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It focuses on Francis' sci-fi fascination and lacks any Kim Deal songs; even her backing vocals are far and few between. Yet the band sounds revitalized on Trompe le Monde, as if it were planned as their last hurrah. The raucous \"Distance Equals Rate Times Time\" and the explosive cover of the Jesus and Mary Chain's \"Head On\" are fairly straightforward, but the lyrics remain quirky on \"Planet of Sound,\" a song about a Martian who lands on Earth, and \"Palace of the Brine,\" a tribute to sea monkeys and Utah's Salt Lake. He even disses hipsters and pretentious students -- basically, the Pixies' fan base -- with nasty little digs like \"Subbacultcha\"'s \"I was wearing eyeliner\/She was wearing eyeliner\" and \"U-Mass\"' \"It's eduuucaaationaal!\" Musically, \"Trompe le Monde\"'s psychedelic sheen and \"Alec Eiffel\"'s atmospheric keyboards prove that the Pixies' sound wasn't defined by Steve Albini-style rawness. 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Bass phenom Les Claypool and his cohorts have previously Frizzle Fried, Sucked, and Sailed The Seas Of Cheese. Now, it seems, they have been to the Punchbowl, and have lived to tell its Tales. If you could take an element of Doctor Seuss, add some Fishbone and a bit of Tom Waits, you'd probably get something very strange, totally unlike Primus--but probably the nearest thing possible. They have harnessed the all-mighty powers of weirdness, and have made them their own: \"It's alright,\" they say, \"don't fear the worm.\"\u003cbr\u003ePrimus' strength lies in their ability to mix and mask the frivolousness that comes from their peculiarity with seriously dangerous music. This is loud funk, heavy funk, driving, grooving, smelly funk. Your body will move, your brain will smile. The threesome can sound like a singular voice or a multitude of synchronous twists. Each member is a stunning instrumentalist. 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Although having received a largely positive critical response for her creative departure into original singer\/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops. But it's not just that her phrasing and tone are well-schooled. Having long drawn comparisons to such iconic and icy jazz singers as Julie London and Peggy Lee, Krall truly earns such high praise here. In fact, tracks like \"Willow Weep for Me\" and \"Little Girl Blue\" are drawn with such virtuosic melancholy by Krall as to be far and away some of the best ballads she's put to record. 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Between 1971 and 1979, the period during which these 13 songs were recorded, the Kinks were powered by a conceptually minded Ray Davies, who cycled through rock operas at a maddening pace before finally finding the hard rock groove that brought the Kinks stadium success in the U.S.A. During this time, Dave had a grand total of two songs appear on Kinks albums: \"You Don't Know My Name\" on 1972's Everybody's in Show-Biz and \"Trust Your Heart\" on 1978's Misfits. Behind the scenes, he was writing as much as he was in the 1960s, a period chronicled on the 2011 compilation Hidden Treasures. Unlike Hidden Treasures, Decade isn't precisely an archival project. Davies worked with his son Simon to polish the original recordings, so sometimes there are slightly incongruous vocal tracks or guitar overdubs. Some of these splices may be readily apparent but they don't diminish the worth of Decade, which fills in empty spaces in Dave Davies' career. Several songs recall his big-hearted, ramshackle rockers from late-'60s Kinks recordings -- \"Midnight Sun\" and \"If You Are Leaving\" carry hints of The Great Lost Kinks Album, only with arena rock guitars -- while a greater number suggests the full-bore hard rock of his official 1980 solo debut, AFL1-3603, but most of this occupies a middle ground that's redolent of '70s album rock. Some of it's funky, some of it's spacy, \"The Journey\" cleverly spins early Rod Stewart into prog, there are a few tender ballads and a dose of humor -- all sounds that recall the heyday of AOR, only given a contemporary sheen that's not necessarily displeasing. Listen underneath that gloss, and it's possible to hear Davies working out his ideas in a space free from the spotlight. Such seclusion may have meant he wasn't as focused to deliver songs with pop aspirations, the way he was in the '60s, but that's also the appeal of the collection: it's a polished version of a notebook from a strong writer, so it's by nature fascinating for anybody interested in the music of Dave Davies. ~ Stephen Thomas Erlewine\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Dave Davies","offers":[{"title":"Default Title","offer_id":42461551788230,"sku":"19BBS6-RF2J-00","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Dave-Davies-Decade_5ZYEe.jpg?v=1779550098"},{"product_id":"nickelback-nickelback-all-the-right-reasons-vinyl","title":"Nickelback - ALL THE RIGHT REASONS [Vinyl]","description":"Nickelback - Nickelback - ALL THE RIGHT REASONS [Vinyl] \u003cbr\u003eBarcode: 081227935092 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eOn 2005's ALL THE RIGHT REASONS, the Canadian heavy-rock band Nickelback offers up more of its straightforward, guitar-fueled anthems. The pummeling opening track, \"Follow You Home,\" features a no-frills Southern-rock vibe bolstered by the presence of ZZ Top guitarist\/vocalist Billy Gibbons (who also appears on the jam-like closer, \"Rockstar\"), while the crushing \"Side of a Bullet\" is dedicated to Pantera's Dimebag Darrell, and includes an overdubbed solo by the late six-string hero.\u003cbr\u003eAs always, frontman Chad Kroeger's gritty voice remains Nickelback's calling card, and his emotive singing carries every tune, most notably the nostalgic \"Photograph\" and \"Far Away,\" a tender, echo-laden ballad. Kroger has never met a guitar effect that he didn't like, as evidenced by the revved-up \"Next Contestant,\" which relates the, ahem, difficulties of having a beautiful girlfriend. Though ALL THE RIGHT REASONS is slightly more eclectic than the group's past releases, it's unmistakably a Nickelback outing, and fans of the band are sure to be pleased.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReleased: 07\/07\/2017\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Nickelback","offers":[{"title":"Default Title","offer_id":42461609590982,"sku":"7X2GJP-NV6Z-00","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Nickelback-ALL-THE-RIGHT-REASONS_KWUYC.jpg?v=1779550707"},{"product_id":"joy-division-joy-division-substance-vinyl","title":"Joy Division - SUBSTANCE [Vinyl]","description":"Joy Division - Joy Division - SUBSTANCE [Vinyl] \u003cbr\u003eBarcode: 825646183937 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eJoy Division: Ian Curtis (vocals), Bernard Sumner (guitar, keyboards), Peter Hook (bass), Stephen Morris (drums).\u003cbr\u003eAfter New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7\" or 12\" release. Though the earliest tracks like \"Warsaw\" and \"Leaders of Men\" were a strange sort of art punk, there was already something distinct about the group, and by the time of \"Digital\" and \"Autosuggestion,\" it was perfectly apparent. The former centered around Curtis' circular declarations of repetition and angst, while \"Autosuggestion\" builds up slowly, carefully, before an invigorating final rush. After that, \"Transmission,\" a cold blue laser light of power, sneaking on an echo of synth and Hook's commanding bass before Morris, recorded brilliantly by Hannett, simply takes control. And from there, up and up, the whole band reaching a peak with Curtis' anguished scream \"And we could dance!\" As gripping as that is, by the time of its final singles, Joy Division outstripped even that -- \"Atmosphere\" and \"Dead Souls\" arguably make some of the best singles ever, the former a haunting, minimal call, the latter an ever more wired and explosive portrait of demand on a soul, from some inescapable outside force. 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Long ago, Pearl Jam opted out of the rat race, choosing to abandon MTV and album rock radio, ready to take any fans who came their way, and in a way, Lightning Bolt -- their tenth studio album, arriving 22 years after the first -- is a logical extension of that attitude, flirting with insouciance even at its loudest moments. Often, this record seems to ignore the very idea of immediacy; even when the tempos are rushed and the amplifiers are revved up, Pearl Jam never quite seem to be rocking with abandon, choosing to settle into comforting cacophony instead. Then again, nothing on Lightning Bolt -- not the wannabe breakneck rocker \"Mind Your Manners,\" not the tightly coiled title track, not the glam stomp of \"Let the Records Play\" -- proceeds with any manner of urgency, with even the loudest rockers unveiled at a measured pace that allows plenty of space for solos by Mike McCready. The guitarist has room to roam and the band has a supple, natural interplay that only comes from almost 30 years of collaboration, but here more than ever, all the emotional notes seem to derive from Eddie Vedder, who is not only the chief songwriter\/lyricist but a spiritual touchstone. Eying the milestone of 50, Vedder is very comfortable in his skin: he's no longer raging against the dying light or tilting at windmills, he's choosing his battles, knowing when to lie back so he can enjoy the rush of rock pushed out from his familiar, but never lazy, colleagues. This unhurriedness may seem to run counter to the rebellious spirit of rock \u0026amp; roll, but for all their insurrectionist acts, Pearl Jam weren't upstarts: they eagerly accepted the torch of arena rock when it was handed to them. 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Though in the past, they've often been lumped in with the likes of the Biz due to their penchant for mixing hip-hop and heavy metal, UNTOUCHABLES represents a step forward. Part of the reason may be the involvement of producer Michael Bienhorn, who old-timers will recall as a founding member of early-'80s avant rock\/funk\/jazz outfit Material. Whether its Bienhorn's influence or just the band's desire to progress (we're betting on a combo of both), the songs here are full of carefully delineated and sung melodies (though Jonathan Davis's sore throat from hell won't bring Frank Sinatra to mind any time soon). The attack of the guitars and drums is just as unrelenting as before, but the expanded song structures and grooves (somebody's been listening to early Killing Joke) will put the lie to all the naysayers who consigned these guys to the nu-metal scrapheap in the past.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Korn","offers":[{"title":"Default Title","offer_id":42461674963142,"sku":"BM8FBM-NS11-00","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Korn-Untouchables_c9UCI.jpg?v=1779551620"},{"product_id":"elton-johnray-cooper-elton-johnray-cooper-live-from-moscow-2-lp-vinyl","title":"Elton John\/Ray Cooper - Live From Moscow [2 LP] [Vinyl]","description":"Elton John\/Ray Cooper - Elton John\/Ray Cooper - Live From Moscow [2 LP] [Vinyl] \u003cbr\u003eBarcode: 602577142956 \u003cbr\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Elton John\/Ray Cooper","offers":[{"title":"Default Title","offer_id":42461685055686,"sku":"JOHU1Y-BIMY-00","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Elton-JohnRay-Cooper-Live-From-Moscow-2-LP_L7tvM.jpg?v=1779551656"},{"product_id":"townes-van-zandt-townes-van-zandt-flyin-shoes-vinyl","title":"Townes Van Zandt - FLYIN SHOES [Vinyl]","description":"Townes Van Zandt - Townes Van Zandt - FLYIN SHOES [Vinyl] \u003cbr\u003eBarcode: 767981109114 \u003cbr\u003e\u003cbr\u003e\u003cp\u003ePersonnel: Townes Van Zandt (vocals, acoustic guitar); Phillip Donnelly, Billy Earl McLelland, Chips Moman (acoustic \u0026amp; electric guitars, background vocals); Jimmy Day (steel guitar); Gary Scruggs (harmonica); Spooner Oldham (piano); Bobby Emmons (keyboards); Tommy Cogbill (bass); Eddy Anderson (drums, percussion); Toni Wine (background vocals).\u003cbr\u003eRecorded at American Studios, Nashville, Tennessee. 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Originally released on Columbia (39429). Includes liner notes by Elvis Costello.\u003cbr\u003eDon't believe the hype. Critics (and Costello himself) generally regard this as Elvis' worst album, but that's far from true. For one thing, it's hard to dispute the overblown MIGHTY LIKE A ROSE's claim to said title. For another, there are too many damn good songs to permit GOODBYE CRUEL WORLD to be overlooked. There may be a lack of focus in the production and arrangements, but any album that opens with the pop-soul artistry of \"The Only Flame in Town\" and closes with the stirring anthem \"Peace In Our Time\" has plenty going for it. In between, there's media satire (\"Worthless Thing\"), classic Costello neurosis (\"Inch by Inch\") and effective R\u0026amp;B reverence (\"I Wanna Be Loved\"). 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The minimal sound of RUBBER FACTORY moves on the rickety skeleton of Dan Auerbach's fuzzed-out guitar and Patrick Carney's no-frills drumming, and stays true to the raw, electric blues for which the Fat Possum label (the Black Keys' home) is rightfully famous. RUBBER FACTORY bears the ghosts of Fat Possum artists like Junior Kimbrough and CeDell Davis, and through them, naturally, electric pioneers like Muddy Waters. The Keys mine this tradition admirably, with a sincere approach to the blues idiom bolstered by Auerbach's soulful vocals and the duo's stripped-down, juke-joint sound. But the Keys are not merely paying homage. Instead, they layer funky grooves (\"The Desperate Man\"), NUGGETS-inspired grunge (\"10 A.M. Automatic\"), a love of 1970s hard rock (\"Grown So Ugly\"), and the influence of contemporary indie rock (the acoustic \"The Lengths\") on their blues structures. 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Includes liner notes by Peter Guralnick, Colin Escott.\u003cbr\u003eOne month after Elvis' 1968 Comeback Special aired on national television, Presley made the most artistically successful recordings of his later career. In January and February of 1969, he held sessions at American Studios in Memphis. Presley was reportedly worried that his recording career was finished, that he had been displaced by newcomers such as the Beatles. Perhaps goaded on by this perception, Presley reached new heights during the American sessions.\u003cbr\u003eThe material he chose was impassioned, gritty, and bluesy, the complete opposite of the movie songs he had sung for most of the previous decade. A slight case of laryngitis actually improved his performances, lending his voice an appropriate roughness. 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