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Indeed, Legion (which, along with their self-titled debut, is one of the best-selling death metal records ever) is reckoned by many to be Deicide's best album; it's certainly their most brutal. Remastered for the format and pressed in metallic \"rainbow inferno\" vinyl, complete with a highly flammable lyric insert. A1. Satan Spawn, the Caco-Daemon A2. Dead but Dreaming A3. Repent to Die A4. Trifixion B1. Behead the Prophet (No Lord Shall Live) B2. Holy Deception B3. In Hell I Burn B4. 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Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. \"Show Me How\" was the hit, but it's \"Blind Alley\" that made Untouched one of the most collectible albums of it's kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (\"Ain't No Half-Steppin'\") and Mariah Carey (\"Dreamlover\").\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Me Back\u003c\/li\u003e\n\u003cli\u003eNothing Seems Impossible\u003c\/li\u003e\n\u003cli\u003eBoss Love Maker\u003c\/li\u003e\n\u003cli\u003eIt's Been Fun\u003c\/li\u003e\n\u003cli\u003eLove Ain't Easy Onesided\u003c\/li\u003e\n\u003cli\u003eBlind Alley\u003c\/li\u003e\n\u003cli\u003eShow Me How\u003c\/li\u003e\n\u003cli\u003eIf You Think It (You May As Well Do It)\u003c\/li\u003e\n\u003cli\u003eLove Is the Hardest Thing to Find\u003c\/li\u003e\n\u003cli\u003eTricks Are Made for Kids\u003c\/li\u003e\n\u003cli\u003eBoy. 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(Bonus Tracks) [LP]","description":"\u003cp\u003eThe success of Shaft and Superfly ignited an explosion of films, many produced by small independent studios and filmmakers, whose soundtracks continue to provide rich fodder for turntablists, crate diggers, and the like. Of these indie Black-themed films, the once-lost and recently rediscovered 1974 flick Solomon King is perched atop the list. The film was written, directed, and produced by Oakland, CA entrepreneur Sal Watts, who also starred in the movie. But it was no mere vanity project. Watts owned several record labels in Oakland and a string of Black urban fashion stores and acted as executive producer of a local soul music \u0026amp; dance TV program. So, he was able to draw on a wealth of local talent in making Solomon King. And nowhere did that talent show up more than on the soundtrack. Southern soul stalwart and Ray Charles collaborator Jimmy Lewis arranged and conducted the score, while writers like Joyce Stiger, who penned Bobby Bland's hit \"Recess in Heaven,\" contributed songs. The band was tight, too, composed of the cream of Oakland's thriving soul-funk scene. Little wonder, then, that original copies of this soundtrack go for over three Benjamins if you can find them at all. But, working with the indie film imprint Deaf Crocodile, who restored and reissued the film a few years back with the cooperation of Watts' wife Belinda, we at Real Gone are releasing the soundtrack to Solomon King in expanded form featuring additional tracks drawn from rare 45s hailing from Watts' Sal\/Wa label. It's a nonstop funk workout, issued on tiger swirl vinyl with three bonus cuts and a CD edition adding three more. Propulsive beats, silky strings, wah-wah guitar tickles... if you're into that '70s soul sound, Solomon King is a revelation.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTheme from Solomon King\u003c\/li\u003e\n\u003cli\u003eSister Sheila (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eSister Sheila-Instrumental Part II (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eAin't That Nothing\u003c\/li\u003e\n\u003cli\u003eChanges\u003c\/li\u003e\n\u003cli\u003eTeach Me\u003c\/li\u003e\n\u003cli\u003eThe Love Affair Is Over\u003c\/li\u003e\n\u003cli\u003eSad Feeling\u003c\/li\u003e\n\u003cli\u003eSolomon King (Bonus Track)-Performed By the Sal\/Wa Singers\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 848064020356\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Real Gone Music\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.6.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Solomon King \/ Various - O.S.T. 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Can Be So Wonderful,\" and \"I Love You, You Love Me,\" will get you and your partner's hips swaying (and patch up any lovers' quarrels tout suite, too). Stax didn't really know what to do with soul this sweet (We Produce was a Stax imprint), so Lovemen languished commercially, but nowadays it's recognized as a model of it's kind. For it's first-ever LP reissue, we've cut Lovemen ALL-ANALOG straight from the original two-track album master, and pressed it up on sonically superior valentine red PET plastic. The heart on the front cover sums this one up... !\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eExplain It to Her Mama\u003c\/li\u003e\n\u003cli\u003eIf I Could Say What's on My Mind\u003c\/li\u003e\n\u003cli\u003e(Girl) I Love You\u003c\/li\u003e\n\u003cli\u003eI Love You, You Love Me\u003c\/li\u003e\n\u003cli\u003eWe've Only Just Begun\u003c\/li\u003e\n\u003cli\u003eDedicated to the One I Love\u003c\/li\u003e\n\u003cli\u003eMy Baby Love\u003c\/li\u003e\n\u003cli\u003eI'm for You, You for Me\u003c\/li\u003e\n\u003cli\u003eLove... 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Recorded in 1972, Hear, Sense, and Feel marked the band's debut, and featured the same lineup that played on next year's Mirage. Being from Chicago, The Awakening's lineup unsurprisingly boasts a heavy connection to the AACM (Association for the Advancement of Creative Musicians) collective that claimed The Art Ensemble of Chicago among it's most esteemed artists; in fact, both bassist Reggie Willis and tenor saxman\/flautist Ari Brown were AACM members and appeared on albums with Muhal Richard Abrams, Lester Bowie, and Anthony Braxton among others. The other members of The Awakening, on the other hand, hailed from the city's soul jazz scene, specifically Young Holt Unlimited, for whom co-leaders trumpeter Frank Gordon and keyboardist Ken Chaney played (trombonist Steve Galloway played on Melvin Jackson's soul jazz classic Funky Skull). And it is that sweet spot, somewhere between the free jazz and Afrocentric explorations of the Art Ensemble and the rhythm-heavy soul jazz sound being recorded at Chicago-based labels like Brunswick and Cadet, that Hear, Sense and Feel lands. Which explains why this album sells for hundreds of dollars online, if you can find it at all. Real Gone Music's LP reissue is pressed on blue with black swirl vinyl with lacquer cutting by Clint Holley and Dave Polster at Well Made Music. Mike Milchner at Sonic Vision Mastering has remastered the album, and it features liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that set the scene for both the label and the band. A lost gem worthy of all the attention we think this reissue is going to get!\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Awakening-Prologue-Spring Thing\u003c\/li\u003e\n\u003cli\u003eWhen Will It Ever End\u003c\/li\u003e\n\u003cli\u003eConvulsions\u003c\/li\u003e\n\u003cli\u003eKera's Dance\u003c\/li\u003e\n\u003cli\u003eJupiter\u003c\/li\u003e\n\u003cli\u003eBrand New Feeling\u003c\/li\u003e\n\u003cli\u003eAwakening-Epilogue\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 848064020639\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Real Gone Music\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.6.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Awakening","offers":[{"title":"Default Title","offer_id":45459604766918,"sku":"81938476","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4482500-3503864.jpg?v=1768588363"},{"product_id":"pre-order-solomon-king-various-o-s-t-exp-cd","title":"Solomon King \/ Various - O.S.T. 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Southern soul stalwart and Ray Charles collaborator Jimmy Lewis arranged and conducted the score, while writers like Joyce Stiger, who penned Bobby Bland's hit \"Recess in Heaven,\" contributed songs. The band was tight, too, composed of the cream of Oakland's thriving soul-funk scene. Little wonder, then, that original copies of this soundtrack go for over three Benjamins if you can find them at all. But, working with the indie film imprint Deaf Crocodile, who restored and reissued the film a few years back with the cooperation of Watts' wife Belinda, we at Real Gone are releasing the soundtrack to Solomon King in expanded form featuring additional tracks drawn from rare 45s hailing from Watts' Sal\/Wa label. It's a nonstop funk workout, issued on tiger swirl vinyl with three bonus cuts and a CD edition adding three more. Propulsive beats, silky strings, wah-wah guitar tickles... if you're into that '70s soul sound, Solomon King is a revelation.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTheme from Solomon King\u003c\/li\u003e\n\u003cli\u003eAin't That Nothing\u003c\/li\u003e\n\u003cli\u003eChanges\u003c\/li\u003e\n\u003cli\u003eTeach Me\u003c\/li\u003e\n\u003cli\u003eThe Love Affair Is Over\u003c\/li\u003e\n\u003cli\u003eSad Feeling\u003c\/li\u003e\n\u003cli\u003eSister Sheila (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eSister Sheila-Instrumental Part II (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eThere's No Such Thing As a Little Bit of Me (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eTheme from King (Bonus Track)-Performed By Papa's Results\u003c\/li\u003e\n\u003cli\u003eSolomon King (Bonus Track)-Performed By the Sal\/Wa Singers\u003c\/li\u003e\n\u003cli\u003eAin't That Nothing (Alternate Version) (Bonus Track)-Performed By Little Jamie and Big Louie Watts\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 848064020363\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Real Gone Music\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.6.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Solomon King \/ Various - O.S.T. 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So, the pump was primed for Ware's 1982 release, which featured Ware's soaring falsetto (which some compared to Gaye's) over arrangements by the legendary Marty Paich, with fiery contributions by saxman Gato Barbieri and vocalist Flora Purim (duetting with Ware on the classic \"Somewhere\"). As is often the case with cult classics, Leon Ware didn't sell initially, and in fact got him dropped from Elektra; but it's emerged as a key early-'80s R\u0026amp;B release, with \"Why I Came to California\" a particular latter-day favorite. 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The only problem was, in what category? Jazz? Dara came to this album with impeccable credentials in the genre, having played with David Murray, James \"Blood\" Ulmer, Henry Threadgill, and Don Pullen. However, though Dara does flash his burnished cornet tone on occasion, he is more often picking on guitar as opposed to blowing on trumpet on this record. And while there is definitely some of that arpeggiated African guitar sound to his playing, it would be a stretch to call In the World a \"world music\" release. No, in the end, this is a country blues album from the urban jungle, an utterly charming, all-in-one tour of Natchez and New York with maybe Nairobi thrown in there, with a little extra urban flavor courtesy of Dara's rapper son Nas, who contributes vocals to \"Jungle Jay.\" Long a favorite of our Real Gone Music staff, In the World-From Natchez to New York debuts on vinyl in a green okra edition limited to 1000 copies, remastered for the format with insert included. 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Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. \"Show Me How\" was the hit, but it's \"Blind Alley\" that made Untouched one of the most collectible albums of it's kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (\"Ain't No Half-Steppin'\") and Mariah Carey (\"Dreamlover\"). Pressed in clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Me Back\u003c\/li\u003e\n\u003cli\u003eNothing Seems Impossible\u003c\/li\u003e\n\u003cli\u003eBoss Love Maker\u003c\/li\u003e\n\u003cli\u003eIt's Been Fun\u003c\/li\u003e\n\u003cli\u003eLove Ain't Easy Onesided\u003c\/li\u003e\n\u003cli\u003eBlind Alley\u003c\/li\u003e\n\u003cli\u003eShow Me How\u003c\/li\u003e\n\u003cli\u003eIf You Think It (You May as Well Do It)\u003c\/li\u003e\n\u003cli\u003eLove Is the Hardest Thing to Find\u003c\/li\u003e\n\u003cli\u003eTricks Are Made for Kids\u003c\/li\u003e\n\u003cli\u003eBoy. 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Their 1972 debut Lovemen is aptly named; this is one of the greatest make-out R\u0026amp;B albums ever made, with one smoldering slow jam after another. Their take on \"Dedicated to the One I Love\" is rightly considered the greatest version ever made, but \"If I Could Say What's on My Mind,\" \"Love... Can Be So Wonderful,\" and \"I Love You, You Love Me,\" will get you and your partner's hips swaying (and patch up any lovers' quarrels tout suite, too). Stax didn't really know what to do with soul this sweet (We Produce was a Stax imprint), so Lovemen languished commercially, but nowadays it's recognized as a model of it's kind. For it's first-ever LP reissue, we've cut Lovemen ALL-ANALOG straight from the original two-track album master, and pressed it up in black vinyl. The heart on the front cover sums this one up\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eExplain It to Her Mama\u003c\/li\u003e\n\u003cli\u003eIf I Could Say What's on My Mind\u003c\/li\u003e\n\u003cli\u003e(Girl) I Love You\u003c\/li\u003e\n\u003cli\u003eI Love You, You Love Me\u003c\/li\u003e\n\u003cli\u003eWe've Only Just Begun\u003c\/li\u003e\n\u003cli\u003eDedicated to the One I Love\u003c\/li\u003e\n\u003cli\u003eMy Baby Love\u003c\/li\u003e\n\u003cli\u003eI'm for You, You for Me\u003c\/li\u003e\n\u003cli\u003eLove... 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Smooth sampled Ernie's anthemic \"Our Generation\" on their 1992 chart-topper \"Straighten It Out\" (and then John Legend and The Roots covered the song in 2010), 1972's Electrified has been one of the most collectible releases of it's era. \"Our Generation\" is justly famous, a masterpiece of socially conscious '70s gospel-inflected soul, but the rest of the record isn't far from the high standard set by that song, with \"Sugar Plum (Gimme Some)\" \"Your Love (Is All I Need),\" and the original version of The Temprees' \"Explain It to Her Mama\" the particular highlights. Exquisite production from the We Produce label's Jo Bridges and Tom Nixon, too. 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Lead singer Wayne Static put it plainly: \"I think it's the most metal record we've ever made, and it's arguably the heaviest record we've ever made.\" Cannibal is the first Static X record to have numerous guitar solos, which herald the return of founding guitarist Koichi Fukuda; and the change in producers (from Ulrich Wild to John Travis) no doubt played a role in the band's shift back to the more intense sound they premiered with Wisconsin Death Trip. The record went Top 40, and \"No Submission\" wound up on the Saw 3 soundtrack. In short, a return to form after the chaotic personnel and stylistic changes of Start a War. Cannibal is here given it's first-ever vinyl reissue with a bonus track (\"Light It Up\"). 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Well, now we're back to chronicle another key chapter in Barbara's career, the amazing, career-capping soul record she made in Chicago for Stax's Enterprise imprint right at the end of the '60s. Produced by longtime collaborator Ollie McLaughlin, The Many Grooves of Barbara Lewis surrounded her effortless, smooth vocal style with a much grittier sound than the Atlantic sides. And with tracks ranging from Clarence Carter's \"Slip Away\" to the '60s pop confection \"Windmills of Your Mind,\" the full range of her vocal brilliance is on proud display. It's one of the great female soul albums of it's era, reissued for the first time on LP in an ALL-ANALOG pressing on sonically superior purple PET plastic or black vinyl. 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Smooth sampled Ernie's anthemic \"Our Generation\" on their 1992 chart-topper \"Straighten It Out\" (and then John Legend and The Roots covered the song in 2010), 1972's Electrified has been one of the most collectible releases of it's era. \"Our Generation\" is justly famous, a masterpiece of socially conscious '70s gospel-inflected soul, but the rest of the record isn't far from the high standard set by that song, with \"Sugar Plum (Gimme Some)\" \"Your Love (Is All I Need),\" and the original version of The Temprees' \"Explain It to Her Mama\" the particular highlights. Exquisite production from the We Produce label's Jo Bridges and Tom Nixon, too. 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We are of course talking about Obituary, who, like Deicide, includes a pair of brothers, drummer Don and vocalist in extremis John Tardy. 1989's Slowly We Rot is, simply put, probably the most savage debut record ever made; reactions at the time ranged from Ozzy Osbourne's exclamation that \"They're f*king mad!\" to journalist Phil Alexander's proclamation in the pages of RAW that it was \"The type of album that'll make you froth at the mouth.\" Adding to it's landmark status is the fact that SWR was the first record produced by soon-to-be go-to death metal producer Scott Burns. For it's FIRST-EVER U.S. vinyl reissue, we've had it remastered for the format, added two bonus tracks (demo versions of \"Find the Arise\" and \"Like the Dead\"), and pressed in corpse blue with blood splatter vinyl to match Rob Mayworth's incredible album cover illustration. 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Well, now we're back to chronicle another key chapter in Barbara's career, the amazing, career-capping soul record she made in Chicago for Stax's Enterprise imprint right at the end of the '60s. Produced by longtime collaborator Ollie McLaughlin, The Many Grooves of Barbara Lewis surrounded her effortless, smooth vocal style with a much grittier sound than the Atlantic sides. And with tracks ranging from Clarence Carter's \"Slip Away\" to the '60s pop confection \"Windmills of Your Mind,\" the full range of her vocal brilliance is on proud display. It's one of the great female soul albums of it's era, reissued for the first time on LP in an ALL-ANALOG pressing on sonically superior purple PET plastic or black vinyl. 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This record doesn't have a dud on it, and boasts such Donnas devastators as \"Who Invited You,\" \"Take It Off,\" \"You Wanna Get Me High,\" and \"Pass It Around.\" Indeed, with one killer hook after another, the big mystery about this record is, why didn't it make them superstars? Our reissue also includes \"Big Rig,\" which was on the original LP release but got left off the CD, and the insert featuring lyrics and a Freddy Krueger guest appearance. 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Under the supervision of their son David Lawrence (who contributes a personal note to the booklet), we've gone back to the original tapes for most of these 72 tracks; some of these have never appeared on CD, and, with Eric Boulanger's new remastering, the ones that have come out sound much better than they did before. Disc One, \"Duet Classics,\" features such career touchstones for the couple as \"Baby It's Cold Outside,\" \"For Once in Your Life,\" and \"We Got Us.\" Disc Two, \"Steve Classics,\" brings the hits with \"Portrait of My Love,\" \"Footsteps,\" and \"Go Away Little Girl\" along with such signature renditions as \"I've Gotta Be Me\" and \"I Want to Be with You\" and even an unreleased track, \"You and I.\" Eydie takes over (and how!) on Disc Three with such smashes as \"Blame It on the Bossa Nova,\" \"What Did I Have That I Don't Have,\" \"If He Walked into My Life,\" \"Tonight I'll Say a Prayer, and her Spanish-language classic with Trio Los Panchos, \"Sabor a Mí.\" And Disc Four revels in the duo's love of Broadway with songs like \"Mama, A Rainbow,\" \"The Ladies Who Lunch,\" \"Two on the Aisle,\" and the uproarious \"The Honeymoon Is Over.\" Like this collection, Joe Marchese's liner notes follow Steve and Eydie's career every step of the way, and we've included some rare photos courtesy of the estate. 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Leave You\u003c\/li\u003e\n\u003cli\u003eI Wanna Be Around\u003c\/li\u003e\n\u003cli\u003eAs Time Goes By\u003c\/li\u003e\n\u003cli\u003eIt Was a Good Time\u003c\/li\u003e\n\u003cli\u003e*** \"BROADWAY CLASSICS\"\u003c\/li\u003e\n\u003cli\u003eTwo on the Aisle\u003c\/li\u003e\n\u003cli\u003eOn a Clear Day\u003c\/li\u003e\n\u003cli\u003eWhat I Did for Love\u003c\/li\u003e\n\u003cli\u003eAn Old-Fashioned Wedding\u003c\/li\u003e\n\u003cli\u003eWhat Kind of Fool Am I\u003c\/li\u003e\n\u003cli\u003eMy Funny Valentine\u003c\/li\u003e\n\u003cli\u003eThe Honeymoon Is Over\u003c\/li\u003e\n\u003cli\u003eMama, A Rainbow\u003c\/li\u003e\n\u003cli\u003eJohnny One Note\u003c\/li\u003e\n\u003cli\u003eIn My Own Lifetime\u003c\/li\u003e\n\u003cli\u003eHow Could I Be So Wrong\u003c\/li\u003e\n\u003cli\u003eOnce in a Lifetime\u003c\/li\u003e\n\u003cli\u003eSmall World\u003c\/li\u003e\n\u003cli\u003eWith So Little to Be Sure Of\u003c\/li\u003e\n\u003cli\u003eThe Ladies Who 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(#2), and Christian (#1) charts (the title itself is a reference to the Bible verse Romans 8:18, which says that our present-day suffering pales next to the glory that is to come). Which kinda sums up TDWPas appeal: what other band can shift so seamlessly from moments of visceral madness to spells of spiritual grace? 8:18 marked the swan song for founding band members Chris Rubey and Daniel Williams, and they certainly went out in style; the addition of some hardcore punk (aoBlack \u0026amp; Blue, a? aoNumber Elevena?) and straight metal (aoRumorsa?) ingredients to TDWPas melodic metalcore cauldron makes for a heady brew indeed. This sea blue pressing comes inside a gatefold with beautifully austere artwork plus an insert. A real artistic statement on every level.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGloom\u003c\/li\u003e\n\u003cli\u003eRumors\u003c\/li\u003e\n\u003cli\u003eFirst Sight\u003c\/li\u003e\n\u003cli\u003eWar\u003c\/li\u003e\n\u003cli\u003e8:18\u003c\/li\u003e\n\u003cli\u003eSailor's Prayer\u003c\/li\u003e\n\u003cli\u003eCare More\u003c\/li\u003e\n\u003cli\u003eMartyrs\u003c\/li\u003e\n\u003cli\u003eBlack ; Blue\u003c\/li\u003e\n\u003cli\u003eTransgress\u003c\/li\u003e\n\u003cli\u003eNumber Eleven\u003c\/li\u003e\n\u003cli\u003eHome for Grave\u003c\/li\u003e\n\u003cli\u003eIn Heart\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 848064020929\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Real Gone Music\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.3.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Devil Wears Prada","offers":[{"title":"Default Title","offer_id":45541243814086,"sku":"106035740","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4490475-3525918.jpg?v=1771274544"},{"product_id":"pre-order-tim-buckley-clear-vinyl-remastered","title":"Tim Buckley [Clear] (Remastered)","description":"\u003cp\u003eThe incandescent voice of Tim Buckley took him on a journey from fragile folk rocker to boldly experimental avant-garde icon in nine short years of recordings. Here we capture him at the beginning of his career with his sparkling 1966 debut album, which featured the Elektra labelas aoA-Teama? that produced the Doors: label owner and producer Jac Holzman, producer Paul Rothchild, and engineer Bruce Botnick. Not to mention such West Coast legends like arranger Jack Nitzsche, keyboardist Van Dyke Parks, and drummer Billy Mundi accompanying Buckleyas long-time collaborators Lee Underwood on guitar and Jim Fielder on bass. To label Tim Buckley a promising first effort is to give it short shrift; the only aspect arguably holding this record back from being an utter masterpiece is the tentative timbre of Buckleyas voice, but thatas only in comparison to his late career vocal acrobatics. And, in some ways, his aoshynessa? just lends an evanescent, vulnerable quality to the astonishingly sophisticated lyrical and melodic flights of this 19-year-old artist. 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But let us take you back to the very beginning of their odyssey with the FIRST live release the band ever put out. Live Revelator was released in 2012 on limited-edition CD to promote TTBas first studio album Revelator and to preview it's upcoming double live album Everybodyas Talkina; featuring the exclusive track aoDonat Let Me Slide, a? itas a single-LP sampling of the improvisational magic this band brings every night. And especially this band: because this is the early line-up boasting Dead \u0026amp; Co. Bassist Oteil Burbridge and the late, great Kofi Burbridge on keyboards. 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This 2020 film has already become an indie classic, and it's taken on a timeliness that it's creators could not have foreseen. Teenage Autumn has to flee her rural Pennsylvania town in seach of an abortion, leaving behind her abusive partner, her indifferent parents (singer Sharon Van Etten plays her mother), and her callous community as she embarks on a journey to New York City accompanied by her cousin Skylar. No matter your stance on the subject, Autumn's harrowing odyssey provokes compassion and contemplation, two states of mind in short supply these days. And accompanying Autumn every step of the way on her journey is the mesmerizing and, at times, achingly sad score by cult favorite composer Julia Holter. So much of the film is made up of shots of Autumn's face as she attempts to process what is happening to her and around her; seldom has a film score captured a character's interior monologue with such insight and grace. 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You might have heard of him-THE GODFATHER OF SOUL, JAMES BROWN! Here are his words from the back cover: \"Between my concerts, one-nighters, and working with people in the poverty and 'Stay in School' programs, I find time to fly into Cincinnati to record - and for three years now everybody's been hippin me to dig the Dee Felice Trio. Last fall my production manager Bud Hobgood put me in a car, between sessions and between sessions we ended up at the Living Room Supper Club where the Trio was playing. After listening to the first set, I knew I had to record an album of standards with this trio backing me up, and I wasted no time in signing them to a contract - on the spot.\" So not only did the Dee Felice Trio back James Brown on his 1969 King release Gettin' Down to It, but also the Godfather turned around and produced the Trio's In Heat for Bethlehem. 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Their body of work stands up to many of their more celebrated peers (country rock, for one, is almost unimaginable without albums like Bradley's Barn and Triangle). Thus, the 1975 reappearance of The Beau Brummels in their original line-up for the first time since their 1965 debut Introducing the Beau Brummels was momentous indeed. The eponymous record that resulted, produced by Ted Templeman and Lenny Waronker, still stands as one of the greatest \"reunion\" albums in rock history, featuring fine songwriting from Ron Elliott and vocal work by Sal Valentino in a classy update of the Brummels' trademark folk and country-tinged style. However, bassist Ron Meagher left before the album was finished, and the band's subsequent touring failed to connect the record in the marketplace, and so The Beau Brummels has never been accorded the attention it deserved. However, time for a reassessment is nigh. Because this new expanded edition features pristine remastered audio and no less than a baker's dozen unreleased demos, alternates and outtakes from the album sessions recently located in the Warner Bros. #label vaults. Reissue producer Alec Palao has worked closely with the surviving Brummels in shaping this release, and tells the full story of it's evolution with an extensive essay inside the illustrated package. 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Because this new expanded edition features pristine remastered audio and no less than a baker's dozen unreleased demos, alternates and outtakes from the album sessions recently located in the Warner Bros. #label vaults. Reissue producer Alec Palao has worked closely with the surviving Brummels in shaping this release, and tells the full story of it's evolution with an extensive essay inside the illustrated package. 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After all, the two films shared the same writer\/director (Nora Ephron), co-stars (Tom Hanks and Meg Ryan), and even kinda the same plot with a little help from The Shop Around the Corner (except this time instead of a radio show it's an online chat room that brings the two lovebirds together, complete with hysterically out-of-date, dial-up email graphics). But most importantly, both movies boasted boffo soundtracks; like he did in Sleepless in Seattle, Jimmy Durante has the last word (with \"You Made Me Love You)\" but You've Got Mail also features three tunes by Harry Nilsson and songs by Carole King, Stevie Wonder, Bobby Darin, Roy Orbison, and more, with a nod to the more contemporary set with Sinead O'Connor and the Cranberries. Our release comes complete with an inner sleeve containing a ruby platter. 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Well, this album's gonna change your mind. Forever. 1993's River Runs Red is a concept album, all right, but it's themes include alcoholism, physical abuse, and, ultimately, suicide. The record interpolates dramatic, staged skits that tell the story of a troubled teenager edging closer to self-harm between intensely personal songs penned by bassist Alan Robert that range stylistically from New York hardcore to gloom metal to grunge. The intensity just keeps ratcheting up until River Runs Red ends with the sound of blood from a suicide attempt dripping into bathwater. #which would ordinarily require a spoiler alert except for the fact that throughout the album the protagonist's trajectory is clearly headed in only one direction. Cult classic status is almost a given with a plotline like that, but in this case it's well earned; River Runs Red isn't just one of the greatest concept or metal albums ever made. It is, quite simply, one of the most powerful records ever made in any genre. An earlier vinyl reissue sold a bunch, but it's been out of print for over a decade; our remastered-for-vinyl release comes in a clear with red and blue swirl pressing manufactured at Gotta Groove Records and accompanied by an insert. 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Now, we're one-upping ourselves with Girl of Yesterday-Acoustic Folk Demos, a collection of COMPLETELY UNRELEASED acoustic folk demos from Jackie, taken from the same rich source of material. Folk music came naturally to Jackie. She got her start singing gospel at home and in church as a child in her native Kentucky, and then singing country songs in her teens on her own weekly radio show. And her first, self-titled album for Liberty in 1963 consisted entirely of folk repertoire. But that album only featured folk songs written by other artists. Girl of Yesterday-Acoustic Folk Demos, on the other hand, presents a dozen tunes, all penned by Jackie for an album distributed by Metric in 1964. Accompanied only by her own accomplished fingerpicked acoustic guitar, DeShannon delivered a stunning set of heart-rendingly sung, haunting music imbued with the doubt, confusion, and excitement of finding adult identity. Although grounded in acoustic folk, it looked forward to both folk-rock and the singer-songwriter era in it's lyrical maturity and melodic complexity. Only 500 to 1000 copies were pressed in November 1964, it's availability limited to various A\u0026amp;R personnel and other music industry staff who made decisions with recording artists looking for material. With Girl of Yesterday-Acoustic Folk Demos, this remarkable material finally gains the exposure it deserves. Among the highlights are a couple of songs that were soon covered by famous artists. Certainly the most renowned is \"Don't Doubt Yourself, Babe,\" given a Bo Diddley beat by The Byrds (Jackie was a huge Byrds booster and fan) on their Top Ten 1965 debut album Mr. Tambourine Man, though it was titled \"It's Gonna Be All Right\" on her far folkier arrangement on the original Metric Music demo LP. And Marianne Faithfull covered the superbly bittersweet \"With You in Mind\" on her 1967 album Love in a Mist. We also hear the first appearance of \"Splendor in the Grass,\" later a 1966 DeShannon single given backing by The Byrds. Richie Unterberger's notes feature candid recollections from Jackie about the motivations behind the songs and the vibrant, mid-'60s LA scene from which they emerged. Remastered by Mike Milchner at Sonic Vision and featuring photos from Jackie's private collection, Girl of Yesterday-Acoustic Folk Demos is available in a beige vinyl edition or on compact disc. 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Although grounded in acoustic folk, it looked forward to both folk-rock and the singer-songwriter era in it's lyrical maturity and melodic complexity. Only 500 to 1000 copies were pressed in November 1964, it's availability limited to various A\u0026amp;R personnel and other music industry staff who made decisions with recording artists looking for material. With Girl of Yesterday-Acoustic Folk Demos, this remarkable material finally gains the exposure it deserves. Among the highlights are a couple of songs that were soon covered by famous artists. Certainly the most renowned is \"Don't Doubt Yourself, Babe,\" given a Bo Diddley beat by The Byrds (Jackie was a huge Byrds booster and fan) on their Top Ten 1965 debut album Mr. Tambourine Man, though it was titled \"It's Gonna Be All Right\" on her far folkier arrangement on the original Metric Music demo LP. And Marianne Faithfull covered the superbly bittersweet \"With You in Mind\" on her 1967 album Love in a Mist. 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But Vol. 5 has a lot more going for it than just a convenient spot on the calendar; this is one of the rawest and most energetic Picks, a complete show anchored by a second set that is in essence one big medley that begins with \"Uncle John's Band\" and ends with it almost two hours later, with a supercharged \"The Other One\" and the first appearance of \"Brokedown Palace\" in two years among many high points in between. Set one is no slouch, either, with a great, Garcia-led rendition of \"Alabama Getaway\" four months before it appeared on record and a passionate vocal by Bob Weir on \"Looks Like Rain\" leading to a spirited, set-closing \"The Promised Land.\" And throughout it all you'll hear Brent Mydland serving notice in one of his early shows with the band that he is fully up to the task of replacing Keith Godchaux. For this LP reissue, we've given Dick's Picks Vol. 5 the usual Real Gone spit 'n' Polish, starting with a fresh mastering job by Jeffrey Norman. 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Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-'60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela's band (that's Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter\/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor \u0026amp; soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it's hard to make comparisons; definitely a little fusion, a little '60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired (\"Little Miss Laurie\") and funk-infused (\"Plastic Creek Stomp\") sides of jazz, but perhaps the best comparison is late-'60s Miles before he went electric. 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How is that even possible? This double-platinum record notched a #1 R\u0026amp;B hit with \"Can We Talk?\" and garnered three Grammy nominations for the prodigiously talented, 16 year-old Campbell, who built off the success of his T.E.V.I.N. smash debut to emerge a full-fledged, mature soul singer (\"I'm Ready,\" indeed!). We've had it remastered for vinyl and included a color printed inner sleeve to house our beautiful sea blue vinyl pressing. 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Which is no surprise given that a lot of the same players are on it, including trumpeter\/flugelhornist Oscar Brashear, tenor\/soprano saxophonist Charles Owens, and pianist Bill Henderson (here billed as Kemang Sunduza). But The Skipper at Home also boasts ace talents like keyboardist Kirk Lightsey (memorably featured on the Roland Haynes Black Jazz release 2nd Wave), trombonist Al Hall, Jr. (who appeared on Black Jazz releases from Doug Carn, Chester Thompson, and Calvin Keys), and drummer Leon \"Ndugu\" Chancler, who's played with everyone from Miles Davis to Joe Henderson. The result is an album that, like The Skipper, is rooted in bop but one that nods to some of the currents that were swirling in jazz at the time; it's a little freer, a little more electric. And, as is true of just about every Black Jazz release, the ensemble work is remarkably intuitive and swinging, driven by Franklin's melodic, inventive bass playing. 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No question, it took an ingenious premise, great writing, great direction... and a stellar ensemble cast headed by lead actor Michael C. Hall. But long-time viewers of the show know there was another \"character\" that played a huge role in the series: the soundtrack. From Rolfe Kent's unforgettable title theme to the well-chosen Latin-tinged tunes that fit the Miami setting to composer Daniel Licht's brilliant themes, the score of Dexter commented on the action even as it amplified it's emotional power. Special mention must be made of the late Licht's work, which employed Latin and electronic elements to portray Dexter's warm and cold sides; among the favorites here are \"Astor's Birthday Party\" and the haunting \"Blood Theme\" that played over the credits in every episode. In 2007, the Milan label put out a CD and a truncated single-LP soundtrack album containing music from the first season; now, we at Real Gone Music are offering all of the music that appeared on the CD in an expanded double-LP edition, pressed on green \"kill outfit\" vinyl (to match Dexter's sartorial choices when he made his deadly excursions) and housed inside an appropriately gory gatefold. Don't miss Michael C. Hall's spoken word pieces, either... perversely pleasurable listening!\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDexter Main Title - Rolfe Kent\u003c\/li\u003e\n\u003cli\u003e\"Tonight's the Night\" - Michael C. Hall\u003c\/li\u003e\n\u003cli\u003eConoci La Paz - Beny More\u003c\/li\u003e\n\u003cli\u003eUruapan Breaks - Kinky\u003c\/li\u003e\n\u003cli\u003eFlores Para Ti - Raw Artistic Soul feat. 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Feldman's association with the New York abstract art scene of the time is made explicit with the cover art by Philip Guston, but it's the music, with it's minimalism and emphasis on tonal color, that most clearly expresses the ethos of his visual artist peers. Perhaps the biggest influence, however-though it's hard to say exactly who influenced whom-is John Cage, whose experiments with chance methods of composition and performance echo in Feldman's graphic notation, which left choices of rhythm and pitch to the performers of his \"Projections\" and \"Intersections\" pieces. This release represents the first reissue of this landmark record (a later release, The Early Years, discarded the Guston album art and reshuffled the sequence), and to ensure the truest and clearest listening experience possible, we're pressing New Directions in Music 2 on black vinyl at Gotta Groove Records. 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There's a reason this was the best-selling record on the Roadrunner label till Slipknot's first; the \"Let freedom ring with a shotgun blast\" refrain to the album-opening song \"Davidian\" (inspired by the 1993 Waco Siege) is brilliant and chilling, full of the rage that led to that bloody day with menacing music to match. The rest of the record doesn't let up, either... this is one thundering, furious, glorious assault of an album, to which we've added five bonus demo tracks on this remastered and expanded 2-LP version. 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