. 1 & 2) with a decidedly different approach to the trio format. Featuring pianist Michael Cain and bassist Anthony Cox, New Past delves into Sanford’s diverse compositional style and improvisational approach. From collective improvisations to complex harmonic forms and grooves, the trio traverses a vast sonic and textural world of Sanford’s original compositions, with a smattering of interpretations of jazz standards.
Immerse yourself in the kaleidoscopic musical universe of Masha Ocean Quartet's new album, "Kaleidoscopic Realities". This mind-bending fusion of jazz, blues, classical music, soul, latin and other genres is a must-listen for fans of adventurous music. Featuring collaborations with renowned musicians such as Robin Banerjee and Daniel Torres, this album is a true sonic journey, taking listeners on a wild ride through different musical cultures and eras.
On the heels of the four song EP, "Together" featuring old friend Mike Love, Rising Tide is ready to share the full story of Pixel Prison with their global following. This full length, double gatefold vinyl LP features new collaborations with Love, reggae legend, Clinton Fearon and more. The LP also includes two Dub versions of album tracks. Original album art has been created by renowned Japanese artist Tokio Aoyama.
Originally released as a hand-numbered CD on New Year’s Eve of 2004, Last Light captures Tor Lundvall’s hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as “a piano album with sparse electronics” (with the working title November), Lundvall’s palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: “I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness.”
The album’s 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low- lidded plod – it’s a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall’s language skews observational and depressive (“through lace curtains / grey light falls / dark clouds gather / in my soul”), with each song like a gauzy glimpse into a different tableau framing winter’s descent: rust-colored leaves, frozen ponds, cold crescent moons.
Lundvall has long considered Last Light a “personal favorite” in his discography, and it’s easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: “So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life.”
Vinyl: $10.98 Buy
Chicago's Magic Touch label gets the Numero Group treatment. Available for the first time ever on 7", Boogie Holy-Grail "Too Far Gone" has been "Too Hard To Find" on the second hand market since first introduced to the masses via the legendary cratesmith Mark Grusane of Mr. Peabody Records.
Live in Brooklyn was recorded at the iconic Brooklyn Bowl in New York on December 22nd 2022 at Matisyahu’s annual Festival of Light. The release features live versions of his hits such as “One Day” and “King Without A Crown”. As well as cover tracks, written by his son Laivy, that they perform together. This live show took place at the end of a 15-stop tour, and one week prior to his opening slot for 311 at Red Rocks.
ALL OVER YOU is a forgotten gem, remastered, resequenced, and presented here for the first time on vinyl, nearly 25 years to do the day after its original release. Recorded raw with a band pulled from the ranks of Austin’s legendary Antone’s Nightclub, this session finds an older, laid-back Lester revisiting his classic Excello sides and distilling them to their essence. The remastered album features a bonus live recording of the Lightning Slim track, “Nothing But The Devil.” The audio was remastered from original source material and pressed at GZ Vinyl in the Czech Republic.
Sometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades.
While Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, Crank It, We’re Doomed will finally get its release via Aimless Records.
Snider was in the midst of one of the most creative periods of his career when he recorded Crank It, We’re Doomed in 2007. He was writing at a frenetic pace and experimenting with musical ideas he would develop more fully on later releases. He not only finished and recorded the 15 songs on Crank It that year, he also wrote and recorded the seven songs that appeared on Shit Sandwich, the digital-only EP released in 2010 by his alter ego Elmo Buzz & the Eastside Bulldogs. The tracks on Shit Sandwich made up the bulk of Snider’s 2016 full-length release,
“It was very much a blur,” he says, looking back on that year. “A blur not because of the party going on, but because of how many songs I was coming up with. It was probably the pinnacle of my time making up songs. Like they were really coming at me, and I didn’t know what to do with them all."
Crank It, We’re Doomed was supposed to be the follow-up to a pair of acclaimed records that had taken his career to another level — East Nashville Skyline and The Devil You Know. The album was mastered and ready to be manufactured when he decided to pull the plug on it.
When asked recently why he decided against releasing the album, Snider puts on his best movie trailer voice and says, “The year was 2007 — the sea was angry that year.”
Snider gets the laugh he’s going for, but the question remains because the why is not so easy to explain. His decision to shelve the record all those years ago was as much intuitive as it was the product of deductive reasoning.
“At the end, I was torn,” he says. “I felt like not only did I have all these story songs, sort of normal songs, there also were all these protest songs. And really that is where I lost the plot. I had too many scenes in the movie, and I had too many songs. It was all over the map. But I also remember feeling like it wasn't done either. Like it needed moresongs.”
Snider had intended Crank It, We’re Doomed to be a double album with the Rolling Stones’ Exile On Main Street, The Beatles (White Album) and Bob Dylan’s Desire as its sonic touchstones/boundaries, and it unquestionably shares some musical similarities with all three of those releases. But with 15 tracks totaling 49 minutes in length, Crank It does fall a bit short of double-album length. Exile has 18 tracks totaling 67 minutes, while the White Album has a whopping 30 tracks that run more than an hour and a half.
Although Snider decided to not release Crank It, We’re Doomed, he did include five of the tracks he recorded for Crank It on his next two albums (Peace Queer and The Excitement Plan), with three of the songs getting new titles. In addition, he recorded new versions of six other songs from the record which were released on The Excitement Plan and Agnostic Hymns & Stoner Fables. Some fans, possibly many, will prefer the original versions of the songs on Crank It, which in some cases are dramatically different. The record also includes four other tracks no one outside the musicians and Snider’s inner circle have ever heard, and those recordings are pure gold.
Snider recorded Crank It, We’re Doomed at Eric McConnell’s East Nashville studio where he recorded East Nashville Skyline and The Devil You Know and was backed by the core of musicians he worked with on those albums: guitarist Will Kimbrough, drummer Paul Griffith, violinist Molly Thomas, and either McConnell or Peter Cooper on bass. He also brought in keyboardist Jimmy Wallace for the sessions.
At some point after Snider decided to put Crank It, We’re Doomed on the shelf, the stereo masters were lost. Over the years, both Snider and McCullough made efforts to locate the masters with no luck. The subject came up again recently when they met to discuss making another record together.
“We were sitting there just wracking our brains, ‘Where could it be,’ ” Snider recalls. “And finally Eric said, ‘I guess DeMain might have it.’ ”
McConnell was referring to mastering engineer Jim DeMain, and sure enough, DeMain had the masters. Snider’s mythic, lost album was found.
After hearing the record for the first time in more than a decade, Snider was no longer bothered by it being “all over the map.” So he shared it with a few friends and advisors, who recognized its historical importance and encouraged him to release it.
“I couldn’t see it conceptually back then,” Snider says. “But now I can see it was about a guy losing the plot.”
Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It’s a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn’t quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. “If This Is A Photograph is a house that you have been living inside of,” says Morby, “then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you’ve replaced your eyeglasses with kaleidoscopes.”
Vinyl: $23.98 Buy
"With gargantuan riffs and amps turned up to 11, pure metal is tempered with the grace and complexity that have become the band’s trademark...an unapologetically fierce beast" - The Guardian The legendary CAVE IN perform a ferocious live set at BBC Studios in Maida Vale! The session was recorded on October 24, 2022 on The Radio 1 Rock Show with Daniel P. Carter, and features tracks from their critically acclaimed newest album, Heavy Pendulum.
Following the singles “Dream Girl” and “We Can Be Anything,” BABY QUEEN is ready to release her debut album, Quarter Life Crisis. Having spent the better part of the 2020s taking over London’s anti-pop scene and writing songs for a generation falling out of love with social media that transformed her into the genre’s reigning star, BABY QUEEN is discovering a more grounded and introspective side of herself, leading to some of the most pure, excellent and affecting music of her life so far.
Vinyl: $23.98 Buy
The Golden Crystal Kingdom is the new album from Texas troubadour and singer-songwriter Vincent Neil Emerson. This 12 track collection is produced by Shooter Jennings, and expands the artist’s repertoire into the storied influence of electrified folk legends like Leon Russell and Link Wray.
His first two LPs, Fried Chicken & Evil Woman and Vincent Neil Emerson, from 2019 and 2021 respectively, established him as a refreshing voice in the alt-country landscape. He became an in-demand name, touring across the country, whispered about as an inheritor of his icons like Townes Van Zandt, Guy Clark, and Steve Earle.
On The Golden Crystal Kingdom, Emerson retains his diamond sharp storytelling while imbuing the work with a freewheeling rock aesthetic, creating an album as fun as his live shows and as cathartic as his early work.
Next year will mark the 30th anniversary of the release of BUSH’s 6x Platinum debut album, Sixteen Stone, so it’s only fitting that Loaded explodes with five tracks from the seminal album: their debut single, “Everything Zen,” “Little Things,” “Machinehead” and the group’s first No. 1 singles – “Comedown” and “Glycerine,” which topped Billboard’s Alternative Airplay chart in 1995.
Other chart-topping hits included in the collection include the GRAMMY®-nominated “Swallowed” (from 1996’s Razorblade Suitcase), “The Chemicals Between Us” (from 1999’s The Science of Things), “The Sound Of Winter” (from 2011’s The Sea of Memories) and, from the band’s 2022 album The Art of Survival, “More Than Machines,” BUSH’s seventh single to top the Active Rock Radio chart. “Bullet Holes,” which figured prominently in the box office smash John Wick: Chapter 3 – Parabellum, is one of three songs pulled from 2020’s The Kingdom.
MP3 Album: $9.99 Download
Vinyl: $199.98 Buy
3xLP * Red, White & Blue Swirl vinyl * widespine * Limited to 925
The 3LP deluxe box set Welcome To Horrorwood: Under Fire Deluxe Edition features 3 bonus tracks (“Meat & Greet,” “Rainy Day SPLNTR Remix” and “The Shower Scene Acoustic”) plus an Orchestral album. Also included is alt art for “The Silver Scream 2: WTH,” showcasing the original art engulfed in flames. The top of the box is a 3D rendition of the cover displaying multiple layers and includes 4 real light-up colored bulbs. The box is made complete with a COA signed by lead singer, Spencer Charnas.
Vinyl: $36.98 Buy
Vinyl: $36.98 Buy