{"title":"RHINO: START YOUR EAR OFF RIGHT","description":"\u003cp\u003e2026 EXCLUSIVE TITLES\u003c\/p\u003e","products":[{"product_id":"john-coltrane-ole-coltrane","title":"John Coltrane - Ole Coltrane","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES (IN MONO)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa\/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. \"Olé\" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of \"Aisha\" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel.\u003c\/p\u003e\n\u003cp\u003eA        Olé 18:05\u003cbr\u003eB1        Dahomey Dance 10:50\u003cbr\u003eB2        Aisha 7:32\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42511765799112,"sku":"","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/0081227807870.jpg?v=1766611924"},{"product_id":"john-coltrane-giants-steps","title":"John Coltrane - Giant Steps","description":"\u003cdiv id=\"description\" class=\"tab-pane fade active in\"\u003e\n\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES (IN MONO)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eReleased in 1960,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGiant Steps\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ewas a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim.\u003c\/p\u003e\n\u003cp\u003eAlthough this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKind of Blue\u003c\/em\u003e, before commencing his efforts on this one.\u003c\/p\u003e\n\u003cp\u003eColtrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on \"Freddie the Freeloader\" on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKind of Blue\u003c\/em\u003e, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.\u003c\/p\u003e\n\u003cp\u003eAll seven pieces issued on the original\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGiant Steps\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed \"sheets of sound.\"\u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGiant Steps\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003echord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a \"kind of ultimate harmonic challenge\", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently \"Naima\" and \"Giant Steps.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Penguin Guide to Jazz\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eselected this album as part of its suggested \"Core Collection\" calling it \"Trane's first genuinely iconic record.\" In 2003, the album was ranked No. 102 on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emagazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list.\u003c\/p\u003e\n\u003cp\u003eUndeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.\u003c\/p\u003e\n\u003cp\u003eOverall,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGiant Steps\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43493616550088,"sku":"","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/0081227807849.jpg?v=1766610864"},{"product_id":"john-coltrane-my-favorite-things-atlantic-75-series","title":"John Coltrane - My Favorite Things","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN TWO VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlthough seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane's Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet -- which includes Coltrane (soprano\/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) -- allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio -- most notably Tyner -- gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard \"Everytime We Say Goodbye\" and tenor solos on \"But Not for Me\" easily establish Coltrane as a pioneer of both instruments.\u003c\/p\u003e\n\u003cp\u003eMy Favorite Things    13:41\u003cbr\u003eEverytime We Say Goodbye    5:39\u003cbr\u003eSummertime    11:31\u003cbr\u003eBut Not For Me    9:35\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"ATLANTIC 75 - 2xLP 45rpm","offer_id":44880332849352,"sku":null,"price":77.99,"currency_code":"USD","in_stock":true},{"title":"START YOUR EAR OFF RIGHT (MONO)","offer_id":44880332882120,"sku":null,"price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/4aplpatl011-45__71091.1704782844.jpg?v=1712879819"},{"product_id":"rush-presto","title":"Rush - Presto","description":"\u003cp\u003e\u003cstrong\u003eStart Your Ear Off Right Edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThroughout their career, Rush have always been a band that you could count on to push the boundaries of what rock was capable of, and their discography contains a laundry list of ambitious albums that helped to bring prog to a wider audience. Having said that, Presto is not one of those albums. On this return to a more guitar-oriented sound after the synth period that dominated the '80s, the bandmembers emerge from the electronic fog and try to reorient themselves to once again working with their more traditional setup. While none of the songs here are out-and-out terrible, listening to the album definitely gives you the sense that things just aren't quite clicking, as if the band is just a little bit rusty after stepping away from this kind of songwriting for nearly a decade. This makes Presto a perfectly workmanlike album from a band that made a name for itself with its creativity, containing all the ingredients of a Rush album minus the sense of ambition and fun that ran through the veins of the group's earlier work. And though this isn't an album you necessarily need to run from, a brisk walk to their work from the '70s is advisable.\u003c\/p\u003e\n\u003cp\u003eShow Don't Tell    5:01\u003cbr\u003eChain Lightning    4:33\u003cbr\u003eThe Pass    4:51\u003cbr\u003eWar Paint    5:24\u003cbr\u003eScars    4:07\u003cbr\u003ePresto    5:45\u003cbr\u003eSuperconductor    4:47\u003cbr\u003eAnagram (For Mongo)    4:00\u003cbr\u003eRed Tide    4:29\u003cbr\u003eHand Over Fist    4:11\u003cbr\u003eAvailable Light    5:03\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44320039796936,"sku":"","price":28.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81_qS4HZ1ML._SL1200.jpg?v=1735422186"},{"product_id":"john-coltrane-coltrane-jazz","title":"John Coltrane - Coltrane Jazz","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cb\u003eAVAILABLE IN TWO VARIANTS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eThe first album to hit the shelves after Giant Steps, Coltrane Jazz was largely recorded in late 1959, although one of the eight songs (\"Village Blues\") was done in late 1960. On everything save the aforementioned \"Village Blues,\" Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. While not the groundbreaker that Giant Steps was, Coltrane Jazz was a good consolidation of his gains as he prepared to launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly \"Harmonique\" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of \"Like Sonny,\" dedicated to Sonny Rollins. The moody \"Village Blues\" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLittle Old Lady    4:25\u003cbr\u003eVillage Blues    5:21\u003cbr\u003eMy Shining Hour    4:50\u003cbr\u003eFifth House    4:38\u003cbr\u003eHarmonique    4:10\u003cbr\u003eLike Sonny    5:51\u003cbr\u003eI'll Wait And Pray    3:32\u003cbr\u003eSome Other Blues    5:33\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"2xLP 45rpm","offer_id":44880333635784,"sku":null,"price":81.99,"currency_code":"USD","in_stock":true},{"title":"START YOUR EAR OFF RIGHT (MONO)","offer_id":44880333668552,"sku":null,"price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/61iAOuqWq0S._SL1200.jpg?v=1749331676"},{"product_id":"alt-j-an-awesome-wave-1","title":"Alt-J - An Awesome Wave","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecycled Metallic Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNamed after the Mac command also used as a mathematical equation to show change, formed while studying fine art at university, and prone to throwing in the odd geometric reference within their lyrics, there are signs that Cambridge-based quartet Alt-J might be a little bit too clever for their own good. Produced by Charlie Andrew (the Laurel Collective), their debut album, An Awesome Wave, is occasionally guilty of pretentiousness, particularly the irritating a cappella vocal warmup of the interlude \"(The Ripe \u0026amp; Ruin).\" But for the most part, its 13 tracks do for nu-folk what Everything Everything's equally ambitious debut did for indie rock, breathing new life into the genre with an intriguing but accessible series of art rock twists and turns. Indeed, other than frontman Joe Newman's impassioned -- if occasionally bordering on parody -- vocal style, there's little here in common with the tweeness of Mumford \u0026amp; Sons. \"Tessellate\" combines the glitchy electronica of Thom Yorke's solo career with the wistful wintry harmonies of Fleet Foxes; \"Fitzpleasure\" fizzes along with its dubstep-lite beats and acidic basslines before it's interrupted, first by a burst of jangly post-rock and second by the kind of shimmering guitar twangs you'd expect from a Tarantino soundtrack; while \"Taro\" somehow melds together the unlikely bedfellows of Americana and bhangra to produce a fittingly oddball but enthralling finale. It's to Andrew's credit that these eclectic arrays of sound are woven together in a manner so effortlessly that the results never feel forced or contrived. There are a few more straightforward moments such as \"Matilda,\" a gentle acoustic folk ode to Natalie Portman's troubled character in Léon, and the sparse, haunting \"Ms.\" But Alt-J's wave is far more awesome when it's at its most schizophrenic.\u003c\/p\u003e\n\u003cp\u003eA1        Intro\u003cbr\u003eA2        Interlude1\u003cbr\u003eA3        Tesselate\u003cbr\u003eA4        Breezeblocks\u003cbr\u003eA5        Interlude 2\u003cbr\u003eA6        Something Good\u003cbr\u003eA7        Dissolve Me\u003cbr\u003eB1        Matilda\u003cbr\u003eB2        Ms\u003cbr\u003eB3        Fitzpleasure\u003cbr\u003eB4        Interlude 3\u003cbr\u003eB5        Bloodflood\u003cbr\u003eB6        Taro\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880233529544,"sku":null,"price":28.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/814TDEjLaFL._SL1425.jpg?v=1766258930"},{"product_id":"john-coltrane-coltrane-plays-the-blues","title":"John Coltrane - Coltrane Plays the Blues","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES (IN MONO)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColtrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase \"plays the blues\" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on \"Blues to Bechet\" and \"Mr. Syms,\" the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as \"Blues to You\" and \"Mr. Day.\u003c\/p\u003e\n\u003cp\u003eBlues To Elvin    7:52\u003cbr\u003eBlues To Bechet    5:44\u003cbr\u003eBlues To You    6:25\u003cbr\u003eMr. Day    7:56\u003cbr\u003eMr. Syms    5:19\u003cbr\u003eMr. Knight    7:30\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880270590152,"sku":null,"price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/rhilp80789__97298.webp?v=1766610690"},{"product_id":"john-coltrane-coltranes-sound","title":"John Coltrane - Coltrane's Sound","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES (IN MONO)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is one of the most highly underrated entries in Coltrane's voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane's Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960. So prolific were those recording dates, they informed no less than five different Coltrane albums on Atlantic. The title could not have been more accurate, as each of the six pieces bear the unmistakable and indelible stamp of Coltrane's early-'60s style. \"The Night Has a Thousand Eyes\" and \"Body and Soul\" (the only tracks not penned by Coltrane) are given unique and distinctive voices. Animating the arrangements on these sessions were Coltrane (soprano\/tenor sax), Steve Davis (bass), Elvin Jones (drums), and McCoy Tyner (piano). It's perhaps Tyner's recollection of the quartet as \"four pistons in an engine\" that most aptly explains the singular drive heard during Coltrane's extended runs on \"Liberia.\" Tyner flawlessly complements Coltrane with full resonating chords that cling to his volley of sound. The rhythmic gymnastics of percussionist Jones is also showcased as his double-jointed bop swing and military band precision are distinctly displayed on the blues \"Equinox.\" The opening six bars give Jones a chance to make a contrasting statement -- which he takes full advantage of. Regardless of the lack of attention, these recordings remain among Trane's finest\u003c\/p\u003e\n\u003cp\u003eA1        The Night Has A Thousand Eyes 6:42\u003cbr\u003eA2        Central Park West 4:12\u003cbr\u003eA3        Liberia 6:45\u003cbr\u003eB1        Body And Soul 5:35\u003cbr\u003eB2        Equinox 8:33\u003cbr\u003eB3        Satellite 5:48\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880272457928,"sku":null,"price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/0081227807900.jpg?v=1766610791"},{"product_id":"o-s-t-fight-club-the-dust-brothers","title":"O.S.T. - Fight Club (The Dust Brothers)","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES 2xLP PINK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe score to David Fincher's controversial, subversive film Fight Club was composed and performed by the Dust Brothers, whose production and remixing work with artists like the Beastie Boys, Beck, and the Chemical Brothers helped shape the sound of the '90s. Their music for Fight Club reflects their own hip-hop and dance roots, as well as the film's edgy, underground tone in its blend of trip-hop, drum'n'bass, and electro elements.\u003c\/p\u003e\n\u003cp\u003eA1        Who Is Tyler Durden?\u003cbr\u003eA2        Homework\u003cbr\u003eA3        What Is Fight Club?\u003cbr\u003eA4        Single Serving Jack\u003cbr\u003eB1        Corporate World\u003cbr\u003eB2        Psycho Boy Jack\u003cbr\u003eB3        Hessel, Raymond K.\u003cbr\u003eB4        Medula Oblongata\u003cbr\u003eC1        Jack's Smirking Revenge\u003cbr\u003eC2        Stealing Fat\u003cbr\u003eC3        Chemical Burn\u003cbr\u003eC4        Marla\u003cbr\u003eD1        Commissioner Castration\u003cbr\u003eD2        Space Monkeys\u003cbr\u003eD3        Finding The Bomb\u003cbr\u003eD4        This Is Your Life\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880278388936,"sku":null,"price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91F0Q4C2V9L._SL1500.jpg?v=1766267172"},{"product_id":"flaming-lips-the-clouds-taste-metallic","title":"Flaming Lips, The - Clouds Taste Metallic","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe same extraordinary madness that infected the best work of Brian Wilson rears its head on the shimmering and melodic Clouds Taste Metallic, a masterful collection which completes the Flaming Lips' odyssey into the pop stratosphere. The Pet Sounds comparisons are obvious -- two of the highlights are titled \"This Here Giraffe\" and \"Christmas at the Zoo\" -- yet not unfair; like Brian Wilson, Wayne Coyne has refined his unique vision into something both highly personal and powerfully universal. Similarly, while Coyne's lyrics remain as acid-damaged and inscrutable as ever, his densely constructed songs convey emotional complexities far beyond the scope of their head-case titles (\"Psychiatric Explorations of the Fetus With Needles,\" \"Guy Who Got a Headache and Accidentally Saves the World\"); galvanized by equal parts newfound maturity and childlike wonderment, Clouds Taste Metallic is both the Flaming Lips' most intricate and most irresistible work\u003c\/p\u003e\n\u003cp\u003eA1        The Abandoned Hospital Ship\u003cbr\u003eA2        Psychiatric Explorations Of The Fetus With Needles\u003cbr\u003eA3        Placebo Headwound\u003cbr\u003eA4        This Here Giraffe\u003cbr\u003eA5        Brainville\u003cbr\u003eA6        Guy Who Got A Headache And Accidentally Saves The World\u003cbr\u003eB1        When You Smile\u003cbr\u003eB2        Kim's Watermelon Gun\u003cbr\u003eB3        They Punctured My Yolk\u003cbr\u003eB4        Lightning Strikes The Postman\u003cbr\u003eB5        Christmas At The Zoo\u003cbr\u003eB6        Evil Will Prevail\u003cbr\u003eB7        Bad Days (Aurally Excited Version)\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880282517704,"sku":null,"price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71_FH0iylyL._SL1425.jpg?v=1766267894"},{"product_id":"charles-mingus-blues-roots","title":"Charles Mingus - Blues \u0026 Roots","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously -- somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard \"Haitian Fight Song\" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based -- like the groundbreaking classic \"Wednesday Night Prayer Meeting\" -- or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned \"Wednesday Night Prayer Meeting\" and the Jelly Roll Morton tribute \"My Jelly Roll Soul.\" The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography.\u003c\/p\u003e\n\u003cp\u003eA1        Wednesday Night Prayer Meeting    5:39\u003cbr\u003eA2        Cryin' Blues    4:58\u003cbr\u003eA3        Moanin'    7:57\u003cbr\u003eB1        Tensions    6:27\u003cbr\u003eB2        My Jelly Roll Soul    6:47\u003cbr\u003eB3        E's Flat Ah's Flat Too    6:37\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880300998856,"sku":null,"price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91fJ7HjopTL._SL1500.jpg?v=1766271516"},{"product_id":"john-prine-sweet-revenge","title":"John Prine - Sweet Revenge","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePrine's third album is louder and more jaded than his first efforts, a set of rowdy country-rockers that tear along at a reckless speed. Sympathy takes a back seat to cynicism here, and while that strips the record of some depth, Prine's irreverence is consistently thrilling, making this one of his best. It's not as uniformly brilliant as the debut, but it did steer his music in a new direction -- where that record is often hallmarked for its rich sensitivity, Sweet Revenge established cynicism as Prine's dominant voice once and for all. Although he could still crank out a great ballad when he felt like it, from now on his records largely followed a more conventional rock \u0026amp; roll muse, a choice that eventually gained him more mainstream attention. \"Please Don't Bury Me,\" \"Christmas in Prison,\" \"Blue Umbrella,\" and \"A Good Time\" are a few of the jewels on this one.\u003c\/p\u003e\n\u003cp\u003eA1        Sweet Revenge 2:58\u003cbr\u003eA2        Please Don't Bury Me 2:47\u003cbr\u003eA3        Christmas In Prison 3:09\u003cbr\u003eA4        Dear Abby 4:10\u003cbr\u003eA5        Blue Umbrella 3:28\u003cbr\u003eA6        Often Is A Word I Seldom Use 3:01\u003cbr\u003eB1        Onomatopoeia 2:18\u003cbr\u003eB2        Grandpa Was A Carpenter 2:11\u003cbr\u003eB3        The Accident (Things Could Be Worse) 3:22\u003cbr\u003eB4        Mexican Home 4:39\u003cbr\u003eB5        A Good Time 3:30\u003cbr\u003eB6        Nine Pound Hammer 3:07\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880311648456,"sku":null,"price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81eSUyT1cgL._SL1425.jpg?v=1766274075"},{"product_id":"rush-feedback","title":"Rush - Feedback","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a riot! Rather than put out some windy and dreary box set to celebrate their 30th anniversary, Canada's seminal power prog band and one of big rock's most enduring units turns the tables and lays out hot and heavy covers of eight classics from the annals of rock \u0026amp; roll history. The track list is amazing, and the cool thing is that the arrangements of these nuggets are not all ripped up and mutated, either. \"Summertime Blues\" may begin as a nod to Jimi Hendrix's \"Foxy Lady,\" but it comes roaring back as an acknowledged homage to the Who's Live at Leeds version. The version of Stephen Stills' \"For What It's Worth\" begins as a slippery little acoustic tune but quickly turns into a heavy, droning rock orgy. \"The Seeker\" goes for the jugular in the same way that the Who's did; Geddy's sneer has a little less contempt than Daltrey's but it's just as hungry and desperate. \"Heart Full of Soul\" is pure psychedelic Yardbirds elegance with a bunch of space and dimension added to redeem the track for the 21st century. The backmasked guitars on \"Mr. Soul\" and Neil Peart's deliberate mix of thud and snap give the cut a solid footing for Alex Lifeson to unhurriedly coax Lee's vocal along the lyric. The ringing of Lifeson's chords that barely hold this side of overblown feedback is masterful in keeping the original spirit of the song while future-dating its sonics. Rush's read of \"Seven and Seven Is\" is much faster that Love's original, but its barely-on-the-rails tempo is welcome in lieu of the fact that these guys are all in their fifties and play like they're kids. \"Shapes of Things to Come\" is fun, and a real attempt to provide nuance to a great song, especially the cross-channel fading in the guitar mix. But on \"Crossroads,\" the other bookend of this EP, Rush give a romper-stomper wailing performance of Cream's arrangement of Robert Johnson's seminal blues tune. Lifeson leaves Eric what's-his-name in the dust. Lee may not be the vocalist that Jack Bruce is but he kicks his ass as a bass player, and his moment of glory in this cut tears the roof off the song. None of these tunes are done with an ounce of camp. What the listener encounters is a Rush that has never ever been heard before: they indulge in the hero-worship and dream roots of the garage band that eventually became Rush, and they simultaneously search for the young garage band whose members never dreamed they'd be playing these tunes 30 years later as Rush. Anyone who thinks that there is no life left in the classics of the genre needs to hear this. That something this wild and freewheeling could only be pulled off by a band with 30 years experience is not only worth noting, but celebrating.\u003c\/p\u003e\n\u003cp\u003eA1        Summertime Blues\u003cbr\u003eA2        Heart Full Of Soul\u003cbr\u003eA3        For What It's Worth\u003cbr\u003eA4        The Seeker\u003cbr\u003eB1        Mr. Soul\u003cbr\u003eB2        Seven And Seven Is\u003cbr\u003eB3        Shapes Of Things\u003cbr\u003eB4        Crossroads\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44880322232520,"sku":null,"price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71wgG7eE15L._SL1000.jpg?v=1766276499"},{"product_id":"rush-vapor-trails","title":"Rush - Vapor Trails","description":"\u003cp\u003e\u003cstrong\u003eSTART YOUR EAR OFF RIGHT SERIES 2xLP\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMost longtime Rush fans realize that a new album from the Canadian trio in the early 21st century is quite an accomplishment. After drummer Neil Peart's much-publicized tragic turn of events in his private life not long after Rush's 1996 release Test for Echo (the death of both his teenaged daughter and wife less than a year apart), the group's future was understandably cast into doubt. Slowly but surely, however, the band regained their footing and issued their 17th studio album in 2002, Vapor Trails. You would think that a veteran band entering their fourth decade together would perhaps mellow out a bit, but this doesn't prove to be case, as evidenced by the leadoff track \"One Little Victory,\" while the majority of the album follows the same direct and hard-hitting sound as their past couple of releases (fans of the group's more synth-based and sterile mid-'80s style will have to look elsewhere). Peart, who remains the group's main lyricist, opts to conquer such challenging subject matter as the September 11, 2001, terrorist attacks on \"Peaceable Kingdom,\" while bits of the lyric to \"Ghost Rider\" (\"Pack up all those phantoms\/Shoulder that invisible load\") lead the listener to believe that perhaps the drummer is sharing his personal healing process with the fans. Other standouts include the melodic \"Sweet Miracle,\" the explosive \"Out of the Cradle,\" the mid-paced title track, and \"Earthshine,\" the latter of which showcases how fine Lee's voice has matured (especially when compared to his high-piercing shriek on Rush's early albums). 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