{"title":"Pop","description":"","products":[{"product_id":"lana-del-rey-born-to-die","title":"Lana Del Rey - Born to Die","description":"\u003cp\u003eLana Del Rey is a femme fatale with a smoky voice, a languorous image, and a modeling contract. Not coincidentally, she didn't lack for attention leading up to the release of her Interscope debut, Born to Die. The hype began in mid-2011 with a stunning song and video for \"Video Games,\" and it kept on rising, right up to her January 2012 performance on Saturday Night Live (making her the first artist since Natalie Imbruglia in 1998 to perform on SNL without an album available). Although it's easy to see the reasons why Del Rey got her contract, it's also easy to hear: her songwriting skills and her bewitching voice. \"Video Games\" is a beautiful song, calling to mind Fiona Apple and Anna Calvi as she recounts another variation on the age-old trope of female-as-sex-object. Her vacant, tired reading of the song rescues it from any hint of exploitation, making it a winner. Unfortunately, the only problem with Born to Die is a big one. There is a chasm that separates \"Video Games\" from the other material and performances on the album, which aims for exactly the same target -- sultry, sexy, wasted -- but with none of the same lyrical grace, emotional power, or sympathetic productions. Del Rey doesn't mind taking chances, varying her vocalizing and delivery, toying with her lines and reaching for cinematic flourishes (\"he loves me with every beat of his cocaine heart,\" \"Pabst Blue Ribbon on ice\"), and even attempting to rap. But she's unable to consistently sell herself as a heartbreaker, and most of the songs here sound like cobbled retreads of \"Video Games.\" An intriguing start, but Del Rey is going to have to hit the books if she wants to stay as successful as her career promised early on.\u003c\/p\u003e\n\u003cp\u003e1 Born to Die 4:46\u003cbr\u003e2 Off to the Races 5:01\u003cbr\u003e3 Blue Jeans 3:42\u003cbr\u003e4 Video Games 4:46\u003cbr\u003e5 Diet Mountain Dew 3:43\u003cbr\u003e6 National Anthem 3:49\u003cbr\u003e7 Dark Paradise 4:04\u003cbr\u003e8 Radio 3:35\u003cbr\u003e9 Carmen 4:09\u003cbr\u003e10 Million Dollar Man 3:50\u003cbr\u003e11 Summertime Sadness 4:25\u003cbr\u003e12 This Is What Makes Us Girls 4:00\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421837,"sku":null,"price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71tNTXwwWFL._UF1000_1000_QL80.jpg?v=1755891042"},{"product_id":"coldplay-parachutes","title":"Coldplay - Parachutes","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN TWO VINYL VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe London foursome Coldplay were early critics' darlings in their native U.K., showcasing melodic pop on a slew of EP releases and constant live shows just after the spark of the new millennium. Not as heavy as Radiohead or snobbish as Oasis, Coldplay were revealed on Parachutes as a band of young musicians still honing their sweet harmonies. Combining bits of distorted guitar riffs and swishing percussion, Parachutes was a delightful introduction and also quickly indicated the reason why this album earned Coldplay a Mercury Music Prize nomination in fall 2000. Frontman Chris Martin's lyrical wordplay is feminist in the manner of Geneva's Andrew Montgomery, but far more withered. The imagery captured on Parachutes is exquisitely dark and artistically abrasive, and the entire composition is tractable thanks to gauzy acoustics and airy percussion. Coldplay's indie rock inclinations are also obvious, especially on songs such as \"Don't Panic\" and \"Shiver,\" but it's the dream pop soundscapes captured on \"High Speed\" and \"We Never Change\" that illustrate the band's dynamic passion. This basic pop was surely a refreshing effort in the face of big productions like the Spice Girls and Westlife. Parachutes deserved the accolades it received because it followed the general rule when introducing decent pop songs: keep the emotion genuine and real. And Coldplay did that without hesitation.\u003c\/p\u003e\n\u003cp\u003eA1        Don't Panic    2:17\u003cbr\u003eA2        Shiver    4:59\u003cbr\u003eA3        Spies    5:18\u003cbr\u003eA4        Sparks    3:47\u003cbr\u003eA5        Yellow    4:29\u003cbr\u003eB1        Trouble    4:30\u003cbr\u003eB2        Parachutes    0:46\u003cbr\u003eB3        High Speed    4:14\u003cbr\u003eB4        We Never Change    4:09\u003cbr\u003eB5        Everything's Not Lost    5:25\u003cbr\u003eB6        Life Is For Living    1:37\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Standard Black Vinyl","offer_id":44183866278088,"sku":"CPP-1","price":29.99,"currency_code":"USD","in_stock":false},{"title":"140g CLEAR ECO VINYL","offer_id":44183866310856,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61nCadNE95L._SL1500.jpeg?v=1390369097"},{"product_id":"adele-21","title":"Adele - 21","description":"\u003cp\u003e\u003cstrong\u003e1xLP Black Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAdele's 2009 debut album, 19, was a Grammy-winning smash hit that revealed the British singer\/songwriter's knack for bittersweet soul and folk-infused love songs that brought to mind an infectious mix of Dusty Springfield and Terry Callier. The album earned her a ton of fans, and interest was high for the inevitable follow-up. In many ways, her sophomore album, the similarly age-appropriate-titled 21, is a continuation of the sounds and themes Adele was working with on 19. She is still the bluesy pop diva with a singer\/songwriter's soul and seemingly bottomless capacity for heartbreak. If the tastefully organic production and overabundance of well-known co-writers come off a bit too on-the-nose in terms of delivering to fan expectations, then the best thing the album does is to showcase Adele's titanic vocal ability, which -- more than a few times on 21 -- is simply spine-tingling. Last time around we got the gauzy, Callier-esque folk-soul ballad \"Daydreamer\" to slowly draw us into the album; here, Adele immediately injects us with the propulsive gospel fever-blues anthem \"Rolling in the Deep.\" While the track certainly owes a heavy debt to the punk-blues of Beth Ditto and the Gossip, it is also ridiculously sexy and one of the best singles of any decade -- and, unfortunately, completely sets the bar way too high for everything else on 21. Which isn't to say that 21 is bad; on the contrary, tracks like the similarly blues-inflected Ryan Tedder co-write \"Rumour Has It\" and the old-school-style soul cut \"He Won't Go\" are terrifically catchy, booty-shaking numbers, and exactly the kind of songs you want and expect from Adele. That said, if Adele's voice goes on forever here, so apparently does her appetite for bad relationship mojo. An inordinate amount of the material on 21 is about yearning for lost love. In fact, the centerpiece of the album, the mega-ballad showstopper \"Take It All\" -- co-written by her \"Chasing Pavements\" partner Francis White -- begins with Adele proclaiming \"Didn't I give it all?\" Delivered starkly at first with Adele set against simple piano accompaniment and later backed by a gospel choir, it's an instant-classic sort of song in the tradition of \"The Rose,\" \"And I Am Telling You I Am Not Going,\" and \"All by Myself\" that could stand over the years as a career landmark for the singer and a cathartic moment for fans who identify with their idol's Pyrrhic lovelorn persona. For others, over the course of the album, that persona and the insistence of track after track of heartbreak can get a bit alienating. Ultimately, however, Adele does give us her all on 21, and for now that is enough.\u003c\/p\u003e\n\u003cp\u003eRolling In The Deep 3:46\u003cbr\u003eRumour Has It 3:39\u003cbr\u003eTurning Tables 4:06\u003cbr\u003eDon't You Remember 4:00\u003cbr\u003eSet Fire To The Rain 3:58\u003cbr\u003eHe Won't Go 4:30\u003cbr\u003eTake It All 3:44\u003cbr\u003eI'll Be Waiting 3:56\u003cbr\u003eOne And Only 5:45\u003cbr\u003eLovesong 5:12\u003cbr\u003eSomeone Like You 4:40\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422013,"sku":"","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/41gnVYIc_2B1L.jpeg?v=1390090721"},{"product_id":"fleetwood-mac-rumours-reissue","title":"Fleetwood Mac - Rumours","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRumours is the kind of album that transcends its origins and reputation, entering the realm of legend -- it's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group's internal turmoil. Unlike most bands, Fleetwood Mac in the mid-'70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled. Bassist John McVie and his keyboardist\/singer wife Christine McVie filed for divorce as guitarist\/vocalist Lindsey Buckingham and vocalist Stevie Nicks split, with Stevie running to drummer Mick Fleetwood, unbeknown to the rest of the band. These personal tensions fueled nearly every song on Rumours, which makes listening to the album a nearly voyeuristic experience. You're eavesdropping on the bandmates singing painful truths about each other, spreading nasty lies and rumors and wallowing in their grief, all in the presence of the person who caused the heartache. Everybody loves gawking at a good public breakup, but if that was all that it took to sell a record, Richard and Linda Thompson's Shoot Out the Lights would be multi-platinum. No, what made Rumours an unparalleled blockbuster is the quality of the music. Once again masterminded by producer\/songwriter\/guitarist Buckingham, Rumours is an exceptionally musical piece of work -- he toughens Christine McVie and softens Nicks, adding weird turns to accessibly melodic works, which gives the universal themes of the songs haunting resonance. It also cloaks the raw emotion of the lyrics in deceptively palatable arrangements that made a tune as wrecked and tortured as \"Go Your Own Way\" an anthemic hit. But that's what makes Rumours such an enduring achievement -- it turns private pain into something universal. Some of these songs may be too familiar, whether through their repeated exposure on FM radio or their use in presidential campaigns, but in the context of the album, each tune, each phrase regains its raw, immediate emotional power -- which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.\u003c\/p\u003e\n\u003cp\u003eA1 Second Hand News 2:43\u003cbr\u003eA2 Dreams 4:14\u003cbr\u003eA3 Never Going Back Again 2:02\u003cbr\u003eA4 Don't Stop 3:11\u003cbr\u003eA5 Go Your Own Way 3:38\u003cbr\u003eA6 Songbird 3:20\u003cbr\u003eB1 The Chain 4:28\u003cbr\u003eB2 You Make Loving Fun 3:31\u003cbr\u003eB3 I Don't Want to Know 3:11\u003cbr\u003eB4 Oh Daddy 3:54\u003cbr\u003eB5 Gold Dust Woman 4:51\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":499478657,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/814HCTSp3DL.png?v=1390506265"},{"product_id":"saint-vincent-saint-vincent","title":"St. Vincent - S\/T","description":"\u003cp\u003e\u003cstrong\u003e10th ANNIVERSARY - PURPLE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAnnie Clark began recording St. Vincent almost immediately after she finished touring in support of Love This Giant, her inspired collaboration with David Byrne. It's not hard to hear the influence that album had on these songs: Love This Giant's literal and figurative brassiness gave Clark's witty yet thoughtful approach more sass without sacrificing any of her intelligence. Similarly, while St. Vincent is some of her most pop-oriented work, it doesn't dilute the essence of her music. If anything, her razor-sharp wit is even more potent when polished in a candy coating with just a hint of venom. This is especially true of the album's singles: on \"Digital Witness,\" one of the songs with the closest kinship to her \"Love This Giant\" work, she juxtaposes pointed commentary (\"If you can't see me\/What's the point of doing anything?\") with Valley Girl \"yeah\"s in a trenchant expression of the 21st century's constant oversharing and need for validation. This somewhat frantic undercurrent bubbles to the surface on \"Birth in Reverse,\" one of Clark's most immediately winning singles since \"Actor Out of Work,\" and one that makes retreat seem nearly as exciting as revolution. Here and throughout the album, Clark and longtime producer John Congleton use their signature, proudly artificial sound to highlight her direct storytelling, whether it's the way \"I Prefer Your Love\"'s trip-hoppy sheen lets the declaration \"I prefer your love to Jesus\" ring out more boldly or the way Clark sings \"I'm afraid of you because I can't be left behind\" gives the lie to her brash guitar playing on \"Regret.\" As on Strange Mercy, Clark explores strength and vulnerability in ever more masterful, and approachable, ways. Not every song may be as literally autobiographical as \"Rattlesnake,\" which was inspired by a secluded walk in the desert in the altogether. Yet there's more than a kernel of emotional truth to \"Prince Johnny,\" where Clark's character ends up even more exposed thanks to some songwriting sleight-of-hand. The hallucinatory, funky \"Huey Newton\" and the decaying power ballad \"Severed Crossed Fingers\" show off not just Clark's musical range, but just how eloquently she blends passion and precision. And, as her most satisfying, artful, and accessible album yet, St. Vincent earns its title.\u003c\/p\u003e\n\u003cp\u003eA1        Rattlesnake    3:34\u003cbr\u003eA2        Birth In Reverse    3:15\u003cbr\u003eA3        Prince Johnny    4:36\u003cbr\u003eA4        Huey Newton    4:37\u003cbr\u003eA5        Digital Witness    3:22\u003cbr\u003eA6        I Prefer Your Love    3:36\u003cbr\u003eB1        Regret    3:21\u003cbr\u003eB2        Bring Me Your Loves    3:15\u003cbr\u003eB3        Psychopath    3:32\u003cbr\u003eB4        Every Tear Disappears    3:15\u003cbr\u003eB5        Severed Crossed Fingers    3:42\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":598425565,"sku":"","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/91rQENRf9oL._SL1500.jpeg?v=1394224066"},{"product_id":"1975-the-the-1975","title":"1975, The - S\/T","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe 2013 self-titled debut album from the 1975 is a superb album that finds the Manchester outfit poised on the brink of stardom. When rock guitars meet dancefloor synths, '80s influences become hard to deny, but while the 1975 definitely have a retro vibe (hence the name), the alchemy of how they bring those influences to bear is totally contemporary. While many of the tracks here bring to mind such icons as Peter Gabriel, INXS, and U2, they also fit nicely next to artists of the same moment, like Passion Pit, Temper Trap, and M83. It helps that lead singer\/songwriter Matthew Healy has a compelling tenor croon that can soar like Bono one minute and coo like Lionel Richie the next. There is also a sophistication to the band's songs, and an instinct to blur genre lines that makes it hard to box them into one, easy to define sound. In that sense, the band also recalls the way Fall Out Boy combined the rhythmic phrasing and melodies of contemporary R\u0026amp;B with their own brand of driving, guitar-based emo-rock. Much has been made of the 1975's avowed love of '80s John Hughes movies, and many of the cuts here, like the thrilling, lovesick \"Settle Down\" and the sparkling \"Girls,\" play with such great narrative momentum that they sound like songs culled from a Hughes soundtrack. Meanwhile, cuts like \"The City,\" \"Chocolate,\" and \"Sex\" drive and climb like the best anthemic '80s stadium rock, roiling a host of influences into a single distinct sound that, the moment it hits your ears, becomes timeless.\u003c\/p\u003e\n\u003cp\u003eA1        The 1975    1:19\u003cbr\u003eA2        The City    3:26\u003cbr\u003eA3        M.O.N.E.Y.    3:36\u003cbr\u003eA4        Chocolate    3:44\u003cbr\u003eB1        Sex    3:26\u003cbr\u003eB2        Talk!    2:47\u003cbr\u003eB3        An Encounter    1:14\u003cbr\u003eB4        Heart Out    3:22\u003cbr\u003eC1        Settle Down    3:59\u003cbr\u003eC2        Robbers    4:14\u003cbr\u003eC3        Girls    4:14\u003cbr\u003eC4        12    1:19\u003cbr\u003eD1        She Way Out    3:59\u003cbr\u003eD2        Menswear    3:26\u003cbr\u003eD3        Pressure    3:41\u003cbr\u003eD4        Is There Somebody Who Can Watch You    2:54\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":633001577,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/817pT1YOJwL._SL1500.jpeg?v=1395392371"},{"product_id":"fleetwood-mac-greatest-hits-reissue","title":"Fleetwood Mac - Greatest Hits","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Rhiannon 4:11\u003cbr data-mce-fragment=\"1\"\u003eA2 Don't Stop 3:11\u003cbr data-mce-fragment=\"1\"\u003eA3 Go Your Own Way 3:37\u003cbr data-mce-fragment=\"1\"\u003eA4 Hold Me 3:44\u003cbr data-mce-fragment=\"1\"\u003eA5 Everywhere 3:41\u003cbr data-mce-fragment=\"1\"\u003eA6 Gypsy 4:22\u003cbr data-mce-fragment=\"1\"\u003eA7 As Long as You Follow 4:11\u003cbr data-mce-fragment=\"1\"\u003eB1 Say You Love Me 4:09\u003cbr data-mce-fragment=\"1\"\u003eB2 Dreams 4:15\u003cbr data-mce-fragment=\"1\"\u003eB3 Little Lies 3:37\u003cbr data-mce-fragment=\"1\"\u003eB4 Sara 6:25\u003cbr data-mce-fragment=\"1\"\u003eB5 Tusk 3:26\u003cbr data-mce-fragment=\"1\"\u003eB6 No Questions Asked 4:40\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":813515425,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/ac7c729fd7a0a2c80d69c010.L.jpeg?v=1403731604"},{"product_id":"coldplay-a-rush-of-blood-to-the-head-1","title":"Coldplay - A Rush Of Blood To The Head","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN 2 VINYL VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 2002, the members of Coldplay were still in the midst of their ascent, riding the breakthrough success of their sleepy debut, which established wide-eyed vulnerability and earnestness as an indelible part of their image. Soft and soothing, the precious Parachutes set them up for a lifetime of inaccurate comparisons to Radiohead, even though the similarities started and ended with The Bends. And just like Radiohead, they quickly evolved into another beast altogether: plugging in the guitars, amplifying the bombast, tattooing their hearts on their sleeves, and shooting for the arena rafters in a fashion more similar to U2. Their sophomore effort, A Rush of Blood to the Head, made the message clear within the first seconds of the intense opener \"Politik.\" As Will Champion's drums crash, Jonny Buckland's guitar swells, and Guy Berryman's bass churns, frontman Chris Martin bursts through the Wall of Sound, jolting listeners awake with the desperate cry, \"Open up your eyes!\" Angsty and urgent, songs like \"Politik\" and the title track introduced fresh elements into the Coldplay repertoire, expanding their emotional palette and showing critics that they could really rock when they wanted to. This was the sound of a new Coldplay, one that developed confidence, a voice, and a budding imagination to separate themselves from the Travises and Elbows of the world. The aggressive wallop of \"God Put a Smile upon Your Face\" -- a live staple and fan-favorite single -- typified the trademark sound of the era, combining Champion and Berryman's groove with Buckland's outer-space noodling, a style that they'd blast into the stratosphere on the follow-up effort, X\u0026amp;Y. Along with \"Daylight\" and \"A Whisper,\" the track helped establish Coldplay as an arena rock presence, pulling them out of the indie-dwelling bedroom and onto the big stage. From that platform, Coldplay also delivered three of their most enduring and beloved singles: the sparkling \"In My Place,\" the weepy ballad \"The Scientist,\" and the piano-kissed showstopper \"Clocks.\" With A Rush of Blood to the Head, Coldplay pulled back the curtains to reveal a robust and energized unit, one that would soon conquer the mainstream with a steady evolution into the world of pop. At this moment -- before issuing the two highest-selling albums in the world in 2005 and 2008 and becoming an international stadium sell-out presence -- Coldplay were coming to grips with their music's power and possibility, a young band hungry, bright-eyed, and primed for stardom.\u003c\/p\u003e\n\u003cp\u003eA1        Politik\u003cbr\u003eA2        In My Place\u003cbr\u003eA3        God Put A Smile Upon Your Face\u003cbr\u003eA4        The Scientist\u003cbr\u003eA5        Clocks\u003cbr\u003eB1        Daylight\u003cbr\u003eB2        Green Eyes\u003cbr\u003eB3        Warning Sign\u003cbr\u003eB4        A Whisper\u003cbr\u003eB5        A Rush Of Blood To The Head\u003cbr\u003eB6        Amsterdam\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Standard Black Vinyl","offer_id":44183876403400,"sku":"","price":29.99,"currency_code":"USD","in_stock":false},{"title":"140g CLEAR ECO VINYL","offer_id":44183876436168,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71oL-GvxVVL._SL1470.jpg?v=1705707150"},{"product_id":"lady-gaga-the-fame","title":"Lady Gaga - The Fame","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe times were crying out for a pop star like Lady GaGa -- a self-styled, self-made shooting star, one who mocked the tabloid digital age while still wanting to wallow in it -- and one who's smart enough to pull it all off, too. That self-awareness and satire were absent in the pop of the new millennium, where even the best of the lot operated only on one level, which may be why Lady GaGa turned into such a sensation in 2009: everybody was thirsty for music like this, music for and about their lives, both real and virtual. To a certain extent, the reaction to The Fame may have been a little too enthusiastic, with GaGa turning inescapable sometime in the summer of 2009, when she appeared on countless magazine covers while both Weezer and DAUGHTRY covered “Pokerface,” the rush to attention suggesting that she was the second coming of Madonna, a comparison GaGa cheerfully courts and one that’s accurate if perhaps overextended. Like the marvelous Madge, Lady GaGa ushers the underground into the mainstream -- chiefly, a dose of diluted Peaches delivered via a burbling cauldron of electro-disco -- by taming it just enough so it’s given the form of pop yet remains titillating. Sure, GaGa sings of disco sticks, bluffin’ with her muffin, and rough sex, but her provocation doesn’t derive solely from her words: this is music that sounds thickly sexy with its stainless steel synths and dark disco rhythms. Where GaGa excels, and why she crossed over, is how she doesn’t leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave, like the title track that echoes Gwen Stefani in dance diva mode. But where Gwen simply celebrates celeb consumer culture, GaGa bites, her litany of runway models, pornographic girls, and body plastic delivered with an undercurrent of disdain, even as she loves all the glitz. This dichotomy propels much of The Fame, particularly on the clever “Paparazzi,” where she casts herself as the photographic parasite chasing after her crush, but none of this meta text would work if the songs didn’t click, functioning simultaneously as glorious pop trash and a wicked parody of it.\u003c\/p\u003e\n\u003cp\u003eA1        Just Dance\u003cbr\u003eA2        Lovegame\u003cbr\u003eA3        Paparazzi\u003cbr\u003eA4        Poker Face\u003cbr\u003eB1        Eh, Eh (Nothing Else I Can Say)\u003cbr\u003eB2        Beautiful, Dirty, Rich\u003cbr\u003eB3        The Fame\u003cbr\u003eC1        Money Honey\u003cbr\u003eC2        Starstruck\u003cbr\u003eC3        Boys Boys Boys\u003cbr\u003eC4        Paper Gangsta\u003cbr\u003eD1        Brown Eyes\u003cbr\u003eD2        I Like It Rough\u003cbr\u003eD3        Summerboy\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":968807573,"sku":"","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91x3Afp9SPL._UF1000_1000_QL80.jpg?v=1771376147"},{"product_id":"mayer-john-heavier-things","title":"John Mayer - Heavier Things","description":"\u003cp\u003eDon't take the title of John Mayer's Heavier Things literally. Mayer offers nothing heavy on the follow-up to his breakthrough hit, Room for Squares -- nothing heavy in the music and nothing heavy in the lyrics. No, Mayer is smooth, slick, and streamlined on his second or third album (it all depends if you count his 1999 debut, Inside Wants Out, half of which was re-recorded for Room for Squares, which itself was released in two different incarnations), playing things straight and following the blueprint his big radio hit, \"Your Body Is a Wonderland,\" provided. The title Heavier Things does reflect his new directness, lacking the lithe playfulness that resulted in a Hank Mobley joke, of all things, for an album title last time out. That extends to the rest of the album -- the humor and interesting wordplay have been toned down, leaving very little ambiguity. Actually, there's little left unexplained on the record, with every song on the album spread across several grids explaining where they were written and how many beats per minute they are, breaking them down into keywords, charting what \"suggested target points\" on the body the song should hit (tellingly, not one track is targeted at the crotch), and even grouping the songs together by key. The latter is a bit of a mistake, since it shows that for all those jazzy major and minor seventh chords gliding by in his songs, he's keeping his songwriting pretty simple, sticking to D, E, F, G, and A, with a G minor thrown in for good measure. This, of course, is not really a problem for listeners, since most listeners don't care how a song is written as long as it sounds good, but this does confirm that he's kept things simple, concentrating on how the record sounds and feels. And, as a piece of mood music, this is really quite effective, delivering on how \"Your Body Is a Wonderland\" sounds, with some really nice lush, laid-back textures and songs that are melodic without being truly catchy. It's music that floats through the speakers nicely and never leaves much of a lasting impression; it's how a jazzier, laid-back, less adventurous, and MOR-oriented Dave Matthews would sound. Mayer is now more of a record-maker than songwriter, which will undoubtedly dishearten those who liked the song-oriented Inside Wants Out, but those who just enjoyed the sound and feel of Room for Squares should feel right at home.\u003c\/p\u003e\n\u003cp\u003e1 Clarity 4:31\u003cbr\u003e2 Bigger Than My Body 4:26\u003cbr\u003e3 Something's Missing 5:04\u003cbr\u003e4 New Deep 4:07\u003cbr\u003e5 Come Back to Bed 5:23\u003cbr\u003e6 Home Life 4:14\u003cbr\u003e7 Split Screen Sadness 5:06\u003cbr\u003e8 Daughters 3:58\u003cbr\u003e9 Only Heart 3:49\u003cbr\u003e10 Wheel 5:33\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":968809133,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51LG_2BWxjUcL.jpeg?v=1414521169"},{"product_id":"timberlake-justin-futuresex-love-sounds","title":"Timberlake, Justin - Futuresex\/Love Sounds","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGive Justin Timberlake credit for this: he has ambition. He's had ambition ever since he was the leading heartthrob in *NSYNC. He drove the teen pop quintet to the top of the charts, far exceeding their peers the Backstreet Boys, and when the group could achieve no more, he eased into a solo career that earned him great sales and praise, largely centered on how he reworked the dynamic sound of early Michael Jackson at a time when Jacko was so hapless he turned away songs that later became JT hits, such as the Neptunes-propelled \"Rock Your Body.\"\u003c\/p\u003e\n\u003cp\u003eIf Michael Jackson was the touchstone for Justified, Prince provides the cornerstone of FutureSex\/LoveSounds, at least to a certain extent -- Timbaland, Timberlake's chief collaborator here, does indeed spend plenty of time on FutureSex refurbishing the electro-funk of Prince's early-'80s recordings, just like he did with Nelly Furtado's Loose, and Timberlake's obsession with sex does indeed recall Prince's carnivorous carnality of the early '80s. Each of the three opening songs has \"sex\" in their titles and Justin marries his innuendos to grinding, squealing synths that conjure the funky spirit of the Minneapolis Sound. Prince isn't the only R\u0026amp;B idol JT evokes here. He's also put together a Stevie Wonder-esque slice of protest pop in \"Losing My Way,\" where he writes in the character of a man who had it all and threw it all away. This serious undercurrent when combined with Timbaland's retro-future production makes FutureSex\/LoveSounds fascinating: Timberlake fuses a clear musical vision with a theatricality endemic to a show biz kid.\u003c\/p\u003e\n\u003cp\u003eA1        Futuresex \/ Lovesound    4:01\u003cbr\u003eA2        SexyBack   4:02\u003cbr\u003eA3        Sexy Ladies    3:58\u003cbr\u003eA4        Let Me Talk To You (Prelude) \/ My Love   6:10\u003cbr\u003eB1        Lovestoned \/ I Think She Knows (Interlude)    7:24\u003cbr\u003eB2        What Goes Around... \/ ...Comes Around (Interlude)    7:28\u003cbr\u003eC1        Chop Me Up   5:04\u003cbr\u003eC2        Damn Girl   5:12\u003cbr\u003eC3        Summer Love    4:12\u003cbr\u003eD1        Set The Mood (Prelude) \/ Until The End Of Time    7:33\u003cbr\u003eD2        Losing My Way    5:22\u003cbr\u003eD3        (Another Song) All Over Again    5:45\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":968855977,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51Sf06xpwBL.jpeg?v=1414529542"},{"product_id":"taylor-swift-1989","title":"Taylor Swift - 1989","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen she announced 1989 a few months prior to its October 2014 release, Taylor Swift called her fifth record her first \"documented, official\" pop album, explicitly severing herself from her country roots. Truth be told, Swift already made the leap from country to pop with 2012's Red, a nominally country LP distinguished by three songs co-written and produced by Max Martin and Shellback, a team that returns for twice that number on 1989 (Martin has one additional non-Shellback co-write with Swift). Taylor is rarely without co-writers here: only \"This Love\" belongs to her alone, with the other major collaborators being OneRepublic's Ryan Tedder, fun.'s Jack Antonoff, and Imogen Heap. This busy kitchen is typical of modern pop albums, as is the incessant gleam of 1989's steely productions, every element of which blinds when caught in the sun. Swift claims she patterned the album's sound after the MTV-ready sound of the year 1989, and while some cuts are conceivably anchored in the era of Debbie Gibson and George Michael -- \"Shake It Off\" is giddy on the momentum of its own pom-poms, the bonus track \"New Romantics\" effectively conjures the ghost of 1983 new wave, \"Out of the Woods\" veers into territory previously pioneered by one-video wonder T'Pau (their big hit \"Heart and Soul\" arrived in 1987, two years before Taylor's year zero) -- this is a modern album through and through. The heavy presence of Martin, who wound up producing all the vocals along with half the record, is something of a feint. Swift tailored 1989 after Tedder's patterns, constructing nearly every one of the album's 13 tracks as a glassy, imposing skyscraper that deliberately casts its shadow upon on its predecessor. Considering that this album begins with the fanfare of \"Welcome to New York,\" an anthem for carpetbaggers reaping the spoils of rampant gentrification, that progressive escalation in size is something to behold, even if the towering scale winds up slightly overwhelming. Warmth, which previously was a hallmark of Swift's, has largely been substituted by belligerent ice: 1989 emphasizes its reflective surfaces, the hyperactive rhythm tracks -- dance by definition but rarely danceable in practice (the effervescent \"How You Get the Girl\" is an exception) -- functioning as an aural accent to the surging synthesizers and processed vocals. Underneath the digital clatter lie some sturdy songs because, at her core, Swift is a canny songsmith, but 1989 isn't a record about songs, it's all about sonic style. Taylor telegraphed as much when she called it an \"official pop record,\" and its problems lie in the details, not the big picture. Undoubtedly, she has the charisma and chops to be convincing on both bubblegum and ballads, but 1989 is something else entirely: a cold, somewhat distant celebration of all the transient transparencies of modern pop, undercut by its own desperate desire to be nothing but a sparkling soundtrack to an aspirational lifestyle.\u003c\/p\u003e\n\u003cp\u003eA1        Welcome To New York  3:30\u003cbr\u003eA2        Blank Space  3:49\u003cbr\u003eA3        Style  3:49\u003cbr\u003eB1        Out Of The Woods  3:54\u003cbr\u003eB2        All You Had To Do Was Stay  3:11\u003cbr\u003eB3        Shake It Off 3:37\u003cbr\u003eC1        I Wish You Would  3:26\u003cbr\u003eC2        Bad Blood  3:30\u003cbr\u003eC3        Wildest Dreams  3:38\u003cbr\u003eD1        How You Get The Girl  4:06\u003cbr\u003eD2        This Love  4:09\u003cbr\u003eD3        I Know Places  3:12\u003cbr\u003eD4        Clean  4:28\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1014898541,"sku":"","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/717DWgRftmL._SL1400.jpeg?v=1418952104"},{"product_id":"beatles-the-1-2lp","title":"Beatles, The - 1","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eApparently, there was a gap in the Beatles' catalog, after all -- all the big hits weren't on one tidy, single-disc compilation. It's not the kind of gap you'd necessarily notice -- it's kind of like realizing you don't have a pair of navy blue dress socks -- but it was a gap all the same, so the group released The Beatles 1 late in 2000, coinciding with the publication of their official autobiography, titled Anthology. The idea behind this compilation is to have all the number one singles the Beatles had, either in the U.K. or U.S., on one disc, and that's pretty much what this generous 27-track collection is. \u003c\/p\u003e\n\u003cp\u003eA1 Love Me Do 2:20\u003cbr\u003eA2 From Me To You 1:56\u003cbr\u003eA3 She Loves You 2:21\u003cbr\u003eA4 I Want To Hold Your Hand 2:26\u003cbr\u003eA5 Can't Buy Me Love 2:11\u003cbr\u003eA6 A Hard Day's Night 2:33\u003cbr\u003eA7 I Feel Fine 2:19\u003cbr\u003eA8 Eight Days A Week 2:43\u003cbr\u003eB1 Ticket To Ride 3:10\u003cbr\u003eB2 Help! 2:19\u003cbr\u003eB3 Yesterday 2:05\u003cbr\u003eB4 Day Tripper 2:49\u003cbr\u003eB5 We Can Work It Out 2:16\u003cbr\u003eB6 Paperback Writer 2:18\u003cbr\u003eB7 Yellow Submarine 2:39\u003cbr\u003eB8 Eleanor Rigby 2:05\u003cbr\u003eC1 Penny Lane 3:01\u003cbr\u003eC2 All You Need Is Love 3:48\u003cbr\u003eC3 Hello, Goodbye 3:28\u003cbr\u003eC4 Lady Madonna 2:17\u003cbr\u003eC5 Hey Jude 7:04\u003cbr\u003eD1 Get Back 3:12\u003cbr\u003eD2 The Ballad Of John And Yoko 2:59\u003cbr\u003eD3 Something 3:01\u003cbr\u003eD4 Come Together 4:19\u003cbr\u003eD5 Let It Be 3:50\u003cbr\u003eD6 The Long And Winding Road 3:35\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1059154833,"sku":"","price":54.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71e-PiyAQgL._SL1500.jpeg?v=1422576598"},{"product_id":"beatles-the-white-album-2","title":"Beatles, The - White Album","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2xLPs on Black 180g Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEach song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up \"Back in the U.S.S.R.\" and the British blooze parody \"Yer Blues\" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with \"Dear Prudence\" and \"Julia\"; scours the Abbey Road vaults for the musique concrète collage \"Revolution 9\"; pours on the schmaltz for Ringo's closing number, \"Good Night\"; celebrates the Beatles cult with \"Glass Onion\"; and, with \"Cry Baby Cry,\" rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp \"Honey Pie,\" the mock country of \"Rocky Raccoon,\" the ska-inflected \"Ob-La-Di, Ob-La-Da,\" and the proto-metal roar of \"Helter Skelter.\" Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from \"While My Guitar Gently Weeps,\" the canned soul of \"Savoy Truffle,\" the haunting \"Long, Long, Long,\" and even the silly \"Piggies\" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp \"Don't Pass Me By.\" None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess.\u003c\/p\u003e\n\u003cp\u003eBack In The U.S.S.R. 2:42\u003cbr data-mce-fragment=\"1\"\u003eDear Prudence 3:50\u003cbr data-mce-fragment=\"1\"\u003eGlass Onion 2:16\u003cbr data-mce-fragment=\"1\"\u003eOb-La-Di, Ob-La-Da 3:07\u003cbr data-mce-fragment=\"1\"\u003eWild Honey Pie 0:53\u003cbr data-mce-fragment=\"1\"\u003eThe Continuing Story Of Bungalow Bill 3:11\u003cbr data-mce-fragment=\"1\"\u003eWhile My Guitar Gently Weeps 4:44\u003cbr data-mce-fragment=\"1\"\u003eHappiness Is A Warm Gun 2:41\u003cbr data-mce-fragment=\"1\"\u003eMartha My Dear 2:26\u003cbr data-mce-fragment=\"1\"\u003eI'm So Tired 2:03\u003cbr data-mce-fragment=\"1\"\u003eBlackbird 2:17\u003cbr data-mce-fragment=\"1\"\u003ePiggies 2:03\u003cbr data-mce-fragment=\"1\"\u003eRocky Raccoon 3:31\u003cbr data-mce-fragment=\"1\"\u003eDon't Pass Me By 3:49\u003cbr data-mce-fragment=\"1\"\u003eWhy Don't We Do It In The Road? 1:40\u003cbr data-mce-fragment=\"1\"\u003eI Will 1:44\u003cbr data-mce-fragment=\"1\"\u003eJulia 2:52\u003cbr data-mce-fragment=\"1\"\u003eBirthday 2:41\u003cbr data-mce-fragment=\"1\"\u003eYer Blues 3:57\u003cbr data-mce-fragment=\"1\"\u003eMother Nature's Son 2:46\u003cbr data-mce-fragment=\"1\"\u003eEverybody's Got Something To Hide Except Me And My Monkey 2:24\u003cbr data-mce-fragment=\"1\"\u003eSexy Sadie 3:14\u003cbr data-mce-fragment=\"1\"\u003eHelter Skelter 3:40\u003cbr data-mce-fragment=\"1\"\u003eLong, Long, Long 3:02\u003cbr data-mce-fragment=\"1\"\u003eRevolution 1 4:12\u003cbr data-mce-fragment=\"1\"\u003eHoney Pie 2:40\u003cbr data-mce-fragment=\"1\"\u003eSavoy Truffle 2:57\u003cbr data-mce-fragment=\"1\"\u003eCry Baby Cry 3:00\u003cbr data-mce-fragment=\"1\"\u003eRevolution 9 8:17\u003cbr data-mce-fragment=\"1\"\u003eGood Night 3:09\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1059177317,"sku":"","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/08beatles-album2-jumbo-v2.jpg?v=1672794088"},{"product_id":"beatles-the-magical-mystery-tour-1","title":"Beatles, The - Magical Mystery Tour","description":"\u003cp\u003e\u003cstrong\u003e1xLP on Black Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe U.S. version of the soundtrack for the Beatles' ill-fated British television special embellished the six songs that were found on the British Magical Mystery Tour double EP with five other cuts from their 1967 singles. The psychedelic sound is very much in the vein of Sgt. Pepper's, and even spacier in parts (especially the sound collages of \"I Am the Walrus\"). Unlike Sgt. Pepper's, there's no vague overall conceptual\/thematic unity to the material, which has made Magical Mystery Tour suffer slightly in comparison. Still, the music is mostly great, and \"Penny Lane,\" \"Strawberry Fields Forever,\" \"All You Need Is Love,\" and \"Hello Goodbye\" were all huge, glorious, and innovative singles. The ballad \"The Fool on the Hill,\" though only a part of the Magical Mystery Tour soundtrack, is also one of the most popular Beatles tunes from the era.\u003c\/p\u003e\n\u003cp\u003eMagical Mystery Tour 2:48\u003cbr\u003eThe Fool On The Hill 3:00\u003cbr\u003eFlying 2:16\u003cbr\u003eBlue Jay Way 3:50\u003cbr\u003eYour Mother Should Know 2:33\u003cbr\u003eI Am The Walrus 4:35\u003cbr\u003eHello Goodbye 3:24\u003cbr\u003eStrawberry Fields Forever 4:05\u003cbr\u003ePenny Lane 2:57\u003cbr\u003eBaby You're A Rich Man 3:07\u003cbr\u003eAll You Need Is Love 3:57\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1075261941,"sku":"","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/A1sSja84DRL._SL1500.jpeg?v=1423604628"},{"product_id":"beatles-the-abbey-road-1","title":"Beatles, The - Abbey Road","description":"\u003cp\u003e\u003cstrong\u003eBlack 180g Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eConventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It's hard not to interpret \"And in the end\/the love you take\/is equal to the love you make\" as a summation not only of Abbey Road but perhaps of the group's entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is. In many ways, Abbey Road stands apart from the rest of the Beatles' catalog, an album that gains considerable strength from its lush, enveloping production -- a recording so luxuriant, it glosses over aesthetic differences between the group's main three songwriters and ties together a series of disconnected unfinished songs into a complete suite. Where Sgt. Pepper pioneered such mind-bending aural techniques, Abbey Road truly seized the possibilities of the studio and, in doing so, pointed the way forward to the album rock era of the 1970s. Many of the studio tricks arrive during that brilliant suite of songs, a sequence that lasts nearly a full side of an album. Here, McCartney's playful eccentricity juts against John Lennon's curdled cynicism, while the band thrills in sudden changes of mood and plays plenty of guitar, culminating in McCartney, Lennon, and George Harrison trading solos on \"The End.\" The depth of sonic detail within \"You Never Give Me Your Money\" and \"She Came in Through the Window\" provided ideas for entire subgenres of pop in the '70s, but Abbey Road also contains a handful of the most enduring Beatles songs, each adding a new emotional maturity to their catalog. The subdued boogie of Lennon's \"Come Together\" contains a sensuality previously unheard in the Beatles -- it's matched by \"Because,\" which may be the best showcase for the group's harmonies -- Harrison's \"Something\" is a love ballad of unusual sensitivity, and his \"Here Comes the Sun\" is incandescent, perhaps his purest expression of joy. As good as these individual moments are, what makes Abbey Road transcendent is how the album is so much greater than the sum of its parts. While a single song or segment can be dazzling, having a succession of marvelous, occasionally intertwined moments is not only a marvel but indeed a summation of everything that made the Beatles great.\u003c\/p\u003e\n\u003cp\u003eCome Together 4:21\u003cbr\u003eSomething 3:03\u003cbr\u003eMaxwell's Silver Hammer 3:27\u003cbr\u003eOh! 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Where on his debut he sang about falling on a grenade for his girl, on this record he’s more likely to throw her on top of a grenade. Between the songs about how he can’t help but succumb to the dubious charms of young girls (“Young Girls”), the “B” who stole his money and left him broke (“Natalie”), and the type of charmer who can only be made happy by fat stacks of money (“Money Make Her Smile”), Mars’ opinion of the opposite sex seems to have taken a nosedive. Add in the song about taking cocaine and having a romantic evening so violent the cops are called (“Gorilla”) and it’s clear that the heart of the album is a cold, dark one. That the rest of the songs have some of the easy-going charm of Doo-Wops, like the lilting reggae come-on “Show Me” or the MJ-inspired disco jam \"Treasure,” isn’t quite enough to overcome the queasy feeling that comes with even a cursory listen to the lyrics. It’s too bad, because at his best, like on the single “Locked Out of Heaven,” which sounds like a breezy mashup of “Beat It,” the Police, and Dire Straits, or on the Sam Cooke-inspired album-closing ballad \"If I Knew,\" Mars’ light vocal delivery and way with a hook is quite appealing. The record sounds good, too, with able production help from heavy hitters like Mark Ronson, Diplo, Emile Haynie, and his own crew, the Smeezingtons. Too bad it’s a step back from Doo-Wops in so many ways, leaving people who saw promise in his debut shaking their heads in disappointment and hoping Mars can sort out his feelings about women and get back to being a sweet romancer, instead of an icky hater.\u003c\/p\u003e\n\u003cp\u003eA1        Young Girls  3:49\u003cbr\u003eA2        Locked Out Of Heaven  3:54\u003cbr\u003eA3        Gorilla  4:04\u003cbr\u003eA4        Treasure  2:59\u003cbr\u003eA5        Moonshine  3:49\u003cbr\u003eB1        When I Was Your Man  3:34\u003cbr\u003eB2        Natalie  3:45\u003cbr\u003eB3        Show Me  3:28\u003cbr\u003eB4        Money Make Her Smile  3:24\u003cbr\u003eB5        If I Knew  2:13\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1150942313,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/817h2cL0s9L._SL1425.jpeg?v=1427314741"},{"product_id":"taylor-swift-red","title":"Taylor Swift - Red","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTaylor Swift designed her 2012 album Red as her breakthrough into the pop market -- a crossover she pulled off with ease, elevating her to the rarefied air of superstars who can be identified by a single name. Red may not be flawless -- it runs just a shade too long as it sprints along in its quest to be everything to everyone -- but there's an empowering fearlessness in how Swift shakes off her country bona fides. Leaving Nashville behind, she rushes to collaborate with Britney Spears hitmaker Max Martin and Snow Patrol's Gary Lightbody, along with mainstream rock mainstays Dan Wilson and Butch Walker. Appropriately for an album featuring so many producers, Red isn't sequenced like a proper album, it's a buffet, offering every kind of sound or identity a Swift fan could possibly want. Taylor deftly shifts styles, adapting well to the insistent pulse of Martin, easing into a shimmering melancholy reminiscent of Mazzy Star (\"Sad Beautiful Tragic\"), and coolly riding a chilly new wave pulse (\"The Lucky One\"). Combined with the unabashed arena rock fanfare of \"State of Grace,\" the dance-pop of \"We Are Never Ever Getting Back Together,\" and the dubstep feint \"I Knew You Were Trouble\" -- not to mention the cheerfully ludicrous club-filler \"22\" -- Red barely winks at country, and it's a better album for it. It is, as all pop albums should be, recognizable primarily as the work of Taylor Swift alone: her girlish persona is at its center, allowing her to try on the latest fashions while always sounding like herself. Although she can still seem a little gangly in her lyrical details -- her relationship songs are too on the nose and she has an odd obsession about her perceived persecution by the cool kids -- these details hardly undermine the pristine pop confections surrounding them. If anything, these ungainly, awkward phrasings humanizes this mammoth pop monolith: she's constructed something so precise that its success seems preordained, but underneath it all, Taylor is still twitchy, which makes Red not just catchy but compelling.\u003c\/p\u003e\n\u003cp\u003eA1        State Of Grace  4:56\u003cbr\u003eA2        Red  3:41\u003cbr\u003eA3        Treacherous  4:01\u003cbr\u003eA4        I Knew You Were Trouble  3:38\u003cbr\u003eB1        All Too Well  5:28\u003cbr\u003eB2        22  3:51\u003cbr\u003eB3        I Almost Do  4:03\u003cbr\u003eB4        We Are Never Ever Getting Back Together  3:11\u003cbr\u003eC1        Stay Stay Stay  3:25\u003cbr\u003eC2        The Last Time  4:58\u003cbr\u003eC3        Holy Ground  3:22\u003cbr\u003eC4        Sad Beautiful Tragic  4:44\u003cbr\u003eD1        The Lucky One  4:01\u003cbr\u003eD2        Everything Has Changed  4:04\u003cbr\u003eD3        Starlight  3:38\u003cbr\u003eD4        Begin Again  3:58\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1388571009,"sku":"","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71DVsyFHKDL._SL1500.jpeg?v=1430333951"},{"product_id":"beatles-the-help","title":"Beatles, The - Help!","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eConsidering that Help! functions as the Beatles' fifth album and as the soundtrack to their second film -- while filming, they continued to release non-LP singles on a regular basis -- it's not entirely surprising that it still has some of the weariness of Beatles for Sale. Again, they pad the album with covers, but the Bakersfield bounce of \"Act Naturally\" adds new flavor (along with an ideal showcase for Ringo's amiable vocals) and \"Dizzy Miss Lizzy\" gives John an opportunity to flex his rock \u0026amp; roll muscle. George is writing again and if his two contributions don't touch Lennon and McCartney's originals, they hold their own against much of their British pop peers. Since Lennon wrote a third more songs than McCartney, it's easy to forgive a pair of minor numbers (\"It's Only Love,\" \"Tell Me What You See\"), especially since they're overshadowed by four great songs. His Dylan infatuation holds strong, particularly on the plaintive \"You've Got to Hide Your Love Away\" and the title track, where the brash arrangement disguises Lennon's desperation. Driven by an indelible 12-string guitar, \"Ticket to Ride\" is another masterpiece and \"You're Going to Lose That Girl\" is the kind of song McCartney effortlessly tosses off -- which he does with the jaunty \"The Night Before\" and \"Another Girl,\" two very fine tunes that simply update his melodic signature. He did much better with \"I've Just Seen a Face,\" an irresistible folk-rock gem, and \"Yesterday,\" a simple, beautiful ballad whose arrangement -- an acoustic guitar supported by a string quartet -- and composition suggested much more sophisticated and adventurous musical territory, which the group immediately began exploring with Rubber Soul.\u003c\/p\u003e\n\u003cp\u003eA1        Help!\u003cbr\u003eA2        The Night Before\u003cbr\u003eA3        You've Got To Hide Your Love Away\u003cbr\u003eA4        I Need You\u003cbr\u003eA5        Another Girl\u003cbr\u003eA6        You're Going To Lose That Girl\u003cbr\u003eA7        Ticket To Ride\u003cbr\u003eB1        Act Naturally\u003cbr\u003eB2        It's Only Love\u003cbr\u003eB3        You Like Me Too Much\u003cbr\u003eB4        Tell Me What You See\u003cbr\u003eB5        I've Just Seen A Face\u003cbr\u003eB6        Yesterday\u003cbr\u003eB7        Dizzy Miss Lizzy\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":1403751361,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81peEqBkKTL._SL1500.jpeg?v=1430353266"},{"product_id":"florence-the-machine-how-big-how-blue-how-beautiful","title":"Florence + The Machine - How Big, How Blue, How Beautiful","description":"\u003cp\u003e\u003cstrong\u003e10 YEAR ANNIVERSARY EDITION 2xLP BLUE MARBLE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe much-anticipated third studio long-player from Florence Welch and her mechanically inclined companions, How Big, How Blue, How Beautiful arrives after a period of recalibration for the spirited English songtress. Arriving three-and-a-half years after 2011's well-received Ceremonials, the 11-track set, the first Florence + the Machine album to be produced by Markus Dravs (Arcade Fire, Coldplay), eschews some of the bombast and water- and death-fixated metaphors of Lungs and Ceremonials in favor of a more restrained sonic scope and an honest reckoning with the dark follies of your late twenties. This change is most notable on the workmanlike opener \"Ship to Wreck,\" a shimmering, open road-ready folk-rock rumination on the ambiguity\/inevitability of post-fame self-destruction that, unlike prior first cuts like \"Dog Days Are Over\" and \"Only If for a Night,\" feels firmly rooted in the now. Whether it be simple maturity or Dravs' calculated production style, there's no denying that an effort has been made to dial back a bit on some of the pageantry of Welch's earlier works, and for the most part, her penchant for pairing mystic Bronte-esque pondering with similarly windswept pagan\/gothic gospel rock is left bubbling beneath the surface. This attempt to reign in Welch's more histrionic tendencies yields mixed results, with some songs finding the sweet spot between bluster and nuance and others (most of them in the album's sleepy latter half) disappearing altogether. Of the former, the bluesy (and ballsy) \"What a Man,\" the propulsive and purposeful \"Delilah,\" and the gorgeous title track impress the most. Instead of building to a fevered crescendo, as is the Flo-Machine way, the latter cut, a transcendent, slow-burning, chamber pop gem, dissolves into a simple and elegant, yet still goose-bump-inducing round of horns, and is breathtaking without knocking the wind out of you. Whether How Big, How Blue, How Beautiful ends up being a transitional album remains to be seen, as there is enough of each side of Welch (the pastoral and the feral) represented to tip the scale either way. That said, her Brit-pop soul treacle is still miles better than some of her contemporaries' top-tier offerings, and when the album connects it moves right in and starts to redecorate, but when it falters, it's akin to a chatty party guest failing to realize that everyone else has gone home.\u003c\/p\u003e\n\u003cp\u003eShip To Wreck    3:54\u003cbr\u003eWhat Kind Of Man    3:36\u003cbr\u003eHow Big, How Blue, How Beautiful    5:34\u003cbr\u003eQueen Of Peace    5:07\u003cbr\u003eVarious Storms \u0026amp; Saints    4:09\u003cbr\u003eDelilah    4:53\u003cbr\u003eLong \u0026amp; Lost    3:15\u003cbr\u003eCaught    4:24\u003cbr\u003eThird Eye    4:20\u003cbr\u003eSt. Jude    3:45\u003cbr\u003eMother    5:49\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":3561518337,"sku":"","price":54.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71J9agRsUTL._SL1500.jpeg?v=1433972025"},{"product_id":"adele-25","title":"Adele - 25","description":"\u003cp\u003eAutobiography is baked into Adele's art. She called her first album 19, naming it after her age at the time of writing, and like a musical, millennial Michael Apted, each successive album represented another chapter in her life's story. Fueled by heartbreak, her roiling 2011 record 21 ushered in her adulthood and superstardom, two acts that were instrumental in the creation of 25, the 2015 album purportedly documenting her mid-twenties. Between 21 and 25, Adele fell in love and started a family, an event that would surely be grist for a memoirist's mill if Adele was as confessional a singer\/songwriter as she appears, but she is not. Like 21 before it, the love that flows through 25 is either curdled or lost, love that can no longer replenish or nourish. It is certainly not the kind of love that would arise from a satisfying, stable relationship, but it is indeed the kind of love that is recognizable from 21: love that hurts, not heals. While her themes may remain the same, Adele isn't the same singer as she was in 2011, nor is 25 a carbon copy of 21. Success has given her the confidence to abandon any lingering Amy Winehouse influence, taking along with it any sense of swing or sass. Max Martin and Shellback give \"Send My Love (To Your New Lover)\" a subdued, spliced electronic pulse, just enough of a rhythm to distinguish the track from the rest of the record. But it and the cinematically surging \"Water Under the Bridge\" -- a song begging to be played over the closing credits of an inspirational biopic -- wither when compared to the wallop of \"Rolling in the Deep.\" This stateliness is intentional, forcing attention with both the full force gale that is Adele's voice and, not so coincidentally, her placid good taste. It isn't so much that Adele doesn't take risks -- she's hip enough to enlist Haim\/Charli XCX's producer to helm \"When We Were Young,\" a song co-written with hotly tipped sensitive soul Tobias Jesso, Jr., and she brings in Danger Mouse to help orchestrate the neo-gospel of \"River Lea.\" But she's so devoted to ballads, ballads determined to convey grace and strength in the face of loss that she winds up residing in a middle of the road, which makes her seem much older than the quarter century of the title. Adele doesn't help matters by dwelling on the passage of time, repeatedly returning to the idea that she ain't a kid anymore. It's a sentiment that suits a singer many years past 25 yet also suggests a bit of savvy on her part: these are songs that are meant to be heard -- and sung -- for years after the album's initial release, gathering resonance with the passage of time. Fittingly, 25 also plays better over the long haul, its march of slow songs steadily revealing subtle emotional or musical distinctions. 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For a period after that, it seemed like the singer had peaked just short of pop-star status. His eager congregation pushed Kiss Land, the proper debut, to number two in the U.S., yet none of its singles, not even the one that featured Drake, reached the Hot 100. \"Love Me Harder,\" a duet with labelmate Ariana Grande released in 2014, proved to be a masterstroke. It put Tesfaye in the Top Ten for the first time and began a streak of similarly effective singles that preceded -- and are included on -- Beauty Behind the Madness. \"Earned It,\" a ballad recorded for the Fifty Shades of Grey soundtrack, showed that he could adapt to a traditional pop backdrop. That cut a path for \"The Hills,\" in which Tesfaye alleviated his \"day one\" base with a typically degenerate slow jam, co-produced by Illangelo, that affirmed \"When I'm fucked up, that's the real me\" while taking the toxic narrative a step further with lines like \"Drugs started feelin' like it's decaf.\" And then \"Can't Feel My Face,\" a sleek slice of retro-modern disco-funk produced by Max Martin and Ali Payami, landed in June 2015. An obvious pop move, it worked -- it went to number one in the U.S. and several other territories. Tesfaye skillfully delivered his biggest hooks as he sang about dependency in that part-anguished, part-euphoric fashion derived from Michael Jackson. Like its advance singles, the rest of Beauty Behind the Madness is R\u0026amp;B and pop as drug-den paella: chemical and sexual abasement, self-loathing, and self-absorbed belligerence over narcotized sludge and less expected moves that peak with the wholly sweet \"As You Are\" and crest with a big-band diversion on \"Losers.\" Uneventful collaborations with Kanye West, Ed Sheeran, and Lana Del Rey add star power, though the last of that pack contributes to a moment where Tesfaye turns another corner by acknowledging a dead end through the fog, \"addicted to a life that's so empty and so cold.\" The commercial strides are obvious. The creative advancements are less apparent, obstructed by some unappealing measures, but they're in there.\u003c\/p\u003e\n\u003cp\u003eReal Life 3:43\u003cbr\u003eLosers 4:41\u003cbr\u003eTell Your Friends 5:34\u003cbr\u003eOften 4:09\u003cbr\u003eThe Hills 4:02\u003cbr\u003eAcquainted 5:48\u003cbr\u003eCan't Feel My Face 3:33\u003cbr\u003eShameless 4:13\u003cbr\u003eEarned It (Fifty Shades Of Grey) 4:37\u003cbr\u003eIn The Night 3:55\u003cbr\u003eAs You Are 5:40\u003cbr\u003eDark Times 4:20\u003cbr\u003ePrisoner 4:34\u003cbr\u003eAngel 6:17\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":10726905089,"sku":"","price":54.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/the-weeknd-beauty-behind-the-madness-explicit-content-limited-edition-picture-disc-vinyl-anniversary-edition-2-lps_R3pMR.png?v=1768529737"},{"product_id":"weeknd-the-thursday","title":"Weeknd, The - Thursday","description":"\u003cp\u003e\u003cstrong\u003e10th ANNIVERSARY 2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Lonely Star 5:48\u003cbr data-mce-fragment=\"1\"\u003eA2 Life Of The Party 4:56\u003cbr data-mce-fragment=\"1\"\u003eB1 Thursday 5:19\u003cbr data-mce-fragment=\"1\"\u003eB2 The Zone 6:57\u003cbr data-mce-fragment=\"1\"\u003eB3 The Birds Part 1 3:34\u003cbr data-mce-fragment=\"1\"\u003eC1 The Birds Part 2 5:50\u003cbr data-mce-fragment=\"1\"\u003eC2 Gone 8:06\u003cbr data-mce-fragment=\"1\"\u003eD1 Rolling Stone 3:50\u003cbr data-mce-fragment=\"1\"\u003eD2 Heaven Or Las Vegas 5:56\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":10726951233,"sku":"","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61-RKmRWjCL._SY355.jpeg?v=1449783780"},{"product_id":"twenty-one-pilots-blurryface","title":"Twenty One Pilots- Blurryface","description":"\u003cp\u003e\u003cstrong\u003eFBR Anniversary Edition on Silver Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGrappling with the forces of dark and light that rage within, Twenty One Pilots make inner turmoil sound thrilling on their sophomore major-label LP, Blurryface. Named after the menacing character that represents the negative in vocalist Tyler Joseph's life, Blurryface is a genre-blending grab bag of styles that sounds like a soundtrack from multiple artists. Reggae and dub, industrial and drum'n'bass, indie rock and rap. They're all included on Blurryface, where abrupt stylistic changes are exciting without being jarring. In addition to the hit singles \"Ride\" and \"Stressed Out\" -- which tackle millennial angst and relatable life struggles -- Blurryface is packed with self-aware lyrics, clever observations, and deep introspection. While its predecessor, Vessel, hinted at the fearless experimental side of the duo -- which also includes drummer Josh Dun -- it was ultimately more precious and innocent. Keeping with the \"blurryface\" threat, this album is darker and, despite the addictively catchy nature of the music, more serious. Joseph struggles with his demons throughout -- fear and anxiety seep through \"The Judge,\" while the conflict rages on \"Doubt\" and self-doubt and regret plague \"Polarize\" -- until catharsis is achieved on \"Goner,\" where Joseph sings \"I've got two faces\/Blurry's the one I'm not.\" It's an emotional ride buoyed by a constantly shifting sonic palette. Despite the intensity of some of the lyrics, when one focuses strictly on the music, it's a party. The reggae influences abound (nearly half the album includes some kind of laid-back dub beat) and Joseph strums his ukulele to effective measure on \"The Judge\" and \"We Don't Believe What's on TV.\" The pair also flirts with electronic dance beats on highlights \"Heavydirtysoul\" and the New Order-ish ode to Columbus, Ohio, \"Hometown.\" This may sound like a confused mishmash of ideas from two guys who can't seem to focus, but in the 2010s -- when so many genres rubbed elbows in the Top 40 -- it ends up being a natural product of the very environment where it was spawned. Twenty One Pilots tap into both the emotions and musical proclivities of restless youth in 2015, resulting in an effort that sounds both of its time and also completely futuristic.\u003c\/p\u003e\n\u003cp\u003eHeavydirtysoul    3:55\u003cbr\u003eStressed Out    3:22\u003cbr\u003eRide    3:35\u003cbr\u003eFairly Local    3:27\u003cbr\u003eTear In My Heart    3:08\u003cbr\u003eLane Boy    4:13\u003cbr\u003eThe Judge    4:58\u003cbr\u003eDoubt    3:11\u003cbr\u003ePolarize    3:47\u003cbr\u003eWe Don't Believe What's On TV    2:57\u003cbr\u003eMessage Man    4:00\u003cbr\u003eHometown    3:55\u003cbr\u003eNot Today    3:58\u003cbr\u003eGoner    3:57\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":10993273601,"sku":"","price":47.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71RPKaYZRkL._SL1425.jpeg?v=1451593287"},{"product_id":"1975-the-i-like-it-when-you-sleep-for-you-are","title":"1975, The - I Like It When You Sleep: Anniversary Edition","description":"\u003cp\u003e\u003cstrong\u003e2xLP PINK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e10 YEAR ANNIVERSARY EDITION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe 1975 released their second studio album \u003c\/span\u003e\u003cem\u003eI like it when you sleep, for you are so beautiful yet so unaware of it\u003c\/em\u003e\u003cspan\u003e February 26th, 2016. Topping both the UK (BPI Platinum) \u0026amp; US (RIAA Gold) album charts, it spawned 7 singles, \"Love Me\", \"Ugh!\", \"A Change of Heart\", \"She's American\", \"Somebody Else\", \"Loving Someone\" and \"The Sound\". Pitchfork, Rolling Stone, and The Guardian, listed it as one of the best albums of 2016. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2026 is the 10th anniversary of this much beloved album. To celebrate this the album is to be released on pink vinyl housed in 6 panel tripled gatefold packaging with alternative artwork and 17 12”x12” art cards, each card image represents a song with the lyrics on the reverse.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTrack Listing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSide A\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e1. The 1975\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. 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However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements. As the album opens with \"Daydreamer,\" Adele's illusionary instrument -- over minimal sounds -- engulfs the listener with a gorgeous feeling of awe and wonderment. On \"Melt My Heart to Stone\" and the bona fide hit \"Chasing Pavements,\" Adele allows herself to soar over the strings and power her way through these incredible songs. The upbeat \"Right as Rain\" is just wonderful, with clear Ashford \u0026amp; Simpson influences speckled all over it in an upbeat set. Nearly all the tracks seem to have been nurtured to glory over months as labors of love. What's simply awesome on 19 is its capability to capture the listener through mere teasing; Adele doesn't shout for attention, and doesn't rely on anyone but herself to prove she's worth it, in the same vein as Sara Bareilles, another heavily praised artist of 2007. The jazzy \"Best for Last\" is as retro as the tunes get on the album, yet it still manages to steer away from being boring or old-fashioned. The only awkwardness throughout all of 19 is the overly poppy galactic \"Tired,\" which sounds as though it might have fallen off a Lily Allen track list, something that doesn't suit Adele as a musician. As far as artistic drive goes, it seems as though Adele is hoping to capitalize on the sounds of 2007 by borrowing elements of Feist, Regina Spektor, Norah Jones, and even, yes, Amy Winehouse; yet Adele blends all the artistic pizzazz of all those ladies into her own set of manipulative, glamorous wonder. Plus, as a terrific songwriter at merely 20 years of age, the Brit has so much room to expand her artistic dimensions into a full-fledged artist that it's no wonder most critics see her as the top new talent of 2008. This debut isn't an empty promise of a great career; 19 is a fleshed-out stunning portrayal of a young woman with a talent beyond her years who deserves immense credit for a unique style that never fails. A beyond stellar debut in both quality and originality.\u003c\/p\u003e\n\u003cp\u003eDaydreamer 3:36\u003cbr\u003eBest For Last 4:16\u003cbr\u003eChasing Pavements 3:28\u003cbr\u003eCold Shoulder 3:09\u003cbr\u003eCrazy For You 3:25\u003cbr\u003eMelt My Heart To Stone 3:24\u003cbr\u003eFirst Love 3:08\u003cbr\u003eRight As Rain 3:15\u003cbr\u003eMake You Feel My Love 3:28\u003cbr\u003eMy Same 3:14\u003cbr\u003eTired 4:12\u003cbr\u003eHometown Glory 4:24\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":21985287617,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61QcO3mFfCL._SL1500.jpg?v=1468615083"},{"product_id":"drake-take-care","title":"Drake - Take Care","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAfter the huge commercial and artistic success of his last album, Thank Me Later, Drake threatened\/promised that his next album would be a straight-up R\u0026amp;B record that forsook rapping for vocals. The plan fell through, but his 2011 album Take Care has the feel of a late-night R\u0026amp;B album, full of slow tempos, muted textures, impassioned crooning, and an introspective tone that is only rarely punctured by aggressive tracks, boasts, and\/or come-ons. For the most part, increased success hasn’t done much to improve Drake’s mood, as he details his failures at love, his worries about living a hollow life, and his general malaise. Drake’s longtime producer\/partner Noah “40” Shebib did most of the production work, and he surrounds Drake’s voice with murky beats, layers of dusky synths, and moody guitars that fit Drake’s voice perfectly; the two work together to create a thick mood of melancholy. When other producers take over, there is a definite shift in mood. Boi-1DA gives “Headlines” a jaunty synth line that Drake matches with his strongest rap, T-Minus brings some booty bass to the thoughtfully sexy Nicky Minaj feature “Make Me Proud,” Just Blaze builds “Lord Knows” around some majestic samples that let Drake brag like a boss, and Chase N. Cashe take things one step further toward R\u0026amp;B by creating a late-night after-hours club feel on the bittersweet “Look What You’ve Done” (which features a phone message left for Drake by his grandmother). The album's most unique track, “Take Care,” features Jamie Smith of the xx working with Shebib on an (almost) uptempo, (almost) danceable song that has a typically great vocal from Rihanna. The super-moody collaboration with the Weeknd on “Crew Love” is another highlight, though it does point out the problematic fact that the Weeknd beats Drake out in the vocal department. The collabo with the predictably brilliant André 3000 and Lil Wayne also point out Drake’s shortcomings as a rapper. Though he drops the occasional line that dazzles (“All my exes live in Texas like I’m George Strait”), Drake is a middle-of-the-pack rapper at best. His true strength, as Take Care proves over and over, is his willingness to delve deeply into his emotions and the ability to transmit them in such a simple and real fashion that it’s easy to connect with him even if your life isn’t filled with glamorous exes, hangs with Stevie Wonder (who adds some harmonica to “Doing It Wrong”), and gold owls. It’s an important achievement, and his success might mean that the world was ready for the first emo rapper. Thank Me Later hinted at it, but Take Care makes it plain. And while Take Care's charms may be a little more hidden, with a couple exceptions, than Thank Me Later’s were, repeated plays reveal a record that is just as strong and more powerful emotionally. Don’t play it at your next house party or DJ night; save it for later when you need something to get you through the rest of the night.\u003c\/p\u003e\n\u003cp\u003eA1 Over My Dead Body 4:33\u003cbr\u003eA2 Shot For Me 3:45\u003cbr\u003eA3 Headlines 3:26\u003cbr\u003eA4 Crew Love 3:29\u003cbr\u003eB1 Take Care 4:37\u003cbr\u003eB2 Marvins Room \/ Buried Alive (Interlude) 8:15\u003cbr\u003eB3 Under Ground Kings 3:32\u003cbr\u003eB4 We'll Be Fine 4:08\u003cbr\u003eC1 Make Me Proud 3:36\u003cbr\u003eC2 Lord Knows 5:08\u003cbr\u003eC3 Cameras \/ Good Ones Go (Interlude) 7:15\u003cbr\u003eC4 Doing It Wrong 4:25\u003cbr\u003eD1 The Real Her 5:21\u003cbr\u003eD2 Look What You've Done 5:02\u003cbr\u003eD3 HYFR (Hell Ya Fucking Right )3:27\u003cbr\u003eD4 Practice 3:58\u003cbr\u003eD5 The Ride 5:51\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":29060246605,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81ewVFkBRtL._SL1500.jpg?v=1480715374"},{"product_id":"lady-gaga-joanne","title":"Lady Gaga - Joanne","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIt's difficult not to view Joanne through the prism of Artpop, the 2013 album where Lady Gaga's expanding fame balloon finally popped. Ambitious but muddled, Artpop debuted high but came crashing down to the ground, stalling out after the second single, the R. Kelly duet \"Do What U Want.\" Gaga quickly retreated to the confines of cabaret, cutting a nicely accomplished standards album with Tony Bennett, a move that not only gave her the opportunity to work with a legend, but signaled that she considered Artpop a step too far: The camp of Cheek to Cheek was elegant, not garish, an acknowledgment that she was once again back in control of her joke. It set the stage for Joanne, a clever streamlining of the Lady Gaga persona that functions as the opposite of Artpop. All the excesses are excised while the eccentricities are used as accents on songs that are usually well-rendered pop. A few numbers take a passing glance at country music -- the title \"Joanne\" winks at Dolly Parton's \"Jolene\"; in a different arrangement, the ballad \"Million Reasons\" could be an adult contemporary crossover from Faith Hill or Shania Twain -- but Gaga's feet remain firmly planted in dance-pop even when she brings in Father John Misty, Beck, Florence Welch, and Josh Homme of Queens of the Stone Age for collaborations. Homme co-wrote \"Diamond Heart\" and \"John Wayne,\" two of the harder disco songs here, while Misty assists on the steady rolling \"Sinner's Prayer\" -- perhaps the best fusion of country and pop here -- and \"Come to Mama,\" a buoyant throwback to Motown that finds a companion on the Welch duet \"Hey Girl,\" an analog slow jam that floats in the shimmer light. These, plus the riotous \"A-Yo\" and the masturbation ode \"Dancin' in Circles,\" don't necessarily find comfortable companions in the ballads peppered throughout the album, but executive producer Mark Ronson helps polish Joanne so it flows easily, which is its appeal but also its Achilles Heel. 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She recorded her comeback album, 1000 Forms of Fear, to get out of her publishing contract; its acclaim led to This Is Acting, a collection of songs originally written for -- and rejected by -- clients such as Adele, Rihanna, and Beyoncé. As the album title hints, there's more going on here than just recycling. In a way, Furler is acting when she writes songs to fit the images these artists portray, and her own interpretations of them add another layer of theatrical distance. This isn't necessarily a bad thing -- she initially shopped \"Chandelier\" to Rihanna and Beyoncé before keeping it for herself and imbuing it with the unique frailty that made it a smash hit. Sia's skill at crafting songs full of drama and vulnerability that feel real, no matter how loud they get, is in full force on This Is Acting, particularly its first two tracks. Originally intended for Adele -- another master of huge-yet-genuine-sounding songs -- \"Bird Set Free\" and \"Alive\" are filled with wounded empowerment and vocal acrobatics that sound just as powerful (if less bombastic) coming from Sia. Elsewhere, Furler's songwriting is more generic, for better and worse: \"Unstoppable\" boasts the confidence of a hit single that could belong to any number of divas, but even a presence as compelling as Sia can't elevate \"Broken Glass\" or the Beyoncé reject \"Footprints\" above cookie-cutter balladry. Though she returns to the intimate songwriting of her pre-pop career on \"One Million Bullets\" -- the lone song Furler wrote for herself -- many of This Is Acting's most interesting and successful moments happen when Sia takes on more unexpected roles. A pair of songs intended for Rihanna let her show off a more lighthearted side: The spare, reggae-tinged pulse of \"Cheap Thrills\" echoes Major Lazer's \"Lean On\" (yet another song Rihanna rejected), but a backing chorus of what sounds like alien children reinforces that this is a Sia song, while \"Reaper\" lets her explore a more easygoing version of her seize-the-day anthems. Given that Furler didn't originally plan to make these songs her own, it's impressive that This Is Acting works as well as it does -- only the wannabe banger \"Move Your Body\" and \"Sweet Design\"'s flashy, hard-hitting R\u0026amp;B are truly unconvincing. 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He enlisted his former Harvard roommate Justin Hurwitz to write the songs and score for the film. The pair also worked together on Whiplash, about drummers, and on a 2009 student project that went on to receive theatrical distribution, Guy and Madeline on a Park Bench, about a jazz trumpeter. Hurwitz is joined here by lyricists Benj Pasek and Justin Paul, two veterans of musical theater (the off-Broadway musical Dogfight, TV's Smash, Broadway's Dear Evan Hansen) at the relatively young age of 31 by the time of release. (The latter is also true of Chazelle and Hurwitz.) La La Land's original soundtrack includes both songs and instrumentals, with the songs performed by a cast that also includes John Legend, fresh off his Oscar win for Selma's \"Glory,\" and Callie Hernandez, a musician-turned-actress. Hernandez performs alongside Stone, Jessica Rothe, and Sonoya Mizuno on \"Someone in the Crowd,\" a soaring, uptempo number with swing-era rhythms. Preceding it, the film opens with a big production number set in L.A. traffic that Hurwitz said was inspired by Jacques Demy-Michel Legrand film musicals of the '60s (\"Another Day of Sun\"). While listeners and moviegoers alike will find that Gosling and Stone don't quite have the singing chops of an Astaire and Rogers, their voices are warm and approachable, and their duet \"A Lovely Night,\" in particular, is a bright charmer. Later, Legend delivers the goods on \"Start a Fire,\" a song written in the context of a jazz musician trying to cross over to the contemporary mainstream. Score tracks range from the tender-slash-anxious piano piece \"Mia \u0026amp; Sebastian's Theme,\" to the legit jazz exercise \"Herman's Habit,\" to the Romantic tone poem \"Planetarium.\" The film and the soundtrack wrap up with a second reprise of Gosling's \"City of Stars,\" this time hummed by Stone, which will likely provide a feel-good earworm after the music ends.\u003c\/p\u003e\n\u003cp\u003eLa La Land Cast–    Another Day Of Sun    3:48\u003cbr\u003eEmma Stone, Callie Hernandez, Sonoya Mizuno, Jessica Rothe–    Someone In The Crowd    4:20\u003cbr\u003eJustin Hurwitz–    Mia \u0026amp; Sebastian's Theme    1:38\u003cbr\u003eRyan Gosling, Emma Stone –    A Lovely Night    3:57\u003cbr\u003eJustin Hurwitz–    Herman's Habit    1:52\u003cbr\u003eRyan Gosling–    City Of Stars    1:51\u003cbr\u003eJustin Hurwitz–    Planetarium    4:17\u003cbr\u003eJustin Hurwitz–    Summer Montage \/ Madeline    2:05\u003cbr\u003eRyan Gosling, Emma Stone –    City Of Stars    2:30\u003cbr\u003eJohn Legend–    Start A Fire    3:12\u003cbr\u003eJustin Hurwitz–    Engagement Party    1:27\u003cbr\u003eEmma Stone–    Audition (The Fools Who Dream)    3:48\u003cbr\u003eJustin Hurwitz–    Epilogue    7:40\u003cbr\u003eJustin Hurwitz–    The End    0:46\u003cbr\u003eJustin Hurwitz, Emma Stone–    City Of Stars (Humming)    2:43\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":31288205069,"sku":"","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81WuiklEQtL._SL1500.jpg?v=1486155658"},{"product_id":"weeknd-the-starboy","title":"Weeknd, The - Starboy","description":"\u003cp\u003e\u003cstrong\u003e2xLP Translucent Red Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe extent of the 2015 Weeknd commercial rebound, symbolized by platinum certifications for Beauty Behind the Madness and all four of its singles, didn't merely embolden Abel Tesfaye. On this follow-up's fourth track, a blithe midtempo cut where Tesfaye takes a swipe at pretenders while boasting about drinking codeine out of one of his trophies, the level of success is a source of amusement. He notes the absurdity in taking a \"kids' show\" award for \"Can't Feel My Face,\" in which he was \"talkin' 'bout a face numbin' off a bag of blow.\" The track actually lost to Adele's \"Hello,\" but it clearly, somewhat comically, reached an unintended demographic. It comes as no surprise that Tesfaye, on his third proper album, doesn't attempt to optimize the reach of his biggest hit by consciously targeting youngsters. He sings of being a \"Starboy\" with access to a fleet of sports cars, but he's a \"motherfuckin' starboy,\" one who is 26 years old and proud to observe his woman snort cocaine off his fancy table. While Starboy often reflects an increased opulence in the personal and professional aspects of Tesfaye's life -- from more upscale pronouns to expensive collaborations with the likes of Daft Punk (two) and \"Can't Feel My Face\" producers Max Martin and Ali Payami (four) -- the dark moments of vulnerability are pitch black. Lines like \"I switch up my cup, I kill any pain\" could have come from Tesfaye's mixtape debut, yet there are new levels of torment. In \"Ordinary Life,\" he considers driving off a Mulholland Drive cliff, James Dean style, wishing he could swap everything for angel status. It's followed with \"Nothing Without You,\" a ballad of toxic dysfunction. He asks his lover if she'd feel guilty for not answering his call if he happened to die that night. It's not all dread and depravity. There's some sense of joy in a one-night stand, and an echo of \"Say Say Say\" Michael Jackson, on the Luomo-ish house track \"Rockin'.\" Contrition is shown in the slick retro-modern disco-funk of \"A Lonely Night.\" Ironically enough, in the aching \"True Colors,\" Tesfaye sounds a little insecure about a lover's past. The album's lighter, comparatively sweeter parts -- the Tears for Fears-sampling\/Romantics-referencing \"Secrets\" and the breezy and only slightly devilish \"I Feel It Coming\" among them -- are all welcome highlights. At 18 tracks, the album is a \"contracted edition\" playlist toolkit. The songwriting credits list just under 40 composers, and the productions -- the majority of which involve Doc McKinney and\/or Cirkut, low-lighted by maneater dance-punk dud \"False Alarm\" -- are roughly as variable in style as they are in quality. When pared down to its ten best songs, Starboy sounds like Tesfaye's most accomplished work.\u003c\/p\u003e\n\u003cp\u003eA1 Starboy3:50\u003cbr\u003eA2 Party Monster 4:09\u003cbr\u003eA3 False Alarm 3:40\u003cbr\u003eA4 Reminder 3:38\u003cbr\u003eA5 Rockin’ 3:52\u003cbr\u003eB1 Secrets 4:25\u003cbr\u003eB2 True Colors 3:26\u003cbr\u003eB3 Stargirl Interlude 1:51\u003cbr\u003e     Featuring – Lana Del Rey\u003cbr\u003eB4 Sidewalks 3:51\u003cbr\u003e     Featuring – Kendrick Lamar\u003cbr\u003eB5 Six Feet Under 3:57\u003cbr\u003eC1 Love To Lay 3:43\u003cbr\u003eC2 A Lonely Night 3:40\u003cbr\u003eC3 Attention 3:17\u003cbr\u003eC4 Ordinary Life 3:41\u003cbr\u003eD1 Nothing Without You 3:18\u003cbr\u003eD2 All I Know 5:21\u003cbr\u003e     Featuring – Future\u003cbr\u003eD3 Die For You 4:20\u003cbr\u003eD4 I Feel It Coming 4:29\u003cbr\u003e     Featuring – Daft Punk\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":33432651789,"sku":"","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81pX_2BM-8cuL._SL1400.jpg?v=1488588153"},{"product_id":"harry-styles-harry-styles","title":"Harry Styles - S\/T","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen One Direction went on hiatus and its members went their separate ways to work on solo projects, the most anticipated of them was Harry Styles. His charming persona and elastic vocals had him positioned as the Timberlake of the group -- the one who might be able to stake his own claim in the pop landscape. With his self-titled debut album, he does a fine job of delivering a statement of independence while staying true to the One Direction sound. Working with a small handpicked band and producer Jeff Bhasker, Styles crafted an album that ranges from intimate to epic, while always keeping the focus on his vocals and doing a little self-exploration in the lyrics. He and his team don't really stretch past what One D did musically; there are folky acoustic tunes (\"Sweet Creature\"), lush introspective ballads (\"From the Dining Table\"), nods to '80 hair metal (\"Kiwi\"), and silly pop songs (\"Carolina\") of the sort that could be found on any One D album. The difference is that with just one guy singing all the songs, Harry Styles sounds more focused and personal. And his voice is a thing of beauty; soaring on the big-screen ballads (\"Sign of the Times\"), reaching emotional depths on the hushed confessionals (\"Meet Me in the Hallway\"), and snapping with a Jagger-esque strut on the uptempo songs (\"Only Angel\"). His lyrics can't quite keep up; along with the occasional cliché, there are too many times when listeners are left guessing who he's singing about instead of losing themselves in the song. That being said, it's certainly no worse than the writing on One D songs. Besides, it's easy to forgive the weakness of the words when they are sung so powerfully and with such conviction. The band Styles employs isn't exactly distinctive, and the production sometimes errs on the side of slickness, but for the most part it all comes together in a pretty package topped by Styles' impressive singing. The album really clicks when the arrangements and production combine into something interesting. \"Sign of the Times\" is the kind of sweeping, heart-stoppingly epic ballad Robbie Williams mastered; \"Ever Since New York\" borrows the guitar riff from Badfinger's \"Baby Blue,\" builds a lush wall of Styles' vocal harmonies, and comes off like a well-crafted folk-rock update; and the glammy, Elton John-inspired \"Woman\" adds some welcome '70s-style weirdness to the proceedings, which is something the album could have used more of. Harry Styles works exceedingly well as a modern pop album and an extension of the One D sound and brand, but as the kind of personal statement Styles wants to make, it comes very close, but ultimately falls just short. More weirdness, less slickness, and a distinct musical vision next time and maybe he'll get there.\u003c\/p\u003e\n\u003cp\u003eA1        Meet Me In The Hallway 3:47\u003cbr\u003eA2        Sign Of The Times 5:40\u003cbr\u003eA3        Carolina 3:09\u003cbr\u003eA4        Two Ghosts 3:49\u003cbr\u003eA5        Sweet Creature 3:44\u003cbr\u003eB1        Only Angel 4:51\u003cbr\u003eB2        Kiwi 2:56\u003cbr\u003eB3        Ever Since New York 4:13\u003cbr\u003eB4        Woman 4:38\u003cbr\u003eB5        From The Dining Table 3:31\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":40482894669,"sku":"","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81cQozegSRL._SL1500.jpg?v=1500066096"},{"product_id":"twenty-one-pilots-vessel","title":"Twenty One Pilots - Vessel","description":"\u003cp\u003e\u003cstrong\u003eCLEAR VINYL - FBR ANNIVERSARY EDITION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColumbus, Ohio-based pop duo Twenty One Pilots spent the few short years leading up to Vessel, their debut recording for Atlantic Records subsidiary Fueled by Ramen, touring ceaselessly and reaching out to their growing fan base on a grassroots level. The emphatic pop stylings with more-than-occasional rap interjections made by Tyler Joseph and Josh Dun -- two Midwestern high-school friends who worked hard enough to build up something some people took notice of, still young and full of enough energy to keep up with the twists and turns once the major labels came knocking -- sound custom-made for the trajectory of their career up to this point. The move from rough demo versions on self-released recordings like 2011's Regional at Best to the glossy, radio-ready production of Vessel (handled by Greg Wells, who's also responsible for hits by Adele, Kid Cudi, Katy Perry, and others) seems like an entirely natural progression for the band's dorky rhymes that always run out just in time for an epically hooky chorus. Vessel is front-loaded with three relentlessly catchy single-ready standouts: the schizo-frenetic hip-hop via indie bounce of \"Ode to Sleep,\" the silky groove of \"Holding on to You,\" and the vocoder radio pop of \"Migraine.\" These three songs encapsulate the band's unique calling card, offering up the best examples of what makes their approach different from any number of bands working in similar territory, with enormous beats and full-force electro-pop running through hooks modeled for Top 40 radio, each element punctuated by Joseph's down-to-earth sentiments coming through in the form of caffeinated rap codas. The continuity of the album isn't as strong after those first three songs. The influence of dour emo-pop like Bright Eyes shows up in some of the vocal stylings, as on \"Semi-Automatic\" and the uncharacteristically folky \"House of Gold.\" The entire ride is more of a party than an emo-fest, though, and a decidedly more commercial take on the parts of indie rock that appeal to a mass market, with banging tunes like \"Fake You Out\" leaning closer to Coldplay or Fun. than they do to MGMT, but with an eye toward both sides of the coin. Twenty One Pilots definitely have a formula for both songwriting and production that renders some of the songs here slightly redundant, but even that doesn't take away from the overall value of the album. Vessel is a lively, energetic, pulsing collection of candy-coated big-budget pop with just enough personality to make it more engaging than a large percentage of other groups out there at the moment doing something similar.\u003c\/p\u003e\n\u003cp\u003eA1        Ode To Sleep\u003cbr\u003eA2        Holding On To You\u003cbr\u003eA3        Migraine\u003cbr\u003eA4        House Of Gold\u003cbr\u003eA5        Car Radio\u003cbr\u003eA6        Semi-Automatic\u003cbr\u003eB7        Screen\u003cbr\u003eB8        The Run And Go\u003cbr\u003eB9        Fake You Out\u003cbr\u003eB10        Guns For Hands\u003cbr\u003eB11        Trees\u003cbr\u003eB12        Truce\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":40482960909,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71x6VVwnScL._SL1425.jpg?v=1500066618"},{"product_id":"beyonce-lemonade","title":"Beyonce - Lemonade","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2xLP LEMON VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeyoncé's sixth album loomed once \"Formation\" and its video were issued ahead of the superstar's Super Bowl 50 half-time performance. Two months and a couple weeks later, it appeared as a culturally seismic visual album. Loaded with layers of meaning and references, and experienced en masse through its televised premiere, Lemonade honored black sisterhood with the presence of Warsan Shire, Serena Williams, and the mothers of Trayvon Martin, Michael Brown, and Eric Garner. Subsequently given audio-only release, its title comes from a popular proverb given extra personal relevance by Beyoncé's grandmother-in-law, whose citation is heard here during a crucial moment in the sequence. Mrs. Knowles-Carter indeed turns her own lemons into Lemonade. She uses the platform to demand contrition from her adulterous partner, assert her excellence, reflect upon the bonds with the men in her life, and their relationships with other women, and wonders if her trust can be earned back. The cathartic and wounded moments here resonate in a manner matched by few, if any, of Beyoncé's contemporaries. She sometimes eclipses herself in terms of raw emotion, as on the throttling Jack White encounter \"Don't Hurt Yourself.\" At the low-volume end, there's more power in the few seconds she chokes back tears while singing \"Come back\" -- timed with the backing vocal in Isaac Hayes' version of \"Walk on By\" -- than there is in most contemporary ballads. Romantic conflict is nothing new for her, but there is a degree of concentration and specificity, and an apparent disregard for appealing to commercial radio that makes Lemonade a distinct addition to her catalog. (Another distinguishing factor is the length of credits which, due to a vast assortment of collaborators and samples, exceeds that of the self-titled album.) Lemonade can also be heard as the dark flipside of Beyoncé. When \"Dishes smashed on the counter\" is bleakly observed, just before \"Pictures snatched out the frame\/Bitch, I scratched out your name and face\" is delivered with seething wrath, it's hard to not flash back to \"Drunk in Love,\" in which the presumably same couple were revelrous in the same room. After the first three-quarters play out in compelling if somewhat erratic fashion, Lemonade closes with a torrid stretch. \"Freedom\" is a marching anthem of resilience and preservation, produced by Just Blaze with a glowing guest verse from Kendrick Lamar. The loved-up \"All Night\" is a tangle of emotions and hints at reconciliation, facilitated by the horns from OutKast's \"SpottieOttieDopaliscious.\" And then, at last, there's the strutting \"Formation,\" simultaneously a tack-on and an ideal finale, where Beyoncé delights in her blackness, femininity, and Southern origin with supreme wordplay.\u003c\/p\u003e\n\u003cp\u003eA1        Pray You Catch Me  3:16\u003cbr\u003eA2        Hold Up  3:41\u003cbr\u003eA3        Don't Hurt Yourself  3:54\u003cbr\u003eB1        Sorry  3:53\u003cbr\u003eB2        6 Inch  4:20\u003cbr\u003eB3        Daddy Lessons  4:48\u003cbr\u003eC1        Love Drought  3:57\u003cbr\u003eC2        Sandcastles  3:03\u003cbr\u003eC3        Forward  1:19\u003cbr\u003eC4        Freedom  4:50\u003cbr\u003eD1        All Night  5:22\u003cbr\u003eD2        Formation  3:26\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43295116045,"sku":"","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/910OY-_2BzCaL._SL1500.jpg?v=1505426741"},{"product_id":"sza-ctrl","title":"SZA - CTRL","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2xLP TRANSLUCENT GREEN VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSolana Rowe's proper debut album, due to its title, invites comparisons to Janet Jackson's 1986 personal and commercial breakout. It's an individual statement, however, one distinct from even the contemporary likes of Kehlani's SweetSexySavage. Placed beside only Z, its three-year-old prelude, Ctrl is the work of a considerably less-inhibited songwriter. Rowe likewise truly fronts these frank songs that wield power as they lament lonesomeness, insecurity, and inertia. She neither projects slight wisps nor obscures herself inside swirling synthesizers, yet she oversells not a single thought. On screen, a slight shrug from her would probably devastate an expectant admirer. In the slow-motion hip-hop soul of \"Doves in the Wind,\" featuring a hectoring verse from fellow TDE artist Kendrick Lamar, Rowe schools inapt and inept male behavior, offering intimate counsel and acerbic derision in a uniquely offhanded style. As assured as she is in this mode, she's not too proud to test a partner (\"Call me on my bullshit, lie to me and say my booty gettin' bigger even if it ain't\"), express personal dissatisfaction (\"All alone still, not a thing in my name\"), or plainly grieve (\"Do you even know I'm alive?\"). The production crew here is almost completely different from the one involved on Z, with TDE regular Tyran Donaldson (aka Antydote and Scum) the lone holdover, present on seven tracks. For every overdone trap trick, there's a couple of sly wrinkles, like the thick, chiming groove in \"Go Gina,\" where Rowe brilliantly illustrates a specific kind of fatigue (\"Picking up a penny with a press-on is easier than holding you down\") and the woozy, decayed synthesizer line in the Travis Scott-assisted single \"Love Galore,\" ideal for a song about rekindling a dead-end affair. This is a marked improvement, a distinctive statement, and an indication of more great work to come.\u003c\/p\u003e\n\u003cp\u003eA1        Supermodel  3:01\u003cbr\u003eA2        Love Galore  4:35\u003cbr\u003eA3        Doves In the Wind  4:26\u003cbr\u003eA4        Drew Barrymore  3:51\u003cbr\u003eB1        Prom  3:16\u003cbr\u003eB2        The Weekend  4:32\u003cbr\u003eB3        Go Gina  2:41\u003cbr\u003eB4        Garden (Say It Like Dat)  3:28\u003cbr\u003eC1        Broken Clocks  3:51\u003cbr\u003eC2        Anything  2:29\u003cbr\u003eC3        Wavy (Interlude)  1:15\u003cbr\u003eD1        Normal Girl  4:13\u003cbr\u003eD2        Pretty Little Birds  4:05\u003cbr\u003eD3        20 Something  3:18\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":8645125341292,"sku":"","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81S_2BrH5uDAL._SL1200.jpg?v=1525468994"},{"product_id":"billie-eilish-dont-smile-at-me","title":"Billie Eilish - Don't Smile At Me","description":"\u003cp\u003eThe debut EP from 15-year-old electronic pop singer\/songwriter Billie Eilish, dont smile at me arrived in August 2017 from the Interscope label. Produced and co-written by Eilish's older brother, Finneas O'Connell, the eight-track release features the lush and lonesome single \"Ocean Eyes,\" a song that first went viral for the Los Angeles-based artist in 2016 and brought her to the attention of Interscope. Eilish's sound is sleek, sometimes quirky, and often characterized by clever wordplay. Subsequent singles \"watch\" and \"COPYCAT\" were issued in the summer of 2017 in advance of the EP's release\u003c\/p\u003e\n\u003cp\u003eCopycat    3:13\u003cbr\u003eIdontwannabeyouanymore    3:23\u003cbr\u003eMy Boy    2:50\u003cbr\u003eWatch    2:57\u003cbr\u003eParty Favor    3:24\u003cbr\u003eBellyache    2:59\u003cbr\u003eOcean Eyes    3:20\u003cbr\u003eHostage    3:39\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":8645132353644,"sku":"","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/613FzXdL8CL._SL1200.jpg?v=1525469151"},{"product_id":"james-bay-electric-light","title":"James Bay - Electric Light","description":"\u003cp\u003eDon't ignore the promise of kinetic crackle that lies within the title of Electric Light, James Bay's 2018 sequel to his 2015 debut, Chaos and the Calm. Bay didn't bother with such tacky modern accouterments as electronic rhythms and pitch-shifted vocals on Chaos and the Calm, preferring a burnished, handsome classicism. All of that is thrown out the window on Electric Light, a loose concept album tracing the rise and fall of a romance, all set to modern soul grooves and bright neon hooks. The sonic shift is startling, but Bay grounds his second album with the same sturdy songcraft of Chaos and the Calm, so Electric Light is hardly all flash and style: beneath its glitter and blare, the songs are tight, melodic, and memorable, worming their way into the subconscious with ease. Still, the initial appeal of Electric Light -- and one that doesn't wane with repeated plays -- is how the album is vibrant, colorful, and alive in a way that Bay's debut simply wasn't. It sparkles with digital textures that give plenty of space for Bay to sing with a soulful abandon, a quality that wasn't necessarily evident on Chaos and the Calm either. Admirers of the deliberateness of the debut may find Electric Light a bit too slick and modern, yet that's precisely the album's appeal: Bay never seems like he's pandering; he sounds thrilled that he has a chance to make the kind of layered, genre-bending pop that he wants to make, and listeners may well find that freedom alluring.\u003c\/p\u003e\n\u003cp\u003e1 Intro\u003cbr\u003e2 Wasted on Each Other\u003cbr\u003e3 Pink Lemonade\u003cbr\u003e4 Wild Love\u003cbr\u003e5 Us\u003cbr\u003e6 In My Head\u003cbr\u003e7 Interlude\u003cbr\u003e8 Just for Tonight\u003cbr\u003e9 Wanderlust\u003cbr\u003e10 I Found You\u003cbr\u003e11 Sugar Drunk High\u003cbr\u003e12 Stand Up\u003cbr\u003e13 Fade Out\u003cbr\u003e14 Slide\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":12111101526124,"sku":"","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/91487s4uT1L._SL1500.jpg?v=1526673822"},{"product_id":"drake-if-youre-reading-this","title":"Drake - If You're Reading This It's Too Late","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAfter a typically busy and fascinating 2014, Drake's 2015 started off much the same way. His chart-topping \"album\" If You're Reading This It's Too Late started off life as a free mixtape, but his label Cash Money stepped in at the last minute and changed it to a full-priced release. This move came amid reports that Drake was ready to follow his mentor Lil Wayne and leave Cash Money because of money issues. The album's number of references to not getting paid by his label shows that even if the rumors end up being false, Drake was plenty upset with Birdman and his business practices while he was recording this tape. Drake is also mad at women trying to play him for a fool, rappers who diss him, and people who think he's soft. Par for the course for a Drake album lately, but the difference here is that there are no pop singles to balance the claustrophobic rants. There are also no huge radio hooks, and most of the album sounds like it was cooked up (mostly by old mates Noah \"40\" Shebib and Boi-1da) during sleepless nights behind drawn blinds, with more dank atmosphere than the coach cabin of a passenger jet after an 18-hour flight. His raps sport the same snappy wordplay as usual, but Drake sounds like he's rapping to himself this time out, trying to work out issues and feelings instead of broadcasting to the world. He occasionally breaks out of the murk to make some noise, like on the strutting \"6 God,\" but mostly he keeps his head down and the mood subdued. It makes for an album that's hard to love right away, but if you stick with it, is a rewarding listen. Especially at the end of the mixtape\/album when Drake drops three songs that would have been highlights on any of his albums (or anyone's albums for that matter). The heartbreaking conversation with\/ode to his mother \"You \u0026amp; the 6,\" the slow-motion Prince-inspired R\u0026amp;B ballad \"Jungle,\" and the swaggering \"6PM in New York\" sound like the core of what could have been his best album. As it is, they are a stunningly good coda to a very confusing detour in his career.\u003c\/p\u003e\n\u003cp\u003eA1        Legend  4:02\u003cbr\u003eA2        Energy  3:02\u003cbr\u003eA3        10 Bands  2:58\u003cbr\u003eA4        Know Yourself  4:36\u003cbr\u003eA5        No Tellin'  5:11\u003cbr\u003eB1        Madonna  4:08\u003cbr\u003eB2        6 God  3:01\u003cbr\u003eB3        Star67  4:55\u003cbr\u003eB4        Preach  3:57\u003cbr\u003eB5        Wednesday Night  3:32\u003cbr\u003eC1        Used To  4:28\u003cbr\u003eC2        6 Man  2:48\u003cbr\u003eC3        Now \u0026amp; Forever  4:41\u003cbr\u003eC4        Company  4:13\u003cbr\u003eC5        You \u0026amp; The 6  4:25\u003cbr\u003eD1        Jungle  5:20\u003cbr\u003eD2        6PM In New York  4:43\u003cbr\u003eD3        How About Now    3:55\u003cbr\u003eD4        My Side    4:41\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":13272834474049,"sku":"","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61UnhwwC9IL._SL1400.jpg?v=1657234363"},{"product_id":"calvin-harris-ready-for-the-weekend","title":"Calvin Harris - Ready For The Weekend","description":"\u003cp\u003e\u003cstrong\u003e2xLPs on Black Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCalvin Harris' second album ups the ante on the glossy dance-pop of his debut, I Created Disco, boasting more energy, more hooks, more professionalism, and, in places, a little more sincerity. It's clear that Harris has an unaffected fondness for all of the most immediate, most commercial dance music of the past 30 years -- from disco to synth pop to video game soundtracks to New York house. What's more, he has the talent to produce it all at the highest level possible, right up there with Daft Punk, creators of the best throwback dance music of the '90s and 2000s. Still, Harris isn't quite as self-aware as Daft Punk, and he certainly doesn't pull as many punches. Ready for the Weekend, even compared to his debut, is focused like a laser directly at listeners' pleasure centers, dismissing anything that might distract or detour from the type of pumping dance-pop capable of filling the main room at any club. And where Daft Punk or Scissor Sisters play up the stereotypes of dance music in an affectionate way, Harris is still, ultimately, making fun of dance music's emptiness (just listen to the chorus of the hit title track: \"Ooh, I put on my shoes and I'm ready for the weekend\"). This isn't stadium house as Paul Oakenfold envisioned it, but it's an enjoyable amalgam of dance energy and pop focus.\u003c\/p\u003e\n\u003cp\u003e1 The Rain 4:35\u003cbr\u003e2 Ready for the Weekend 3:35\u003cbr\u003e3 Stars Come Out 4:24\u003cbr\u003e4 You Used to Hold Me 3:45\u003cbr\u003e5 Blue 3:39\u003cbr\u003e6 I'm Not Alone 3:28\u003cbr\u003e7 Flashback 3:42\u003cbr\u003e8 Worst Day 3:44\u003cbr\u003efeat. 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With a youthful, hybrid blend that incorporates elements of indie electronic, pop, and hip-hop (assisted by brother Finneas O'Connell), When We All Fall Asleep, Where Do We Go? captures the late-2010s zeitgeist by throwing conventional boundaries to the wind and fully committing to its genre-blurring self. Like Lorde's devilish little sister, Eilish delivers her confessional lyrics in hushed bursts of breath, at times dirge-like in their sedateness and otherwise intensely threatening in their creepiness. Beneath the calculated image, she's a highly relatable kid -- not yet of legal voting age at the time of the album's release -- and an avatar for an audience that deals with similar mental health struggles and growing pains.\u003c\/p\u003e\n\u003cp\u003eFrom the opening line of hilarious opener \"!!!!!!!,\" Eilish makes it clear that she is just like you, the listener, goofing off in the studio with her brother while she's supposed to be recording her major-label debut. As endearing as it is obnoxious, the track sets the tone and, from there, the album is a thrill. Bouncing from infectious dance-pop highs to tender, restrained lows, Eilish manages effortless cohesion, even within the span of a single song. \"Bad Guy\" throbs like the cavernous echo heard outside the club, sparking to life with a K-pop brightness before descending with a bellowing trap drop, while \"All the Good Girls Go to Hell\" rides a playful bass strum that manages to pull some G-funk effects into its orbit. The meme-worthy \"My Strange Addiction\" makes the inspired choice to interpolate dialogue from the \"Threat Level Midnight\" episode of The Office (which had already wrapped its entire televised run before Eilish even turned 12), all while managing to be one of the sleekest standouts on the album. Other highlights include the hypnotic minimalist single \"Bury a Friend,\" an unnerving nightmare that is as disturbing as it is addictive; the twisted funhouse electro-pop \"Ilomilo\"; and \"You Should See Me in a Crown,\" a spiritual descendant of Lorde's \"Royals\" that finds Eilish making a power grab to rule the one-horse \"nothing town\" instead of simply complaining about it. While empowering and vulnerable messages bleed through every song, the quieter moments allow her introspection to take the spotlight, especially on the restrained trio that closes the album. She contemplates ending her life on the swelling, piano-centric \"Listen Before I Go\" and offers an uncomfortably uncertain conclusion with \"Goodbye,\" but it's the swelling storm of \"I Love You,\" a heartbreaking acoustic beauty, that pegs Eilish as something more than a spooky, scare-the-parents gimmick. Indeed, with When We All Fall Asleep, Where Do We Go?, she demonstrates that she can do it all, hinting at a bright future that could truly go in any direction, as messy and hopeful as youth can get.\u003c\/p\u003e\n\u003cp\u003e!!!!!!!    0:14\u003cbr\u003eBad Guy    3:14\u003cbr\u003eXanny    4:04\u003cbr\u003eYou Should See Me In A Crown    3:01\u003cbr\u003eAll The Good Girls Go To Hell    2:49\u003cbr\u003eWish You Were Gay    3:42\u003cbr\u003eWhen The Party's Over    3:16\u003cbr\u003e8    2:53\u003cbr\u003eMy Strange Addiction    3:00\u003cbr\u003eBury A Friend    3:13\u003cbr\u003eIlomilo    2:36\u003cbr\u003eListen Before I Go    4:03\u003cbr\u003eI Love You    4:52\u003cbr\u003eGoodbye    1:59\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":31458522136641,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71SHkMeVdhL._SL1500.jpg?v=1657214722"},{"product_id":"justin-bieber-changes","title":"Justin Bieber - Changes","description":"\u003cp\u003e\u003cstrong\u003e2xLP RED VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMuch was made about this 2020 album marking Justin Bieber's true return to music after the 2015 release of Purpose. The singer brought more attention to the matter when he announced during the interim that he'd be taking a break, yet his high commercial standing remained between LPs -- a period of four years and three months, not exactly the five years cited in headlines -- as a featured artist on Top Ten hits by Luis Fonsi, DJ Khaled, David Guetta, Ed Sheeran, and Dan + Shay. Changes bares only a faint indication that it was made under the kind of commercial pressure applied to a \"delayed follow-up.\" In terms of style, song structure, and lyricism, it's easily Bieber's most focused album, all percolating R\u0026amp;B-pop and sparser guitar ballads that articulate the newlywed's feelings of attraction, affection, and devotion. There's a key moment when Bieber works through some personal struggles (to which anyone can relate), but the singer otherwise is troubled by little more than occasional geographic distance and consequential impatience, content to embrace companionship and the prospect of spending the rest of his life with his partner. A sweet, awkward charm continues to run throughout the singer's work. He invites his lover to \"get it in expeditiously,\" flatters her at the concession stand with \"Movies all around, but you look like the feature,\" and elsewhere beams \"Shout-out to your mom and dad for making you\/Standin' ovation, they did a great job raising you.\" He tends to keep it so clean and nonspecific -- his co-writers, along with co-stars such as Quavo, Travis Scott, and Post Malone, are all compliant as ever -- that he could have sung most of these songs a decade earlier. While Bieber's voice still sounds like that of a mid- to late-teen, singing seems to come more naturally to him, and his falsetto pleas are neither bitter nor entitled, strictly genuine and adult.\u003c\/p\u003e\n\u003cp\u003eA1        All Around Me\u003cbr\u003eA2        Habitual\u003cbr\u003eA3        Come Around Me\u003cbr\u003eA4        Intentions (Feat. Quavo)\u003cbr\u003eB1        Yummy\u003cbr\u003eB2        Available\u003cbr\u003eB3        Forever (Feat. Post Malone \u0026amp; Clever)\u003cbr\u003eB4        Running Over (Feat. Lil Dicky)\u003cbr\u003eC1        Take It Out On Me\u003cbr\u003eC2        Second Emotion\u003cbr\u003eC3        Get Me (Feat. 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Despite working with some of the same people who helped him tap into classic pop and rock influences on his debut, this time around the range of genres Styles dips into has grown to include the kind of warm '70s-inspired funk of Childish Gambino's \"Awaken, My Love!\" on the lovely \"Watermelon Sugar,\" the expansive baroque chamber folk of Bon Iver on the title track, happily rustic Americana (\"Canyon Moon\"), and up-tempo Mark Ronson-style retro soul (\"Treat People With Kindness\"). There's no epic centerpiece like \"Sign of the Times,\" no rambling, strutting rock \u0026amp; roll, but there is a much smoother sound overall thanks to the buffed-to-a-gleaming-shine production. Indeed, a large chunk of the album sounds like it was designed to fade into the background as it streams on repeat. Tracks like \"Lights Up\" and \"Cherry\" are inoffensive and sweet, only saved from the skip button by the always impressive vocals. Styles proves again that he's a first-rate singer, able to express melancholy or joy with the same charming ease and disarming power. It's too bad his producers didn't always give him a more interesting background. One of the songs that does stand out is \"Sunflower, Vol. 6,\" a bubbling electro-pop trifle produced by Greg Kurstin featuring some nice electric sitar and clavinet work. It's one of the few tracks where Styles loosens up and has some fun, something that happened quite often on his debut. Apart from that song and a few others that really connect -- like the sleek and streamlined \"Golden,\" \"Watermelon Sugar,\" and the dramatic (also very Gambino-styled) late-night soul ballad \"She\" -- most of the album feels it's on cruise control, when a Harry Styles album should pop with fun and excitement. Maybe it's a matter of finding the styles and sounds that really work for him, then digging into them in order to come up with his own take on them. He certainly talks like he wants to make music that stands the test of time and really matters to people; if that's ever going to happen, he'll need to make records that go beyond pleasant and enjoyable. Despite the handful of songs that touch on his potential for greatness, Fine Line isn't quite there yet.\u003c\/p\u003e\n\u003cp\u003e1 Golden 3:28\u003cbr\u003e2 Watermelon Sugar 2:53\u003cbr\u003e3 Adore You 3:27\u003cbr\u003e4 Lights Up 2:52\u003cbr\u003e5 Cherry 4:19\u003cbr\u003e6 Falling 4:00\u003cbr\u003e7 To Be So Lonely 3:12\u003cbr\u003e8 She 6:02\u003cbr\u003e9 Sunflower, Vol. 6 3:41\u003cbr\u003e10 Canyon Moon 3:09\u003cbr\u003e11 Treat People With Kindness 3:17\u003cbr\u003e12 Fine Line 6:17\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":32091036942401,"sku":"","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61TZoz02rbL._SL1500.jpg?v=1657064702"},{"product_id":"kacey-musgraves-golden-hour","title":"Kacey Musgraves - Golden Hour","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGolden Hour shimmers with the vivid colors that arrive when the sun starts to set, when familiar scenes achieve a sense of hyperreality. Such heightened emotions are a new aesthetic for Kacey Musgraves, who previously enlivened traditional country with her sly synthesis of old sounds and witty progressive lyrics. Musgraves barely winks on Golden Hour, disguising her newfound emotional candidness behind a gorgeous veneer of harmonies and synthesizers. Sonically, the album doesn't scan country. Whenever Musgraves makes an explicit nod to the past, she acknowledges the smooth grooves of yacht rock and the glitterball pulse of disco, styles that only have a tangential relationship with country but feel more welcome in a landscape where R\u0026amp;B and hip-hop are embraced by some of the biggest stars in country. Musgraves doesn't mine this vein, preferring a soft, blissed-out vibe to skittering rhythms and fleet rhymes. At their core, the songs on Golden Hour -- which Musgraves largely co-wrote with her co-producers Ian Fitchuk and Daniel Tashian, but also featuring Natalie Hemby, Luke Laird, and Shane McAnally, among other collaborators -- don't play with form: they are classic country constructions, simply given productions that ignore country conventions from either the present or the past. This is a fearless move, but Golden Hour is hardly confrontational. It's quietly confident, unfurling at its own leisurely gait, swaying between casual confessions and songs about faded love. The very sound of Golden Hour is seductive -- it's warm and enveloping, pitched halfway between heartbreak and healing -- but the album lingers in the mind because the songs are so sharp, buttressed by long, loping melodies and Musgraves' affectless soul-baring. Previously, her cleverness was her strong suit, but on Golden Hour she benefits from being direct, especially since this frankness anchors an album that sounds sweetly blissful, turning this record into the best kind of comfort: it soothes but is also a source of sustenance.\u003c\/p\u003e\n\u003cp\u003eA1        Slow Burn\u003cbr\u003eA2        Lonely Weekend\u003cbr\u003eA3        Butterflies\u003cbr\u003eA4        Oh, What A World\u003cbr\u003eA5        Mother\u003cbr\u003eA6        Love Is A Wild Thing\u003cbr\u003eB1        Space Cowboy\u003cbr\u003eB2        Happy \u0026amp; Sad\u003cbr\u003eB3        Velvet Elvis\u003cbr\u003eB4        Wonder Woman\u003cbr\u003eB5        High Horse\u003cbr\u003eB6        Golden Hour\u003cbr\u003eB7        Rainbow\u003c\/p\u003e\n\u003c!----\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":32091058864193,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/1200x1200bf-60.jpg?v=1657697889"},{"product_id":"maroon-5-memories-7-rsd2020","title":"Maroon 5 - Memories 7\" (RSD2020)","description":"A Memories\u003cbr data-mce-fragment=\"1\"\u003eB Memories (Dillon Francis Remix)","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":37154979315912,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/418462493682-800.jpg?v=1603497283"},{"product_id":"beyonce-bday","title":"Beyonce - B'Day","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAt least one tactic or event preceding the release of Beyoncé's second solo album inspired a bemused three-syllable exclamation from anyone who was paying attention. The lead single, the late-'70s-funk-inspired \"Deja Vu,\" had the audacity to not be as monstrous as \"Crazy in Love\" -- its stay at the top of the charts was relatively brief, so clearly there was evidence of some drop-off there. This was quickly followed by \"Ring the Alarm,\" an angered, atonal, and out-of-character song with an accompanying video that invited all kinds of perplexed analysis, along with debate on whether Beyoncé was being autobiographical or, as the singer claimed, channeling her Dreamgirls character. All of this gave the haters plenty of ammo when anything less than 100 percent polite, ladylike, and expected was bound to do the trick. Add to this an album title that can be pronounced just like \"bidet,\" along with the advertisement that the album's ten songs were whipped up in two weeks, and you have yourself a career-killing train wreck. B'day isn't even close to that. While Beyoncé does sound like she's in a bit of a hurry throughout the album, and there are no songs with the smooth elegance of \"Me, Myself and I\" or \"Be with You,\" it is lean in a beneficial way, propelled by just as many highlights as the overlong Dangerously in Love. Two collaborations with Rich Harrison swagger and preen: \"Been locked up in the house way too long\/It's time to get it, 'cause once again he's out doing wrong\" (the blaring\/marching \"Freakum Dress\"); \"Don't give me no lip, let mama do it all\" (the spectacularly layered \"Suga Mama\"). The Neptunes assist on \"Green Light,\" an ambitious, fleet-footed number that continually switches tempos and sounds, as well as \"Kitty Kat,\" a deceptively sweet, rainbow-colored track -- where what sounds like purrs are more like claws-out dismissals -- that could've been pulled from one of the first three Kelis albums. And even with an entirely bonkers line like \"I can do for you what Martin did for the people,\" \"Upgrade U\" is the most potent track on the album, a low-slung Cameron Wallace production where Beyoncé wears and buys the pants while making her proposition sound more like empowerment than emasculation. If the circus surrounding this whole thing -- which could take up to ten pages to document -- was an elaborate ploy to transform Beyoncé into an underdog, there really is some kind of genius at play, but it's extremely unlikely that anyone in her camp could've predicted that the expectations and reactions would be less rational than any of Beyoncé's decisions and actions. 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What began as the numbed-out musings of a disaffected sad girl character grew into the lush, amber-tinted songwriting of 2019's magnificent Norman Fucking Rockwell. Del Rey's visions of American culture, Hollywood disillusionment, and tragic love became the touchstones of her songwriting, and those familiar themes carry over to Violet Bent Backwards Over the Grass, her first volume of poetry and spoken word pieces. The selections are rich with imagery of uneasy party scenes and California landscapes. Translated from the torch song format of her songwriting, the lyrics take on a more organic feel, Del Rey laying out her thoughts in a calm meter that significantly tones down the breathless urgency of her music. Sonically, Violet Bent Backwards Over the Grass stays captivating, with musical bedding of various unobtrusive electric pianos and atmospheric sounds provided by Jack Antonoff. Del Rey often applies a lo-fi production to her voice, with the words to the beautiful and compact title track or the troubled desert soliloquy \"Salamander\" sounding like transfers from dusty cassettes warped by the sun. A mellow, jazzy instrumental backs \"My Bedroom Is a Sacred Place,\" as Del Rey offers plainspoken poetry about disconnecting from a toxic love affair by embracing her work. It's a beautifully unguarded piece of writing, somewhat confessional in nature yet still retaining an aura of mystery. With this collection of poems, Lana Del Rey offers an alternate view of the sun-dazzled California dreaming that fuels her songs. Her spoken word pieces reveal a more immediate lyrical sophistication, but they maintain the strange and powerful magic Del Rey has been cultivating her entire career.\u003c\/p\u003e\n\u003cp\u003e1 L.A. 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In that song, and through much of what fills out American Teen, his debut album, Robinson's not one to get worked up. He's in no particular rush, content to drift through life while accepting, and occasionally sort of celebrating, the present. \"American Teen\" itself -- hollowed-out late-'80s mall pop with a disco-funk bassline -- is a youth anthem of shrugging aimlessness. There's not a whole lot of enthusiasm for revelry, dulled by substances, apathy, a combination of the two, or just the aspiration to look the part: \"I'm so faded off of all the things I've taken, and maybe I'm not really drunk, maybe I'm really good at faking.\" There are points at which Robinson makes Frank Ocean sound like Teddy Pendergrass. On \"Young Dumb \u0026amp; Broke,\" the mere concept of commitment seems so silly to him that he can't be bothered to enunciate the word, or maybe he just lost interest after the second syllable. After a nonchalant chorus that consists primarily of the song's title and a lethargic warble -- surprise -- he dumps one of his best melodies in the bridge. While he opens \"Another Sad Love Song\" by confessing \"I'm not the best at showing my emotions,\" some bright moments make it apparent that Robinson has clearly sold himself short. Dusty ballad \"Cold Blooded,\" in particular, demonstrates that he's perfectly capable of conveying grief without being overly demonstrative. 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Released two years later, Dangerous Woman consolidates this soulful shift while offering a snazzier, sophisticated spin on the '90s pop that provides the foundation of Grande's music. Much of the latter comes from a fruitful partnership with producer Max Martin and his colleague Ilya, a team responsible for over half of the standard album's tracks (they also have their hands in several of the deluxe edition's bonus cuts). Tommy Brown and Mr. Franks are the other chief collaborators here, shepherding many of the cuts with a heavier R\u0026amp;B influence -- the stuttering \"Let Me Love You,\" featuring a verse from Lil Wayne, the slow-burning torch of \"Leave Me Lonely\" -- but their productions aren't far removed from the Martin\/Ilya cuts. \"Everyday,\" a heavy thrumming jam featuring Future, is helmed by Ilya alone and the Rihanna-copping \"Side to Side\" bears a Martin credit. What all the producers do is keep the focus on the individual track, carving it into a seamless sculpture of rhythm and melody where Grande winds up as the accent to the song. Restraint serves her well: there are times she lets go with a full-throated roar, but she spends most of Dangerous Woman at a simmer that reinforces the sultry seduction of the title. A fair chunk of the album is devoted to cinematic ballads, which makes the bright blasts of disco -- \"Be Alright,\" \"Greedy\" -- so alluring, but the entire record benefits from this single-minded concentration. Track by track, Dangerous Woman has sly, subtle distinctions -- a little bit of torch gives way to some heavy hip-hop only to have frothy pop surface again -- and while some of these cuts work better than others, the range is impressive, as is Grande's measured, assured performance.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \"Moonlight\" 3:22\u003cbr\u003e2. \"Dangerous Woman\" 3:55\u003cbr\u003e3. \"Be Alright\" 2:59\u003cbr\u003e4. \"Into You\" 4:04\u003cbr\u003e5. \"Side to Side\" (featuring Nicki Minaj) 3:46\u003cbr\u003e6. \"Let Me Love You\" (featuring Lil Wayne) 3:43\u003cbr\u003e7. \"Greedy\" 3:34\u003cbr\u003e8. \"Leave Me Lonely\" (featuring Macy Gray) 3:49\u003cbr\u003e9. \"Everyday\" (featuring Future) 3:14\u003cbr\u003e10. \"Bad Decisions\" 3:46\u003cbr\u003e11. \"Thinking Bout You\" 3:20\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":39531783160008,"sku":"","price":59.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81EmsqiGCjL._SL1400.jpg?v=1657062829"},{"product_id":"maggie-rogers-heard-it-in-a-past-life","title":"Maggie Rogers - Heard it in a Past Life","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAfter she released the Now That the Light Is Fading EP, Maggie Rogers issued a string of singles that hinted she was moving in a poppier direction. However, her debut album Heard It in a Past Life offers a more complete picture of her music that gives equal time to her electronic leanings as well as her folky roots, both of which she combined brilliantly on her breakthrough single \"Alaska.\" That song also appears here, and its effortless blend of styles and Rogers' guileless singing still sparkles. On the rest of Heard It in a Past Life, she finds different ways to forge her own bright, assured version of pop. Working with Rostam and Greg Kurstin among other producers, Rogers fills the album with clever production twists and heartfelt performances. At times, her skill at transforming big emotions into hook-laden songs calls to mind frequent Kurstin collaborator Sia, particularly on \"Give a Little\"'s call for unity (Rogers was inspired to write the song after a nationwide school walkout in protest of American gun violence) and \"Overnight,\" where she ponders over how her relationships could change in the wake of her viral success. Even if nothing else here sounds quite like \"Alaska,\" Heard It in a Past Life's best songs have as much confidence and originality as the track that introduced her. The album's second half allows Rogers more range, spanning the sensual sway of \"Say It\" and \"On + Off\" (another standout that also appeared on Now That the Light Is Fading) as well as the empowering ballads \"Light On\" and \"Fallingwater,\" an impressionistic collaboration with Rostam that flows and swells like its namesake. While it sometimes feels like Rogers could be even bolder than she is on Heard It in a Past Life, it's a strong debut that shows how well she's growing into her fame as well as all the dimensions of her music.After she released the Now That the Light Is Fading EP, Maggie Rogers issued a string of singles that hinted she was moving in a poppier direction. However, her debut album Heard It in a Past Life offers a more complete picture of her music that gives equal time to her electronic leanings as well as her folky roots, both of which she combined brilliantly on her breakthrough single \"Alaska.\" That song also appears here, and its effortless blend of styles and Rogers' guileless singing still sparkles. On the rest of Heard It in a Past Life, she finds different ways to forge her own bright, assured version of pop. Working with Rostam and Greg Kurstin among other producers, Rogers fills the album with clever production twists and heartfelt performances. At times, her skill at transforming big emotions into hook-laden songs calls to mind frequent Kurstin collaborator Sia, particularly on \"Give a Little\"'s call for unity (Rogers was inspired to write the song after a nationwide school walkout in protest of American gun violence) and \"Overnight,\" where she ponders over how her relationships could change in the wake of her viral success. Even if nothing else here sounds quite like \"Alaska,\" Heard It in a Past Life's best songs have as much confidence and originality as the track that introduced her. The album's second half allows Rogers more range, spanning the sensual sway of \"Say It\" and \"On + Off\" (another standout that also appeared on Now That the Light Is Fading) as well as the empowering ballads \"Light On\" and \"Fallingwater,\" an impressionistic collaboration with Rostam that flows and swells like its namesake. 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