{"title":"Rock\/ Pop","description":"","products":[{"product_id":"arctic-monkeys-am","title":"Arctic Monkeys - AM","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIf Arctic Monkeys launched a tentative retreat on Suck It \u0026amp; See, their first effort after being seduced by Josh Homme, the group once again forge ahead into bold new territory on AM, their fifth album. Neatly splitting the difference between the band's two personalities -- the devotees of barbed British pop and disciples of curdled heavy rock -- AM consolidates Arctic Monkeys strengths, a tricky task in and of itself, but the band pushes further, incorporating unapologetic glam stomps, fuzzy guitars, and a decidedly strong rhythmic undercurrent. At times, AM pulses to a distinctly danceable rhythm -- \"Fireplace\" percolates while \"Why Do You Only Call Me When You're High\" simmers and \"Knee Socks\" nearly rivals Franz Ferdinand in disco rock -- but this isn't an album made for nights out; it's a soundtrack for nights in. Too much of Alex Turner's mind is preoccupied with love gone wrong, jealousy, and general misanthropy, so even when he's singing about a \"No. 1 Party Anthem,\" he's doing so with a nearly visible sneer. Such an undercurrent of cynicism makes AM an ideal album to listen to under the cover of darkness, but due to the Arctic Monkeys' muscular wallop and musical restlessness, it never feels like the band is wallowing in bleakness. Instead, this is vibrant, moody music that showcases a band growing ever stronger with each risk and dare they take.\u003c\/p\u003e\n\u003cp\u003eA1        Do I Wanna Know?\u003cbr\u003eA2        R U Mine?\u003cbr\u003eA3        One For The Road\u003cbr\u003eA4        Arabella\u003cbr\u003eA5        I Want It All\u003cbr\u003eA6        No.1 Party Anthem\u003cbr\u003eB1        Mad Sounds\u003cbr\u003eB2        Fireside\u003cbr\u003eB3        Why'd You Only Call Me When You're High?\u003cbr\u003eB4        Snap Out Of It\u003cbr\u003eB5        Knee Socks\u003cbr\u003eB6        I Wanna Be Yours\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421793,"sku":null,"price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/719dLc_2BOPvL._SL1500.jpeg?v=1390091837"},{"product_id":"father-john-misty-fear-fun","title":"Father John Misty - Fear Fun","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs J. Tillman, indie folk crooner Joshua Tillman painted sparse, often melancholic fever dreams that paired the wounded isolation of Nick Drake with the star-crossed country romanticism of Gram Parsons, a sensibility he also brought to the table as the drummer and backing vocalist for Seattle's Fleet Foxes. His latest incarnation, Father John Misty, adds Harry Nilsson and Skip Spence to the mix, skillfully imbuing the woodsy Pacific Northwest bark of the Foxes with a patina of vintage Laurel Canyon-inspired bohemia. Fear Fun opens with \"Funtimes in Babylon,\" one of three tracks, including \"Only Son of the Ladiesman\" and \"Everyman Needs a Companion,\" closely echoing the hymnlike sonic breadth of his former band. All three cater to his strong, clear voice, which sounds like a cross between Mark Kozelek (Red House Painters, Sun Kil Moon) and Jonathan Meiburg (Shearwater\/Okkervil River), but it's tracks two and three that provide the album with its most transcendent moments. \"Nancy from Now On,\" with its shambling protagonist (\"Pour me another drink and punch me in the face\"), likable gait, and legitimate yacht rock chorus, is a triumph of both style and substance, while the thick and brooding \"Hollywood Forever Cemetery Sings,\" which ceaselessly wonders \"Jesus Christ girl\/What are people going to think?\" amidst a wall of wet distortion and appropriately thunderous drums, benefits from singer\/songwriter\/Laurel Canyon scene revivalist Jonathan Wilson's warm and spacious production. Fear Fun's deft mix of folly and grandeur strikes a nice balance between the over the top hippie shenanigans of Edward Sharpe \u0026amp; the Magnetic Zeros and the vapid, calculated debauchery of Lana Del Ray, painting the artist as a self-destructive\/deprecating Californian gadfly with one foot in the Salton Sea and the other in the lobby of the Chateau Marmont.\u003c\/p\u003e\n\u003cp\u003eA1        Funtimes In Babylon\u003cbr\u003eA2        Nancy From Now On\u003cbr\u003eA3        Hollywood Forever Cemetery Sings\u003cbr\u003eA4        I'm Writing A Novel\u003cbr\u003eA5        O I Long To Feel Your Arms Around Me\u003cbr\u003eA6        Misty's Nightmares 1 \u0026amp; 2\u003cbr\u003eB1        Only Son Of The Ladiesman\u003cbr\u003eB2        This Is Sally Hatchet\u003cbr\u003eB3        Well, You Can Do It Without Me\u003cbr\u003eB4        Now I'm Learning To Love The War\u003cbr\u003eB5        Tee Pees 1-12\u003cbr\u003eB6        Everyman Needs A Companion\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421841,"sku":null,"price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61e91iM3T_2BL.jpeg?v=1390349787"},{"product_id":"mumford-sons-babel","title":"Mumford \u0026 Sons - Babel","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEnglish folk revivalists Mumford \u0026amp; Sons' 2009 debut, Sigh No More, boarded the slowest train it could find on its journey from regional gem to pleasantly surprising, international success story. After simmering and stewing throughout the U.K. and Europe, the band landed boots first at the Staples Center for a rousing performance at the 2011 Grammy Awards that found the smartly dressed quartet tearing through \"The Cave,\" and then backing, along with the equally snappy Avett Brothers, Bob Dylan on a generation-spanning rendition of \"Maggie's Farm\" that provided one of the better Grammy moments of the last decade or so. They may lack the lyrical prowess of \"The Bard,\" but they know how to turn a phrase, plant a seed, and build a bridge and tear it back down again without losing the audience in the process. Simply put, they can bend the relative simplicity of traditional folk music to their collective wills, which is exactly what they do on their sophomore outing, Babel. It's also exactly what they did on their debut, and short of being a little rowdier and raspier, Babel feels less like a legitimate sequel and more like an expanded edition of the former. Working once again with producer Markus Dravs, who helmed Arcade Fire's Grammy-winning opus The Suburbs, the Mumford boys have crafted another set of incredibly spirited songs that bark much louder than they bite. Ballsy, pained, fiery, and fraught with near constant references to sin, salvation, and all of the pontifical hopes and doubts that lie between, most of Babel is caught between the confessional and an apocalyptic hootenanny, delivering its everyman message with the kind of calculated spiritual fervor that comes from having to adapt to the festival masses as opposed to the smaller club crowds. Tracks like \"Hopeless Wanderer,\" \"Broken Crown,\" and the vivacious title cut bristle with moxie and self-importance, but feel like a ruse, aiming for the parking lot with the kind of generic, turgid melodrama that always overshoots its mark, leaving another smoky hole in an already pockmarked landscape. It's a shame because there's some potential here, especially when the group eases back on the Me Street Band histrionics. Two albums in and Mumford \u0026amp; Sons still sound like a band fused to the starting block, paralyzed by the thought of having to truly race for their lives.\u003c\/p\u003e\n\u003cp\u003eA1        Babel\u003cbr\u003eA2        Whispers In The Dark\u003cbr\u003eA3        I Will Wait\u003cbr\u003eA4        Holland Road\u003cbr\u003eA5        Ghosts That We Knew\u003cbr\u003eA6        Lover Of The Light\u003cbr\u003eB1        Lover's Eyes\u003cbr\u003eB2        Reminder\u003cbr\u003eB3        Hopeless Wanderer\u003cbr\u003eB5        Broken Crown\u003cbr\u003eB6        Below My Feet\u003cbr\u003eB7        Not With Haste\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default","offer_id":490421845,"sku":null,"price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/A1VHqf92e0L._SL1500.jpeg?v=1390376194"},{"product_id":"mumford-sons-sigh-no-more","title":"Mumford \u0026 Sons - Sigh No More","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEnglish folk outfit Mumford \u0026amp; Sons' full-length debut owes more than a cursory nod to bands like the Waterboys, the Pogues, and the Men They Couldn’t Hang. The group's heady blend of biblical imagery, pastoral introspection, and raucous, pub-soaked heartache may be earnest to a fault, but when the wildly imperfect Sigh No More is firing on all cylinders, as is the case with stand-out cuts like \"The Cave,\" \"Winter Winds,\" and \"Little Lion Man,\" it’s hard not to get swept up in the rapture. Like their London underground folk scene contemporaries Noah \u0026amp; the Whale, Johnny Flynn, and Laura Marling, Mumford \u0026amp; Sons' take on British folk is far from traditional. There's a deep vein of 21st century Americana that runs through the album, suggesting a healthy diet of Fleet Foxes, Arcade Fire, Sufjan Stevens, Blitzen Trapper, and Marah. That melding of styles, along with some solid knob-twiddling from Arcade Fire\/Coldplay producer Markus Dravs, helps to keep the record from completely sinking into the quicksand of its myriad slow numbers -- tracks like \"I Gave You All,\" \"Thistle \u0026amp; Weeds,\" and \"After the Storm\" are pretty and plain enough, but they neuter a band this spirited. Sigh No More is an impressive debut, but one that impresses more for its promise of the future than it does its wildly inconsistent place in the present.\u003c\/p\u003e\n\u003cp\u003eA1        Sigh No More    3:28\u003cbr\u003eA2        The Cave    3:38\u003cbr\u003eA3        Winter Winds    3:40\u003cbr\u003eA4        Roll Away Your Stone    4:24\u003cbr\u003eA5        White Blank Page    4:14\u003cbr\u003eA6        I Gave You All    4:20\u003cbr\u003eB1        Little Lion Man    4:07\u003cbr\u003eB2        Timshel    2:53\u003cbr\u003eB3        Thistle \u0026amp; Weeds    4:50\u003cbr\u003eB4        Awake My Soul    4:16\u003cbr\u003eB5        Dust Bowl Dance    4:43\u003cbr\u003eB6        After The Storm    4:08\u003c\/p\u003e\n\u003c!----\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421849,"sku":null,"price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51RNerVHKRL.jpeg?v=1390376238"},{"product_id":"black-keys-the-el-camino","title":"Black Keys, The - El Camino","description":"\u003cp\u003e\u003cstrong\u003e10th ANNIVERSARY DELUXE EDITION - 3xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes Original Remastered Album, Previously Unreleased Live Concert from 2012 and a Limited Edition Poster\u003c\/p\u003e\n\u003cp\u003ePicking up on the ‘60s soul undercurrent of Brothers, the Black Keys smartly capitalize on their 2010 breakthrough by plunging headfirst into retro-soul on El Camino. Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli “Paperboy” Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting. Apart from “Little Black Submarines,” an acoustic number that crashes into Zeppelin heaviosity as it reaches its coda, every one of the 11 songs here clocks in under four minutes, adding up to a lean 38-minute rock \u0026amp; roll rush, an album that’s the polar opposite of the Black Keys’ previous collaboration with Danger Mouse, the hazy 2008 platter Attack \u0026amp; Release. That purposely drifted into detours, whereas El Camino never takes its eye off the main road: it barrels down the highway, a modern motor in its vintage body. Danger Mouse adds glam flair that doesn’t distract from the songs, all so sturdily built they easily accommodate the shellacked layers of cheap organs, fuzz guitars, talk boxes, backing girls, tambourines, foot stomps, and handclaps. Each element harks back to something from the past -- there are Motown beats and glam rock guitars -- but everything is fractured through a modern prism: the rhythms have swing, but they’re tight enough to illustrate the duo’s allegiance to hip-hop; the gleaming surfaces are postmodern collages, hinting at collective aural memories. All this blurring of eras is in the service of having a hell of a good time. More than any other Black Keys album, El Camino is an outright party, playing like a collection of 11 lost 45 singles, each one having a bigger beat or dirtier hook than the previous side. What’s being said doesn’t matter as much as how it’s said: El Camino is all trash and flash and it’s highly addictive.\u003c\/p\u003e\n\u003cp\u003eA1        Lonely Boy    3:17\u003cbr\u003eA2        Dead And Gone    3:41\u003cbr\u003eA3        Gold On The Ceiling    3:46\u003cbr\u003eA4        Little Black Submarines    4:13\u003cbr\u003eA5        Money Maker    2:59\u003cbr\u003eB1        Run Right Back    3:16\u003cbr\u003eB2        Sister    3:27\u003cbr\u003eB3        Hell Of A Season    3:45\u003cbr\u003eB4        Stop Stop    3:32\u003cbr\u003eB5        Nova Baby    3:29\u003cbr\u003eB6        Mind Eraser    3:16\u003cbr\u003e\u003cstrong\u003eLive In Portland, ME (Part 1)\u003c\/strong\u003e    \u003cbr\u003eC1        Howling for You    3:46\u003cbr\u003eC2        Next Girl    3:30\u003cbr\u003eC3        Run Right Back    3:41\u003cbr\u003eC4        Same Old Thing    3:17\u003cbr\u003eC5        Dead And Gone    4:07\u003cbr\u003eC6        Gold On The Ceiling    4:05\u003cbr\u003eD1        Thickfreakness    3:24\u003cbr\u003eD2        Girl Is On My Mind    5:08\u003cbr\u003eD3        I'll Be Your Man \/ Your Touch    7:17\u003cbr\u003eD4        Little Black Submarines    5:38\u003cbr\u003e\u003cstrong\u003eLive In Portland, ME (Part 2) \u003c\/strong\u003e   \u003cbr\u003eE1        Money Maker    3:32\u003cbr\u003eE2        Strange Times    3:11\u003cbr\u003eE3        Chop And Change    3:56\u003cbr\u003eE4        Nova Baby    4:04\u003cbr\u003eE5        Ten Cent Pistol    6:16\u003cbr\u003eF1        Tighten Up    3:52\u003cbr\u003eF2        Lonely Boy    4:01\u003cbr\u003eF3        Everlasting Light    3:40\u003cbr\u003eF4        She's Long Gone    4:12\u003cbr\u003eF5        I Got Mine    5:32\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421901,"sku":null,"price":59.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/277633A-1130_1080x_a26926b2-d426-4de8-bcea-471610cdfce1.jpg?v=1668544442"},{"product_id":"joy-division-unknown-pleasures","title":"Joy Division - Unknown Pleasures","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIt even looks like something classic, beyond its time or place of origin even as it was a clear product of both -- one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production -- emphasizing space in the most revelatory way since the dawn of dub -- as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, and minimal keyboard lines add to an air of looming disaster -- something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett's album as much as anyone's, the songs and performances are the true key. Bernard Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Peter Hook's instantly recognizable bass work was at once warm and forbidding, and Stephen Morris' drumming smacked through the speakers above all else. Ian Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect -- as \"Candidate\" plaintively states, \"I tried to get to you\/You treat me like this.\" Pick any song: the nervous death dance of \"She's Lost Control\"; the harrowing call for release \"New Dawn Fades,\" all four members in perfect sync; the romance in hell of \"Shadowplay\"; \"Insight\" and its nervous drive toward some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOutside \u003c\/strong\u003e   \u003cbr\u003eA1        Disorder    3:36\u003cbr\u003eA2        Day Of The Lords    4:43\u003cbr\u003eA3        Candidate    3:00\u003cbr\u003eA4        Insight    4:24\u003cbr\u003eA5        New Dawn Fades    4:47\u003cbr\u003e\u003cstrong\u003eInside  \u003c\/strong\u003e  \u003cbr\u003eB1        She's Lost Control    3:58\u003cbr\u003eB2        Shadowplay    3:50\u003cbr\u003eB3        Wilderness    2:35\u003cbr\u003eB4        Interzone    2:10\u003cbr\u003eB5        I Remember Nothing    6:00\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421921,"sku":null,"price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/Unknown-Pleasures-Joy-Division-700x700.jpg?v=1695419922"},{"product_id":"radiohead-amnesiac","title":"Radiohead - Amnesiac","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFaced with a deliberately difficult deviation into \"experimentation,\" Radiohead and their record label promoted Kid A as just that -- a brave experiment, and that the next album, which was just around the corner, really, would be the \"real\" record, the one to satiate fans looking for the next OK Computer, or at least guitars. At the time, people bought the myth, especially since live favorites like \"Knives Out\" and \"You and Whose Army?\" were nowhere to be seen on Kid A. That, however, ignores a salient point -- Amnesiac, as the album came to be known, consists of recordings made during the Kid A sessions, so it essentially sounds the same. Since Radiohead designed Kid A as a self-consciously epochal, genre-shattering record, the songs that didn't make the cut were a little simpler, so it shouldn't be a surprise that Amnesiac plays like a streamlined version of Kid A, complete with blatant electronica moves and production that sacrifices songs for atmosphere. This, inevitably, will disappoint the legions awaiting another guitar-based record (that is, after all, what they were explicitly promised), but what were they expecting? This is an album recorded at the same time and Radiohead have a certain reputation to uphold. It would be easier to accept this if the record was better than it is. Where Kid A had shock on its side, along with an admirably dogged desire to not be conventional, Amnesiac often plays as a hodgepodge. True, it's a hodgepodge with amazing moments: the hypnotic sway of \"Pyramid Song\" and \"You and Whose Army?,\" the swirling \"I Might Be Wrong,\" \"Knives Out,\" and the spectacular closer \"Life in a Glasshouse,\" complete with a drunkenly swooning brass band. But, these are not moments that are markedly different than Kid A, which itself lost momentum as it sputtered to a close. And this is the main problem -- though it's nice for an artist to be generous and release two albums, these two records clearly derive from the same source and have the same flaws, which clearly would have been corrected if they had been consolidated into one record. Instead of revealing why the two records were separated, the appearance of Amnesiac makes the separation seem arbitrary -- there's no shift in tone, no shift in approach, and the division only makes the two records seem unfocused, even if the best of both records is quite stunning, proof positive that Radiohead are one of the best bands of their time.\u003c\/p\u003e\n\u003cp\u003eA1        Packt Like Sardines In A Crushd Tin Box\u003cbr\u003eA2        Pyramid Song\u003cbr\u003eA3        Pulk\/Pull Revolving Doors\u003cbr\u003eB1        You And Whose Army?\u003cbr\u003eB2        I Might Be Wrong\u003cbr\u003eC1        Knives Out\u003cbr\u003eC2        Morning Bell\/Amnesiac\u003cbr\u003eC3        Dollars \u0026amp; Cents\u003cbr\u003eD1        Hunting Bears\u003cbr\u003eD2        Like Spinning Plates\u003cbr\u003eD3        Life In A Glasshouse\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490421949,"sku":null,"price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81iTRuPNb-L._SL1417.jpeg?v=1390547003"},{"product_id":"black-keys-the-the-big-come-up","title":"Black Keys, The - The Big Come Up","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs minimal two-man blues-rock bands go, this has to be near the top of the heap. The problem with minimal two-man blues-rock outfits (and there have been more of them than you think) is that they're, well, usually too minimal, with thin garage sound and a shortage of variety. The Black Keys' sound, impressively, is not too thin (though it is garage-ish), and there's enough deft incorporation of funk, soul, and hard rock into the harsh juke joint-ish core to avoid monotony. Most importantly, Dan Auerbach has a genuinely fine, powerful blues voice, sometimes approximating a white, slightly smoother Howlin' Wolf (particularly on the opener, \"Busted\"). Auerbach's a good guitarist, too, conjuring suitably harsh and busy (and sometimes heavily reverbed) riffs out of what sounds like a cheap but effectively harsh amp. Patrick Carney's drums might be the cruder component of this two-man band, but they keep the sound earthy without sounding sloppily punkish for the hell of it, as too many such groups searching for the blues-punk fusion do. The very occasional insertion of hip-hop snippets seems neither here nor there, and the cover of the Beatles' \"She Said, She Said\" seems like an odd choice. But overall it's quite cool raunchy electric blues with more vigor and imagination than similarly raw, elderly Southern juke joint artists who came into vogue starting in the 1990s. 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The studio, not to mention the artwork patterned after such disregarded Chess psychedelic-era relics as This Is Howlin’ Wolf’s New Album, are good indications that the tough blues of the Black Keys earliest records is back, but the group haven’t forgotten what they’ve learned in their inwardly psychedelic mid-period. Brothers can still get mighty trippy -- the swirling chintzy organ that circles “The Only One,” the Baroque harpsichord flair of “Too Afraid to Love You” -- but the album is built with blood and dirt, so its wilder moments remain gritty without being earthbound. Sonically, that scuffed-up spaciness -- the open air created by the fuzz guitars and phasing, analog keyboards, and cavernous drums -- is considerably appealing, but the Black Keys' ace in the hole remains the exceptional songwriting of Dan Auerbach and Patrick Carney. They twist a Gary Glitter stomp into swamp fuzz blues, steal a title from Archie Bell \u0026amp; the Drells but never reference that classic \"Tighten Up\" groove, and approximate a slow ‘60s soul crawl on “Unknown Brother” before following it up with a version of Jerry Butler’s “Never Gonna Give You Up,” and it’s nearly impossible to tell which is the cover. 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All the adulation was well deserved, because For Emma, Forever Ago is the kind of record that manages to capture a musician's soul and transmit it in a way that truly connects with a large array of listeners. It's an impressive achievement and one that holds up over many listens. Released in 2009, the Blood Bank EP is both a pause for breath for Justin Vernon and a reminder why so many people fell so deeply in love with the record and the sound he created. Recorded over a couple years and in various locations, the EP sounds like outtakes from Emma, but not in a bad way. \"Blood Bank,\" with its subtly propulsive drums and idiosyncratic lyrics, would have been one of the album's best moments. The same goes for the more experimental but still beautiful \"Babys,\" which features both some gently jarring piano and Vernon's soothing, multi-tracked falsetto. The only stretch Vernon makes here is on the closing \"Woods\" -- in a somewhat bold move, he embraces Auto-Tune and warps his vocals into almost unrecognizable shapes. Starting off as a lone voice, he begins to harmonize with himself and then adds layers of warbling vocals until the song builds to a frenzied, backwoods R\u0026amp;B symphony of weirdness. It's a move that could send lots of people into fits of disbelief but strangely enough, it works -- especially over headphones, where the vocals can envelope you completely. It's probably a direction Vernon won't follow, but it's an interesting experiment that keeps the record from sounding like outtakes (worthy outtakes, but outtakes all the same) from For Emma, Forever Ago.\u003c\/p\u003e\n\u003cp\u003eA1        Blood Bank    4:37\u003cbr\u003eA2        Beach Baby    2:35\u003cbr\u003eB1        Babys    4:37\u003cbr\u003eB2        Woods    4:44\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422069,"sku":null,"price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/41p1Ymqq-yL.jpeg?v=1390095575"},{"product_id":"interpol-turn-on-the-bright-lights","title":"Interpol - Turn On The Bright Lights","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne might go into a review like this one wondering how many words will pass before Joy Division is brought up. In this case, the answer is 16. Many are too quick to classify Interpol as mimics and lose out on discovering that little more than an allusion is being made. The music made by both bands explores the vast space between black and white and produces something pained, deftly penetrating, and beautiful. Save for a couple vocal tics, that's where the obvious parallels end. The other fleeting comparisons one can one whip up when talking about Interpol are several -- roughly the same amount that can be conjured when talking about any other guitar\/drums\/vocals band formed since the '90s. So, sure enough, one could play the similarity game with this record all day and bring up a pile of bands. It could be a detrimental thing to do, especially when this record is so spellbinding and doesn't deserve to be mottled with such bilge. However, this record is a special case; slaying the albatross this band has been unfairly strangled by is urgent and key. Let's: there's another Manchester band at the heart of \"Say Hello to the Angels,\" but that heart is bookended by a beginning and end that approaches the agitated squall of Fugazi; the torchy, elegiac \"Leif Erikson\" plays out like a missing scene from the Afghan Whigs' Gentlemen; the upper-register refrain near the close of \"Obstacle 1\" channels Shudder to Think. This record is no fun at all, the tension is rarely resolved, and -- oh no! -- it isn't exactly revolutionary, though some new shades of gray have been discovered. But you shouldn't allow your perception to be fogged by such considerations when someone has just done it for you and, most importantly, when all this brilliance is waiting to overwhelm you.\u003c\/p\u003e\n\u003cp\u003eA1        Untitled\u003cbr\u003eA2        Obstacle 1\u003cbr\u003eA3        NYC\u003cbr\u003eA4        PDA\u003cbr\u003eA5        Say Hello To The Angels\u003cbr\u003eA6        Hands Away\u003cbr\u003eB1        Obstacle 2\u003cbr\u003eB2        Stella Was A Diver And She Was Always Down\u003cbr\u003eB3        Roland\u003cbr\u003eB4        The New\u003cbr\u003eB5        Leif Erikson\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422137,"sku":"","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/Interpol-Turn-on-the-Bright-Light-Music-Performance-Vinyl_816b7a83-e8c2-47d7-8fb2-6a3e121ec55a.4afa4b2265cc04b90011736a66033bb2.jpg?v=1767144389"},{"product_id":"mgmt-oracular-spectacular","title":"MGMT - Oracular Spectacular","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen MGMT were asked by their record label for a list of their dream producers, with low expectations they sarcastically replied: Prince, Nigel Godrich, Barack Obama, and \"not Sheryl Crow.\" Columbia returned with Dave Fridmann, the producer extraordinaire best known for his work with Flaming Lips and Mercury Rev. In typical Fridmann fashion, Oracular Spectacular is a glamorous mega-production through and through. Drums are massively distorted and shimmering keyboards are articulately layered as he takes the reins, leading the duo through his daisy chain of onboard compressors, delay units, and whatever other mysterious studio gizmos and gadgets he uses to get his trademark sound. Expectedly, the 14-karat polish enhances MGMT's blend of psychedelic and indie-electro to a shiny sonic gleam, resulting in some of the catchiest pop songs to come from N.Y.C. since the turn of the millennium. The tunes sound classic and new all at once, paying homage to Bowie, the Kinks, and the Stones, while updating traditional progressions with flashes of Royal Trux, Ween, and LCD Soundsystem. It's a wonderful mess of musical ideas, ranging from the dancy disco thump and Bee Gees falsetto of \"Electric Feel\" to the gritty acoustic-based \"Pieces of What,\" to the grimy synth groove on the anthemic \"Time to Pretend.\" With tongues planted firmly in cheeks, sardonic wit is as abundant as Andrew Van Wyngarden and Ben Goldwasser spoof the stereotypical rock \u0026amp; roll lifestyle with lines like \"Lets make some music, make some money, find some models for wives\/I'll go to Paris take some heroin and fuck with the stars.\" Despite the ever-present irony, the songs never feel insincere and the record is inherently strong throughout, making it a solid start to their career.\u003c\/p\u003e\n\u003cp\u003eA1        Time To Pretend\u003cbr\u003eA2        Weekend Wars\u003cbr\u003eA3        The Youth\u003cbr\u003eA4        Electric Feel\u003cbr\u003eA5        Kids\u003cbr\u003eB1        4th Dimensional Transition\u003cbr\u003eB2        Pieces Of What\u003cbr\u003eB3        Of Moons, Birds \u0026amp; Monsters\u003cbr\u003eB4        The Handshake\u003cbr\u003eB5        Future Reflections\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422197,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/51P7Gl0DNQL.jpg?v=1785519913"},{"product_id":"radiohead-the-king-of-limbs","title":"Radiohead - The King of Limbs","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAfter a brief return to earth to deliver the tart, focused In Rainbows, Radiohead drift back into the ether with The King of Limbs. Like In Rainbows before it, the actuality of The King of Limbs is purposefully somewhat obscured by the hullabaloo surrounding the album's surprise release -- announced for a Saturday release on a Monday, shifted to a Friday -- and in the case of KOL, such clamor is needed. Wispy and ephemeral, shimmering skin draped over the barest of bones, The King of Limbs doesn’t deliberately lack a solid foundation, songwriting traded for sound construction. Masters of mood that they are, Radiohead digitally weave stuttering, glitchy loops of drums and guitars with real instruments, Thom Yorke’s mournful moan and keening falsetto acting as a binding agent, creating an alluringly dour atmosphere. Despite a pair of intellectually funky moments -- “Morning Mr. Magpie” and “Little by Little,” grouped together at the beginning, giving the album a slight hint of momentum that quickly fades -- this is rather monochromatic and not too far removed from the territory Radiohead began etching out with Kid A. Where that icy 2000 effort had the bracing chill of the new, The King of Limbs is familiar -- not commonplace, but carrying a certain inevitability as its eight songs slowly unspool. There are no surprises in the floating textures, no delight in the details, no astonishment in how the band navigates intricate turns: this is the sound of Radiohead doing what they do, doing it very well, doing it without flash or pretension, gently easing from the role of pioneers to craftsmen.\u003c\/p\u003e\n\u003cp\u003eA1        Bloom\u003cbr\u003eA2        Morning Mr Magpie\u003cbr\u003eA3        Little By Little\u003cbr\u003eA4        Feral\u003cbr\u003eB1        Lotus Flower\u003cbr\u003eB2        Codex\u003cbr\u003eB3        Give Up The Ghost\u003cbr\u003eB4        Separator\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422221,"sku":null,"price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/716MpZxvJcL._SL1200.jpg?v=1785786566"},{"product_id":"radiohead-the-bends","title":"Radiohead - The Bends","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePablo Honey in no way was adequate preparation for its epic, sprawling follow-up, The Bends. Building from the sweeping, three-guitar attack that punctuated the best moments of Pablo Honey, Radiohead create a grand and forceful sound that nevertheless resonates with anguish and despair -- it's cerebral anthemic rock. Occasionally, the album displays its influences, whether it's U2, Pink Floyd, R.E.M., or the Pixies, but Radiohead turn clichés inside out, making each song sound bracingly fresh. Thom Yorke's tortured lyrics give the album a melancholy undercurrent, as does the surging, textured music. But what makes The Bends so remarkable is that it marries such ambitious, and often challenging, instrumental soundscapes to songs that are at their cores hauntingly melodic and accessible. It makes the record compelling upon first listen, but it reveals new details with each listen, and soon it becomes apparent that with The Bends, Radiohead have reinvented anthemic rock\u003c\/p\u003e\n\u003cp\u003eA1        Planet Telex    4:22\u003cbr\u003eA2        The Bends    3:58\u003cbr\u003eA3        High And Dry  4:17\u003cbr\u003eA4        Fake Plastic Trees    4:50\u003cbr\u003eA5        Bones    3:07\u003cbr\u003eA6        (Nice Dream)    3:51\u003cbr\u003eB1        Just    3:52\u003cbr\u003eB2        My Iron Lung    4:36\u003cbr\u003eB3        Bullet Proof..I Wish I Was    3:28\u003cbr\u003eB4        Black Star  4:03\u003cbr\u003eB5        Sulk    3:42\u003cbr\u003eB6        Street Spirit (Fade Out)    4:13\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422225,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71STgqbchNL._SL1220.jpeg?v=1390547411"},{"product_id":"radiohead-in-rainbows","title":"Radiohead - In Rainbows","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn Rainbows, as a title, implies a sense of comfort and delightfulness. Symbolically, rainbows are more likely to be associated with kittens and warm blankets than the grim and glum circumstances Radiohead is known for soundtracking. There's a slight, if expected, twist at play. The band is more than familiar with the unpleasant moods associated with colors like red, green, and blue -- all of which, of course, are colors within a rainbow -- all of which are present, and even mentioned, during the album. On a couple levels, then, In Rainbows is not any less fitting as a Radiohead album title than \"Myxomatosis\" is as a Radiohead song title. Despite references to \"going off the rails,\" hitting \"the bottom,\" getting \"picked over by the worms,\" being \"dead from the neck up,\" and feeling \"trapped\" (twice), along with Radiohead Wordplay Deluxe Home Edition pieces like \"comatose\" and \"nightmare\" -- in the same song! double score! -- the one aspect of the album that becomes increasingly perceptible with each listen is how romantic it feels, albeit in the way that one might find the bioport scenes in David Cronenberg's eXistenZ to be extremely hot and somewhat unsettling. Surprisingly, some of the album's lyrics are even more personal\/universal and straightforward than anything on The Eraser, the album made by Thom Yorke and Radiohead producer Nigel Godrich. \"I'm an animal trapped in your hot car,\" from \"All I Need,\" has to be one of the saddest, most open-hearted metaphors used to express unrequited love. \"House of Cards\" begins with \"I don't want to be your friend\/I just want to be your lover\/No matter how it ends\/No matter how it starts,\" and the one with the worms includes \"I'd be crazy not to follow\/Follow where you lead\/Your eyes\/They turn me.\" This effective weaving of disparate elements -- lyrical expressions commonly associated with the band, mixed in with ones suited for everyday love ballads -- goes for the music as well. The album is very song-oriented, with each track constantly moving forward and developing, yet there are abstract electronic layers and studio-as-instrument elements to prevent it from sounding like a regression. 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In other words, it catches the group at a crossroads, unsure quite how to proceed. Taking the epic, layered \"How Soon Is Now?\" as a starting point (the single, which is darker and more dance-oriented than the remainder of the album, was haphazardly inserted into the middle of the album for its American release), the group crafts more sweeping, mid-tempo numbers, whether it's the melancholy \"That Joke Isn't Funny Anymore\" or the failed, self-absorbed protest of the title track. While the production is more detailed than before, the Smiths are at their best when they stick to their strengths -- \"The Headmaster Ritual\" and \"I Want the One I Can't Have\" are fine elaborations of the formula they laid out on the debut, while \"Rusholme Ruffians\" is an infectious stab at rockabilly. 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In all senses of the term, this is a sophomore album. The band still flaunts the collegiate sense of discovery that made Vampire Weekend charming -- and sometimes too precious -- but with more maturity and creativity. Another Discovery is just as much of a force on Contra as any of the band’s much-noted influences (Afro-pop, Paul Simon’s Graceland): Rostam Batmanglij’s electro-hip-hop-pop project with Ra Ra Riot’s Wes Miles, which released its album LP after the pair found acclaim with their day jobs. While Vampire Weekend aren’t as shiny and sugary as Discovery, some of that adventurousness rubbed off on Batmanglij’s Contra production, which plays to the band’s biggest strength: inspired juxtaposition. The album’s artwork, which pairs a blonde WASP princess in a popped-collar polo shirt with the term given to Nicaraguan rebels, hints at the flair with which Vampire Weekend play mix-and-match on Contra. They throw listeners into the deep end with “Horchata,” which features a four-on-the-floor beat, thumb piano, rubbery synth bass, and massed harmonies -- almost everything except the spry guitars that helped define their first album. “California English” goes farther, tweaking Ezra Koenig’s yelp with Auto-Tune, the bête noire of those who value “realness” in their music; for Vampire Weekend, it’s just another instrument for them to play with. On paper, Contra’s hybrids seem more contrived than they actually sound: “Giving Up the Gun” fuses baile funk, house and stadium rock into a sweet melody propelled by choppy rhythms. “Diplomat’s Son” is even more far-fetched and fantastic, adding samples of M.I.A. and Toots \u0026amp; the Maytals -- exactly the kind of things you’d expect to hear on a young globetrotter’s iPod -- to nostalgic chamber pop. The album bustles with so many sounds and ideas that it challenges listeners to decide where to put their ears first, particularly on the single “Cousins,” a blur of guitars and jump-cut drums that sounds like abstract punk. Despite this busyness, Vampire Weekend are looser and less cryptic than on their debut, allowing them to tell stories like “Holiday,” an Iraqi war protest set to skanking guitars (ever the font snob, Koenig can’t resist mentioning a headline in “96-point Futura”). Even the few quiet moments are complex: “I Think UR a Contra” closes the album by wanting, and hating, the kind of privilege that brings “good schools and friends with pools.” And though the band is committed to change, the same joy that soared through Vampire Weekend pops up on “White Sky,” which boasts a melody so irrepressible that Paul Simon just might want to borrow it. 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The Brooklyn-groomed, Ohio-bred indie rock quintet’s fifth full-length album navigates that lonely dirt road where swagger meets desperation like a seasoned tour guide, and while it may take a few songs to get going, there are treasures to be found for patient passengers. The National's profile rose considerably after 2007’s critically acclaimed The Boxer, and they have used that capital to craft a flawed gem of a record that highlights their strengths and weaknesses with copious amounts of red ink. High Violet oozes atmosphere, but moves at a snail’s pace. The Cousteau-esque “Terrible Love” hardly bursts out of the gate, and the subsequent “Sorrow” and “Anyone’s Ghost” (despite Bryan Devendorf’s locomotive drumming) lack the hooks to reel anybody in on first listen. The album begins to take shape on “Afraid of Everyone,” a slow-build midtempo rocker that expertly utilizes the Clogs’ (guitarist Bryce Dessner's other chamber pop band) prickly orchestrations, but it’s the punishing “Bloodbuzz Ohio” that serves as High Violet's centerpiece. Built on a foundation that fuses together TV on the Radio's “Halfway Home” and Arcade Fire's “No Cars Go,” its refrain of “I still owe money to the money, to the money I owe” seems both relevant and nostalgic, resulting in a highway anthem that feels like the anti-“Born to Run.” Other standout cuts like “Conversation 16,” “England,\" and the darkly funny\/oddly beautiful closer, “Vanderlyle Crybaby Geeks,” trumpet Violet’s second-half supremacy, but even they tremble beneath the \"Bloodbuzz\" intoxication. 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Funeral's mourners -- specifically Butler and Chassagne -- inhabit the same post-apocalyptic world as London Suede's Dog Man Star; they are broken, beaten, and ferociously romantic, reveling in the brutal beauty of their surroundings like a heathen Adam \u0026amp; Eve. \"Neighborhood #1 (Tunnels),\" the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. Butler sings like a lion-tamer whose whip grows shorter with each and every lash. He can barely contain himself, and when he lets loose it's both melodic and primal, like Berlin-era Bowie. \"Neighborhood #2 (Laïka)\" examines suicidal desperation through an angular Gang of Four prism; the hypnotic wash of strings and subtle meter changes of \"Neighborhood #4 (7 Kettles)\" winsomely capture the mundane doings of day-to-day existence; and \"Neighborhood #3 (Power Out),\" Funeral's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that \"the power's out in the heart of man, take it from your heart and put it in your hand.\" Arcade Fire are not bereft of whimsy. \"Crown of Love\" is like a wedding cake dropped in slow motion, utilizing a Johnny Mandel-style string section and a sweet, soda-pop-stand chorus to provide solace to a jilted lover yearning for a way back into the fold, and \"Haiti\" relies on a sunny island melody to explore the complexities of Chassagne's mercurial homeland. 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The anthemic guitar heroics present on Pablo Honey and even The Bends are nowhere to be heard here. Radiohead have stripped away many of the obvious elements of guitar rock, creating music that is subtle and textured yet still has the feeling of rock \u0026amp; roll. Even at its most adventurous -- such as the complex, multi-segmented \"Paranoid Android\" -- the band is tight, melodic, and muscular, and Thom Yorke's voice effortlessly shifts from a sweet falsetto to vicious snarls. It's a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations. 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Once again, he's enlisted drummer Dave Grohl as his anchor and he's made amends with his erstwhile bassist Nick Oliveri, suggesting Homme is returning to either Rated R or Songs for the Deaf, the two turn-of-the-millennium masterpieces that thrust QOTSA out of their stoner rock cult, but ...Like Clockwork isn't so simple as a return to roots. Homme flirts with his history as a way to make sense of his present, reconnecting with his strengths as a way to reorient himself, consolidating his indulgences and fancies into a record that obliterates middle-age malaise without taking a moment to pander to the past. Like always, Homme opens himself up to collaborations, wrangling an impressive roster that includes his wife Brody Dalle, his longtime companion Mark Lanegan, his protégé Arctic Monkey Alex Turner, his kindred spirit Trent Reznor, Scissor Sister Jake Shears, and superstar Elton John, but despite this large cast, the only musician who makes an indelible presence is Homme himself. ...Like Clockwork is unusually focused for a Queens of the Stone Age record, containing all of the group's hallmarks -- namely volume and crunch, but also a tantalizing sense of danger, finding seduction within the darkness -- but there is little of the desert sprawl and willful excess that have always distinguished their records. This is forceful, purposeful, fueled by dense interwoven riffs and colored with hints of piano and analog synthesizers that quite consciously evoke '70s future dystopia. QOTSA always specialized in this eerie sexiness, but the precision on ...Like Clockwork -- quite different than the merciless propulsion of Era Vulgaris, the 2007 album that closed out their time at Interscope -- feels conceptually tight, Homme smartly sculpting guitar fuzz, elastic solos, haunted harmonies, and deceptively slinky rhythms into a cool, relentless collection of heavy rock. The force impresses but also the restraint: there are missed beats and open space, muscular music that seduces and pummels, even manages to soothe while it assaults. It's complex, harder, and catchier than anything QOTSA have done in a decade, and more song-oriented, too, but that's a sign of maturity: Homme has marshaled all of his strengths on ...Like Clockwork and has found a way forward, a way to deepen his music without compromising his identity.\u003c\/p\u003e\n\u003cp\u003eA1        Keep Your Eyes Peeled\u003cbr\u003eA2        I Sat By The Ocean\u003cbr\u003eA3        The Vampyre Of Time And Memory\u003cbr\u003eB1        If I Had A Tail\u003cbr\u003eB2        My God Is The Sun\u003cbr\u003eB3        Kalopsia\u003cbr\u003eC1        Fairweather Friends\u003cbr\u003eC2        Smooth Sailing\u003cbr\u003eD1        I Appear Missing\u003cbr\u003eD2        ...Like Clockwork\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422577,"sku":"","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/413WE38pDRL.jpeg?v=1390546774"},{"product_id":"incubus-light-gernades","title":"Incubus - Light Grenades","description":"\u003cp\u003e\u003cstrong\u003e2xLP 190g BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn their fourth album, A Crow Left of the Murder, Incubus got heavier, both musically and lyrically, which might have developed their music but it shrank their audience. It's hard not to see their 2006 follow-up, Light Grenades, as a reaction to this situation -- not that they shrink away from the progression of Crow, but they polish and streamline their innovations from that album, resulting in a record that's sharper, cleaner, and more immediate in every respect. This naturally means that Incubus doesn't sound as heavy as they did earlier in their career, but they're still pretty somber here; even when the rhythms crash and the guitars wail, this is serious music, but they have a lighter touch here than they did on Crow. They also have a greater mastery of mood, as well as a greater musical variety than they displayed on the outset of their career. 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And instead of suggesting that the rest of the record is lacking in hooks, it actually points out how Incubus has grown: that they not only feel comfortable releasing a piece of alt-pop as catchy as this, but they don't emphasize it, they merely present it as another dimension to their sound, just like how the delicate acoustic-driven \"Paper Shoes\" also sounds unlike the rest of the album yet still fits comfortably into the record's tapestry. These moments of lightness illustrate the confidence Incubus now has and their increasing musical dexterity too. 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Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies' weakest album -- though Francis has said it's his favorite -- most of it finds the band in fine form. Gil Norton's spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones' \"Cecilia Ann\" and the glorious, shimmering closer \"Havalina\" perfectly. On the theremin-driven \"Velouria,\" science fiction imagery displaces Francis' penchant for fetishistic lyrics; next to the token kinky song \"Down to the Well\"'s tired sound, it's a refreshing change. The similarly cryptic \"All Over the World\" and alien abduction tale \"The Happening\" add to the sci-fi feel. Quirky pop songs like \"Allison,\" a tribute to jazz cool-cat Mose Allison, and \"Dig for Fire,\" Francis' self-professed Talking Heads homage, heighten Bossanova's playful, slightly off-kilter vibe, but rockers like \"Hang Wire\" and \"Blown Away,\" fall flat. However, \"Rock Music\" is one of the group's most fiery outbursts, and \"Is She Weird\"'s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova's strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. 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White produced Horehound, which was recorded in just three weeks at the newly constructed Third Man Studio, also designed from the ground up by Jack White.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA1        60 Feet Tall\u003cbr\u003eA2        Hang You From The Heavens\u003cbr\u003eA3        I Cut Like A Buffalo\u003cbr\u003eA4        So Far From Your Weapon\u003cbr\u003eB1        Treat Me Like Your Mother\u003cbr\u003eB2        Rocking Horse\u003cbr\u003eB3        New Pony\u003cbr\u003eC1        Bone House\u003cbr\u003eC2        3 Birds\u003cbr\u003eC3        No Hassle Night\u003cbr\u003eC4        Will There Be Enough Water?\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default","offer_id":490422725,"sku":"","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51Im6ID56oL.jpeg?v=1390347741"},{"product_id":"dead-weather-the-sea-of-cowards","title":"Dead Weather, The - Sea of Cowards","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a-text-bold a-text-italic\"\u003eSea Of Cowards\u003c\/span\u003e\u003cspan\u003e is a robust and vigorous second act, filled with primal, bone quaking rock rhythms and the same stellar urban blues and throbbing sleaze as its predecessor; but this time \u003c\/span\u003e\u003cspan class=\"a-text-bold\"\u003eThe Dead Weather\u003c\/span\u003e\u003cspan\u003e push their sound even further, brilliantly building upon their raw chemistry to create the most vital sounding album you'll hear all year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA1        Blue Blood Blues\u003cbr\u003eA2        Hustle And Cuss\u003cbr\u003eA3        The Difference Between Us\u003cbr\u003eA4        I'm Mad\u003cbr\u003eA5        Die By The Drop\u003cbr\u003eA6        Mile Markers \u003cbr\u003eB1        I Can't Hear You\u003cbr\u003eB2        Gasoline\u003cbr\u003eB3        No Horse\u003cbr\u003eB4        Looking At The Invisible Man\u003cbr\u003eB5        Jawbreaker\u003cbr\u003eB6        Old Mary\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default","offer_id":490422737,"sku":null,"price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/714bz_4uq2L._SL1425.jpg?v=1708623953"},{"product_id":"white-stripes-the-elephant","title":"White Stripes, The - Elephant","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhite Blood Cells may have been a reaction to the amount of fame the White Stripes had received up to the point of its release, but, paradoxically, it made full-fledged rock stars out of Jack and Meg White and sold over half a million copies in the process. Despite the White Stripes' ambivalence, fame nevertheless seems to suit them: They just become more accomplished as the attention paid to them increases. Elephant captures this contradiction within the Stripes and their music; it's the first album they've recorded for a major label, and it sounds even more pissed-off, paranoid, and stunning than its predecessor. Darker and more difficult than White Blood Cells, the album offers nothing as immediately crowd-pleasing or sweet as \"Fell in Love With a Girl\" or \"We're Going to Be Friends,\" but it's more consistent, exploring disillusionment and rejection with razor-sharp focus. Chip-on-the-shoulder anthems like the breathtaking opener, \"Seven Nation Army,\" which is driven by Meg White's explosively minimal drumming, and \"The Hardest Button to Button,\" in which Jack White snarls \"Now we're a family!\" -- one of the best oblique threats since Black Francis sneered \"It's educational!\" all those years ago -- deliver some of the fiercest blues-punk of the White Stripes' career. \"There's No Home for You Here\" sets a girl's walking papers to a melody reminiscent of \"Dead Leaves and the Dirty Ground\" (though the result is more sequel than rehash), driving the point home with a wall of layered, Queen-ly harmonies and piercing guitars, while the inspired version of \"I Just Don't Know What to Do With Myself\" goes from plaintive to angry in just over a minute, though the charging guitars at the end sound perversely triumphant. At its bruised heart, Elephant portrays love as a power struggle, with chivalry and innocence usually losing out to the power of seduction. \"I Want to Be the Boy\" tries, unsuccessfully, to charm a girl's mother; \"You've Got Her in Your Pocket,\" a deceptively gentle ballad, reveals the darker side of the Stripes' vulnerability, blurring the line between caring for someone and owning them with some fittingly fluid songwriting.\u003c\/p\u003e\n\u003cp\u003eThe battle for control reaches a fever pitch on the \"Fell in Love With a Girl\"-esque \"Hypnotize,\" which suggests some slightly underhanded ways of winning a girl over before settling for just holding her hand, and on the show-stopping \"Ball and Biscuit,\" seven flat-out seductive minutes of preening, boasting, and amazing guitar prowess that ranks as one the band's most traditionally bluesy (not to mention sexy) songs. Interestingly, Meg's star turn, \"In the Cold, Cold Night,\" is the closest Elephant comes to a truce in this struggle, her kitten-ish voice balancing the song's slinky words and music. While the album is often dark, it's never despairing; moments of wry humor pop up throughout, particularly toward the end. \"Little Acorns\" begins with a sound clip of Detroit newscaster Mort Crim's Second Thoughts radio show, adding an authentic, if unusual, Motor City feel. It also suggests that Jack White is one of the few vocalists who could make a lyric like \"Be like the squirrel\" sound cool and even inspiring. Likewise, the showy \"Girl, You Have No Faith in Medicine\" -- on which White resembles a garage rock snake-oil salesman -- is probably the only song featuring the word \"acetaminophen\" in its chorus. \"It's True That We Love One Another,\" which features vocals from Holly Golightly as well as Meg White, continues the Stripes' tradition of closing their albums on a lighthearted note. Almost as much fun to analyze as it is to listen to, Elephant overflows with quality -- it's full of tight songwriting, sharp, witty lyrics, and judiciously used basses and tumbling keyboard melodies that enhance the band's powerful simplicity (and the excellent \"The Air Near My Fingers\" features all of these). Crucially, the White Stripes know the difference between fame and success; while they may not be entirely comfortable with their fame, they've succeeded at mixing blues, punk, and garage rock in an electrifying and unique way ever since they were strictly a Detroit phenomenon. On these terms, Elephant is a phenomenal success.\u003c\/p\u003e\n\u003cp\u003eA1        Seven Nation Army    \u003cbr\u003eA2        Black Math  \u003cbr\u003eA3        There's No Home For You Here\u003cbr\u003eB1        I Just Don't Know What To Do With Myself\u003cbr\u003eB2        In The Cold, Cold Night  \u003cbr\u003eB3        I Want To Be The Boy To Warm Your Mother's Heart   \u003cbr\u003eB4        You've Got Her In Your Pocket  \u003cbr\u003eC1        Ball And Biscuit   \u003cbr\u003eC2        The Hardest Button To Button   \u003cbr\u003eC3        Little Acorns\u003cbr\u003eD1        Hypnotize   \u003cbr\u003eD2        The Air Near My Fingers    \u003cbr\u003eD3        Girl, You Have No Faith In Medicine  \u003cbr\u003eD4        It's True That We Love One Another\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default","offer_id":490422753,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/418tNZ7nksL.jpeg?v=1390551612"},{"product_id":"tame-impala-innerspeaker","title":"Tame Impala - Innerspeaker","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe limpid lysergic swirls and squalling fuzz-toned riffs that populate Tame Impala's debut clearly owe a hefty, heartfelt debt to the hazy churn of late-'60s\/early-'70s psych rock, but the members of this Perth threesome are hardly strict revivalists. In comparison to their similarly inspired contemporaries, they chart a course somewhere between Dungen's lovingly meticulous replication of their chosen style and Malachai's deconstructive, electronically enabled pastiche of same, deftly skirting the potential for parodic excess that comes with either extreme. Balancing an obvious reverence for their sonic forebears with subtly contemporary production tweaks, they make straddling two disparate eras feel like the most comfortable, effortless thing in the world. And that sense of unforced, unpretentious ease is fundamental to what makes Innerspeaker so simply, viscerally pleasurable: there's so much that Tame Impala get so wonderfully right here -- a distinct but understated undercurrent of melody, a relaxed but ever-present sense of groove, a crystal crispness and deliberateness to the sound even when it's treated with a healthy dousing of buzz and reverb -- without seeming like they're trying at all hard. Despite a classic power trio configuration and relatively limited use of overdubbing, the album frequently feels so sonically massive, so thick with ringing guitars, walls of effects, and tremendous, reverberating drums, that it's hard to believe it's the work of a mere threesome. Kudos are perhaps in order to neo-psych mainstay Dave Fridmann, who mans the mixing boards here with a relish and restraint that helps make this one of the most tasteful (and tasty) records on his recent résumé. Credit frontman Kevin Parker's lazily drawled, remarkably Lennon-esque vocals, too, (frequently Leslie'd or otherwise processed, which helps) with giving the album an extra air of free-floating authenticity (while only occasionally giving up anything as specific and tangible as a substantially intelligible lyric). It's only infrequently that individual songs manage to stand out from the surrounding fluid, atmospheric haze -- typically when the band decides to leave its hooks a bit of space to breathe, as on the chunky, chugging closer \"I Don't Really Mind\" or the crisp, snakily phased guitar lick cementing the deliciously poppy \"Solitude Is Bliss.\" But the dearth of standout tracks here hardly feels like an issue -- indeed, Innerspeaker coasts so beautifully on its blissful, billowing waves of sound that readily discernible hooks almost seem like gratuitous distractions.\u003c\/p\u003e\n\u003cp\u003eA1        It Is Not Meant To Be\u003cbr\u003eA2        Desire Be Desire Go\u003cbr\u003eA3        Alter Ego\u003cbr\u003eB1        Lucidity\u003cbr\u003eB2        Why Won't You Make Up Your Mind?\u003cbr\u003eB3        Solitude Is Bliss\u003cbr\u003eC1        Jeremy's Storm\u003cbr\u003eC2        Expectation\u003cbr\u003eC3        The Bold Arrow Of Time\u003cbr\u003eD1        Runway, Houses, City, Clouds\u003cbr\u003eD2        I Don't Really Mind\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422789,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/A1gZc70vUIL._SL1500.jpg?v=1754087575"},{"product_id":"death-cab-for-cutie-tranatlanticism","title":"Death Cab For Cutie - Transatlanticism","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL - 20th ANNIVERSARY EDITION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002's You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard's lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism. But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with \"The New Year,\" one of the most melodramatic openings to an album since the Smashing Pumpkins' \"Tonight, Tonight\" from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of \"Lightness\" is a brilliant lead into the pop-happy \"Expo '86\" and \"The Sound of Settling\" before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur's \"Sing,\" the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters. And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith's finest hour with great ease. But it's Gibbard's poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it's the group's maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due.\u003c\/p\u003e\n\u003cp\u003eA1        The New Year  4:06\u003cbr\u003eA2        Lightness  3:30\u003cbr\u003eA3        Title And Registration  3:39\u003cbr\u003eB1        Expo '86  4:11\u003cbr\u003eB2        The Sound Of Settling  2:12\u003cbr\u003eB3        Tiny Vessels  4:21\u003cbr\u003eC1        Transatlanticism 7 :55\u003cbr\u003eC2        Passenger Seat  3:41\u003cbr\u003eD1        Death Of An Interior Decorator  2:56\u003cbr\u003eD2        We Looked Like Giants  5:32\u003cbr\u003eD3        A Lack Of Color  3:36\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422817,"sku":null,"price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71dks1pswuL._SL1400.jpeg?v=1390348379"},{"product_id":"bon-iver-for-emma","title":"Bon Iver - For Emma, Forever Ago","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN TWO VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBon Iver is the work of Justin Vernon. He isolated himself in a remote cabin in Wisconsin for almost four months, writing, and recording the songs on For Emma, Forever Ago, his haunting debut album. A few parts (horns, drums, and backing vocals) were added in a North Carolina studio, but for the majority of the time it's just Vernon, his utterly disarming voice, and his enchanting songs. The voice is the first thing you notice. Vernon's falsetto soars like a hawk and when he adds harmonies and massed backing vocals, it can truly be breathtaking. \"The Wolves (Acts I \u0026amp; II)\" truly shows what Vernon can do as he croons, swoops, and cajoles his way through an erratic and enchanting melody like Marvin Gaye after a couple trips to the backyard still. \"Skinny Love\" shows more of his range as he climbs down from the heights of falsetto and shouts out the angry and heartachey words quite convincingly. Framing his voice are suitably subdued arrangements built around acoustic guitars and filled out with subtle electric guitars, the occasional light drums, and slide guitar. Vernon has a steady grasp of dynamics too; the ebb and flow of \"Creature Fear\" is powerfully dramatic and when the chorus hits it's hard not to be swept away by the flood of tattered emotion. Almost every song has a moment where the emotion peaks and hearts begin to weaken and bend: the beauty of that voice is what pulls you through every time. For Emma captures the sound of broken and quiet isolation, wraps it in a beautiful package, and delivers it to your door with a beating, bruised heart. It's quite an achievement for a debut and the promise of greatness in the future is high. Oh, and because you have to mention it, Iron \u0026amp; Wine. Also, Little Wings. Most of all, though, Bon Iver.\u003c\/p\u003e\n\u003cp\u003eA1        Flume  3:39\u003cbr\u003eA2        Lump Sum    3:21\u003cbr\u003eA3        Skinny Love    3:59\u003cbr\u003eA4        The Wolves (Act I And II)    5:22\u003cbr\u003eB1        Blindsided    5:29\u003cbr\u003eB2        Creature Fear    3:06\u003cbr\u003eB3        Team    1:57\u003cbr\u003eB4        For Emma  3:41\u003cbr\u003eB5        Re:Stacks    6:41\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"STANDARD - BLACK VINYL","offer_id":45088314884296,"sku":null,"price":22.99,"currency_code":"USD","in_stock":false},{"title":"REVINYL EDITION - RANDOM COLORED VINYL","offer_id":45088314917064,"sku":null,"price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/612K6V5pasL.jpeg?v=1390095639"},{"product_id":"fleet-foxes-helplessness-blues","title":"Fleet Foxes - Helplessness Blues","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eProps to Helplessness Blues for making the fretless zither cool again. On their second album, Fleet Foxes continue to take their music in unusual directions, creating a baroque folk-pop sound that hints at a number of influences -- Simon \u0026amp; Garfunkel, Fairport Convention, the Beach Boys -- but is too unique, too esoteric, too damn weird to warrant any direct links between the Seattle boys and their predecessors. It's still a downright gorgeous record, though, filled to the brim with glee club harmonies and the sort of stringed instruments that are virtually unknown to anyone who didn't go to music school (and even if you did, when's the last time you rocked out on the Marxophone?). Relying on obscure instrumentation can be a dangerous game, and Fleet Foxes occasionally run the risk of sounding too clever for their own good, as if the need to \"out-folk\" groups like Mumford \u0026amp; Sons and Midlake is more important than writing memorable, articulate folk tunes. But Helplessness Blues has the necessary songs to back it up, from the slow crescendos of the album-opening \"Montezuma\" to the sweeping orchestral arrangement of the encore number, \"Grown Ocean.\" Robin Pecknold remains the ringleader of this Celtic circus. His is the only voice to cut through the thick, lush harmonies that Fleet Foxes splash across every refrain like paint, and his lyrics -- rife with allusions to the Bible, Dante the Magician, and the poetry of W.B. Yeats -- reach beyond the territory he occupied on the band’s first record, which painted simple geographical portraits with songs like \"Sun It Rises,\" \"Ragged Wood,\" \"Quiet Houses,\" and \"Blue Ridge Mountains.\" On Helplessness Blues, he's just as interested in the landscape of the human heart. Still, it's the music that stands out, and the band's acoustic folk\/chamber pop combo makes every song sound like a grand tribute to back-to-the-land living.\u003c\/p\u003e\n\u003cp\u003eA1        Montezuma\u003cbr\u003eA2        Bedouin Dress\u003cbr\u003eA3        Sim Sala Bim   \u003cbr\u003eB1        Battery Kinzie   \u003cbr\u003eB2        The Plains \/ Bitter Dancer\u003cbr\u003eB3        Helplessness Blues \u003cbr\u003eC1        The Cascades   \u003cbr\u003eC2        Lorelai    \u003cbr\u003eC3        Someone You'd Admire  \u003cbr\u003eD1        The Shrine \/ An Argument\u003cbr\u003eD2        Blue Spotted Tail   \u003cbr\u003eD3        Grown Ocean\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422841,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61MAjartfSL.jpeg?v=1390349950"},{"product_id":"smiths-the-hatful-of-hollow","title":"Smiths, The - Hatful of Hollow","description":"\u003cdiv id=\"productDescription_feature_div\" class=\"celwidget\" data-feature-name=\"productDescription\" data-csa-c-type=\"widget\" data-csa-c-content-id=\"productDescription\" data-csa-c-slot-id=\"productDescription_feature_div\" data-csa-c-asin=\"\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-id=\"7yrrwd-8tse76-sdm9q-5t0ulo\" data-cel-widget=\"productDescription_feature_div\"\u003e\n\u003cdiv data-feature-name=\"productDescription\" data-template-name=\"productDescription\" id=\"productDescription_feature_div\" class=\"a-row feature\" data-cel-widget=\"productDescription_feature_div\"\u003e\n\u003cdiv id=\"productDescription\" class=\"a-section a-spacing-small\"\u003e\n\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSeveral months after releasing their first album, \u003c\/span\u003e\u003cspan class=\"a-text-bold\"\u003eThe Smiths\u003c\/span\u003e\u003cspan\u003e issued this collection of singles and rarities, several of which are BBC versions of songs from their debut. \u003c\/span\u003e\u003cspan class=\"a-text-bold\"\u003eThe Smiths\u003c\/span\u003e\u003cspan\u003e treated singles as individual entities, not just ways to promote an album, and therefore many of there finest songs were never issued on their studio albums. As if this wasn’t enough, this compilation contains the first appearance of what may be the band’s finest moment. “How Soon Is Now” encapsulates everything good about \u003c\/span\u003e\u003cspan class=\"a-text-bold\"\u003eThe Smiths\u003c\/span\u003e\u003cspan\u003e; Morrissey’s mocking lyrics, Marr’s stunning vibrato guitar and a rhythm section you could set your watch to.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA1        William, It Was Really Nothing    2:09\u003cbr\u003eA2        What Difference Does It Make?    3:12\u003cbr\u003eA3        These Things Take Time  2:33\u003cbr\u003eA4        This Charming Man    2:43\u003cbr\u003eA5        How Soon Is Now?    6:43\u003cbr\u003eA6        Handsome Devil    2:46\u003cbr\u003eA7        Hand In Glove  3:14\u003cbr\u003eA8        Still Ill    3:34\u003cbr\u003eB1        Heaven Knows I'm Miserable Now    3:34\u003cbr\u003eB2        This Night Has Opened My Eyes    3:40\u003cbr\u003eB3        You've Got Everything Now  4:18\u003cbr\u003eB4        Accept Yourself    4:02\u003cbr\u003eB5        Girl Afraid    2:45\u003cbr\u003eB6        Back To The Old House    3:02\u003cbr\u003eB7        Reel Around The Fountain    5:51\u003cbr\u003eB8        Please Please Please Let Me Get What I Want    1:50\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422993,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/710b4gHtuJL._SL1425.jpeg?v=1390549447"},{"product_id":"head-and-the-heart-the-self-titled","title":"Head and the Heart, The - S\/T","description":"\u003cp\u003e\u003cstrong\u003e15th ANNIVERSARY DELUXE 2xLP BLACK VINYL EDITION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDeluxe double LP reissue of The Head And The Heart's debut album. Featuring the original album remastered on the first LP, plus seven bonus tracks on the second LP. The bonus tracks are a combination of previously unreleased demos and live tracks, plus one live track available for the first time physically, and one previously unreleased studio track.\u003c\/p\u003e\n\u003cp\u003eThe Head and the Heart is the self-titled debut album from Seattle folk-rock band The Head and the Heart, originally self-released in 2010 before being picked up and re-issued by Sub Pop in 2011. Built around harmonious vocals, piano, violin, and folk-rock instrumentation, the album captures themes of connection, wanderlust, and introspection across tracks like “Lost in My Mind,” “Down in the Valley,” and “Rivers and Roads.” Over time the debut was certified Gold by the RIAA, reflecting more than 500,000 units sold — a notable achievement for a band that began as a local favourite. The success of the debut launched The Head and the Heart into extensive touring and larger festival stages, laying the foundation for their subsequent albums and a dedicated fanbase.\u003c\/p\u003e\n\u003cp\u003eA1        Cats and Dogs\u003cbr\u003eA2        Coeur D'alene\u003cbr\u003eA3        Ghosts\u003cbr\u003eA4        Down in the Valley\u003cbr\u003eA5        Rivers and Roads\u003cbr\u003eB1        Honey Come Home\u003cbr\u003eB2        Lost in my Mind\u003cbr\u003eB3        Winter Song\u003cbr\u003eB4        Sounds Like Hallelujah\u003cbr\u003eB5        Heaven Go Easy on Me\u003cbr\u003eC1        Down in the Valley (Original Demo 2009)\u003cbr\u003eC2        Lost in My Mind (Original Demo 2009)\u003cbr\u003eC3        Sounds Like Hallelujah (Original Demo 2009)\u003cbr\u003eC4        Grace (Unreleased Track 2011)\u003cbr\u003eD1        Oh Virginia (Live from Doe Bay 2011)\u003cbr\u003eD2        Chasing a Ghost (Itunes Exclusive 2012)\u003cbr\u003eD3        Rivers and Roads (Live from Queen Anne House Show 2010)\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":495970433,"sku":"","price":69.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51Ir54Z9rDL.jpeg?v=1390355816"},{"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":"smiths-the-louder-than-bombs","title":"Smiths, The - Louder Than Bombs","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA compilation of singles, B-sides, album tracks, and BBC sessions assembled for the American market, Louder Than Bombs is an overlong and unfocused collection that nevertheless boasts a wealth of brilliant material. Since Hatful of Hollow was unavailable in the U.S. at the time of the release of Louder Than Bombs, this compilation contains large chunks of that album, as well as several cuts from The Smiths, which makes the record a little redundant for most Smiths fans. Also, Louder Than Bombs contains some of the worst material the group ever recorded, including the bland instrumental \"Oscillate Wildly\" and a cover of Twinkle's \"Golden Light.\" Excluding all of this material, the remainder of the record is brilliant. The singles \"Shakespeare's Sister,\" \"Panic,\" \"Ask,\" \"Shoplifters of the World Unite,\" and \"Sheila Take a Bow\" are all definitive, as are the elegiac \"Unloveable,\" \"Asleep,\" \"Stretch Out and Wait,\" and \"Half a Person,\" which are all unavailable anywhere else (excluding the British counterpart to Louder Than Bombs, The World Won't Listen). Furthermore, the sneering, bouncing pop of \"You Just Haven't Earned It Yet, Baby\" and the bizarre travelogue of \"Is It Really So Strange?\" are two other essential songs not available anywhere else. Though The World Won't Listen is a more concise collection, Louder Than Bombs is a necessary purchase for any Smiths fan.\u003c\/p\u003e\n\u003cp\u003eA1        Is It Really So Strange?    3:02\u003cbr\u003eA2        Sheila Take A Bow    2:41\u003cbr\u003eA3        Shoplifters Of The World Unite    2:57\u003cbr\u003eA4        Sweet And Tender Hooligan    3:33\u003cbr\u003eA5        Half A Person  3:35\u003cbr\u003eA6        London  2:06\u003cbr\u003eB1        Panic    2:17\u003cbr\u003eB2        Girl Afraid    2:48\u003cbr\u003eB3        Shakespeare's Sister    2:08\u003cbr\u003eB4        William, It Was Really Nothing    2:10\u003cbr\u003eB5        You Just Haven't Earned It Yet, Baby    3:21\u003cbr\u003eB6        Heaven Knows I'm Miserable Now    3:34\u003cbr\u003eC1        Ask  3:15\u003cbr\u003eC2        Golden Lights  2:38\u003cbr\u003eC3        Oscillate Wildly    3:26\u003cbr\u003eC4        These Things Take Time    2:21\u003cbr\u003eC5        Rubber Ring    3:46\u003cbr\u003eC6        Back To The Old House    3:04\u003cbr\u003eD1        Hand In Glove    3:10\u003cbr\u003eD2        Stretch Out And Wait    2:37\u003cbr\u003eD3        Please Please Please Let Me Get What I Want    1:50\u003cbr\u003eD4        This Night Has Opened My Eyes3:40\u003cbr\u003eD5        Unloveable    3:55\u003cbr\u003eD6        Asleep    4:16\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":499516237,"sku":"","price":47.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/61HCN5tFt1L._SL1120.jpg?v=1785787190"},{"product_id":"tame-impala-lonerism","title":"Tame Impala - Lonerism","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThere's a better than decent chance that, no matter where you are, Perth, Australia is pretty far away, a fact that pretty much makes Tame Impala mastermind Kevin Parker an isolated pop genius' isolated pop genius. Working mostly by himself, Parker mines this solitude with brilliant results on Tame Impala's sophomore effort, Lonerism. Diving headfirst into the realm of pop music, the way Parker uses keyboards to explore more traditional melodies makes the album feel like the McCartney to Innerspeaker's Lennon, blending the familiar with the far out to craft a Revolver-esque psych-pop experience. This shift from the guitar-heavy sound of the debut to a more synthed-out approach gives the album a more expansive feeling, allowing Parker to explore new textures through layer after layer of melody. As with Innerspeaker, sonic architect Dave Fridmann handles the mixing, and though he wasn't involved in the recording process, Lonerism definitely shares the producer's knack for using the space as an instrument in and of itself. This layering of not just sounds, but environments, creates a serene and lonely patchwork of sound, texture, and atmosphere that's a pleasure to explore, offering something different with every journey into its swirling haze of classic pop melody and modern, more experimental, construction. Most importantly, the partnership allows Fridmann to help shape Tame Impala's wild, starry-eyed ambition into something enveloping and accessible, a trick he's performed for the Flaming Lips and Mercury Rev again and again. This combination gives Lonerism the best of both worlds, allowing it the creative freedom to emerge as one of the most impressive albums of the home-recording era while still feeling superbly refined.\u003c\/p\u003e\n\u003cp\u003eA1        Be Above It    3:22\u003cbr\u003eA2        Endors Toi    3:06\u003cbr\u003eA3        Apocalypse Dreams  5:57\u003cbr\u003eB1        Mind Mischief    4:31\u003cbr\u003eB2        Music To Walk Home By    5:12\u003cbr\u003eB3        Why Won't They Talk To Me?    4:46\u003cbr\u003eC1        Feels Like We Only Go Backwards    3:13\u003cbr\u003eC2        Keep On Lying    5:54\u003cbr\u003eC3        Elephant   3:31\u003cbr\u003eD1        She Just Won't Believe Me    0:57\u003cbr\u003eD2        Nothing That Has Happened So Far Has Been Anything We Could Control    6:01\u003cbr\u003eD3        Sun's Coming Up    5:20\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":500708885,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/A1gRVIbpyHL._UF1000_1000_QL80.jpg?v=1776465457"},{"product_id":"the-eagles-hotel-california-poster","title":"Eagles - Hotel California","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of \"classic rock,\" music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.\u003c\/p\u003e\n\u003cp\u003eA1        Hotel California  6:30\u003cbr\u003eA2        New Kid In Town  5:04\u003cbr\u003eA3        Life In The Fast Lane  4:46\u003cbr\u003eA4        Wasted Time  4:55\u003cbr\u003eB1        Wasted Time (Reprise)  1:22\u003cbr\u003eB2        Victim Of Love  4:11\u003cbr\u003eB3        Pretty Maids All In A Row  4:05\u003cbr\u003eB4        Try And Love Again  5:10\u003cbr\u003eB5        The Last Resort  7:25\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":504261957,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71rYYgYnr2L._SL1425.jpg?v=1710880048"},{"product_id":"smiths-the-the-queen-is-dead","title":"Smiths, The - The Queen is Dead","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMeat Is Murder may have been a holding pattern, but The Queen Is Dead is the Smiths' great leap forward, taking the band to new musical and lyrical heights. Opening with the storming title track, The Queen Is Dead is a harder-rocking record than anything the Smiths had attempted before, but that's only on a relative scale -- although the backbeat is more pronounced, the group certainly doesn't rock in a conventional sense. Instead, Johnny Marr has created a dense web of guitars, alternating from the minor-key rush of \"Bigmouth Strikes Again\" and the faux rockabilly of \"Vicar in a Tutu\" to the bouncy acoustic pop of \"Cemetry Gates\" and \"The Boy With the Thorn in His Side,\" as well as the lovely melancholy of \"I Know It's Over\" and \"There Is a Light That Never Goes Out.\" And the rich musical bed provides Morrissey with the support for his finest set of lyrics. Shattering the myth that he is a self-pitying sap, Morrissey delivers a devastating set of clever, witty satires of British social mores, intellectualism, class, and even himself. He also crafts some of his finest, most affecting songs, particularly in the wistful \"The Boy With the Thorn in His Side\" and the epic \"There Is a Light That Never Goes Out,\" two masterpieces that provide the foundation for a remarkable album.\u003c\/p\u003e\n\u003cp\u003eA1        The Queen Is Dead (Take Me Back To Dear Old Blighty (Medley)) 6:23\u003cbr\u003eA2        Frankly, Mr. Shankly  2:17\u003cbr\u003eA3        I Know It's Over    5:48\u003cbr\u003eA4        Never Had No One Ever    3:36\u003cbr\u003eA5        Cemetry Gates    2:39\u003cbr\u003eB1        Bigmouth Strikes Again  3:12\u003cbr\u003eB2        The Boy With The Thorn In His Side    3:15\u003cbr\u003eB3        Vicar In A Tutu    2:21\u003cbr\u003eB4        There Is A Light That Never Goes Out    4:02\u003cbr\u003eB5        Some Girls Are Bigger Than Others    3:14\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":540488121,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51ZYZS2FQ2L.jpeg?v=1392239383"},{"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":"green-day-nimrod","title":"Green Day - Nimrod","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL with ETCHED D SIDE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the cool reception to Insomniac, Green Day retreated from the spotlight for a year to rest and spend time with their families. During that extended break, they decided to not worry about their supposedly lost street credibility and make an album according to their instincts, which meant more experimentation and less of their trademark punk-pop. Of course, speedy, catchy punk is at the core of the group's sound, so there are plenty of familiar moments on the resultant album, Nimrod, but there are also new details that make the record an invigorating, if occasionally frustrating, listen. Although punk-pop is Green Day's forte, they sound the most alive on Nimrod when they're breaking away from their formula, whether it's the shuffling \"Hitchin' a Ride,\" the bitchy, tongue-in-cheek humor of \"The Grouch,\" the surging surf instrumental \"Last Ride In,\" the punchy, horn-driven drag-queen saga \"King for a Day,\" or the acoustic, string-laced ballad \"Good Riddance.\" It's only when the trio confines itself to three chords that it sounds tired, but Billie Joe has such a gift for hooky, instantly memorable melodies that even these moments are enjoyable, if unremarkable. Still, Nimrod suffers from being simply too much -- although it clocks in at under 50 minutes, the 18 tracks whip by at such a breakneck speed that it leaves you somewhat dazed. With a little editing, Green Day's growth would have been put in sharper relief, and Nimrod would have been the triumphant leap forward it set out to be. As it stands, it's a muddled but intermittently exciting record that is full of promise.\u003c\/p\u003e\n\u003cp\u003eA1        Nice Guys Finish Last\u003cbr\u003eA2        Hitchin' A Ride\u003cbr\u003eA3        The Grouch\u003cbr\u003eA4        Redundant\u003cbr\u003eA5        Scattered\u003cbr\u003eA6        All The Time\u003cbr\u003eB7        Worry Rock\u003cbr\u003eB8        Platypus (I Hate You)\u003cbr\u003eB9        Uptight\u003cbr\u003eB10        Last Ride In\u003cbr\u003eB11        Jinx\u003cbr\u003eB12        Haushinka\u003cbr\u003eC13        Walking Alone\u003cbr\u003eC14        Reject\u003cbr\u003eC15        Take Back\u003cbr\u003eC16        King For A Day\u003cbr\u003eC17        Good Riddance (Time Of Your Life)\u003cbr\u003eC18        Prosthetic Head\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":609592821,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71dBwWTWgKL._SL1440.jpeg?v=1394566386"},{"product_id":"no-doubt-tragic-kingdom","title":"No Doubt - Tragic Kingdom","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLed by the infectious, pseudo-new wave single \"Just a Girl,\" No Doubt's major-label debut, Tragic Kingdom, straddles the line between '90s punk, third-wave ska, and pop sensibility. The record was produced by Matthew Wilder, the auteur behind \"Break My Stride\" -- a clever mainstream co-opting of new wave quirkiness, and, as such, an ideal pairing. Wilder kept his production lean and accessible, accentuating No Doubt's appealing mix of new wave melodicism, post-grunge rock, and West Coast sunshine. Even though the band isn't always able to fuse its edgy energy with pop melodies, the combination worked far better than anyone could have hoped. When everything does click, the record is pure fun, even if some of the album makes you wish they could sustain that energy throughout the record. Tragic Kingdom might not have made much of an impact upon its initial release in late 1995, but throughout 1996 \"Just a Girl\" and \"Spiderwebs\" positively ruled the airwaves, both alternative and mainstream, and in 1997 No Doubt cemented their cross-generational appeal with the ballad hit \"Don't Speak.\"\u003c\/p\u003e\n\u003cp\u003eA1        Spiderwebs    4:28\u003cbr\u003eA2        Excuse Me Mr.    3:04\u003cbr\u003eA3        Just A Girl    3:29\u003cbr\u003eA4        Happy Now?    3:43\u003cbr\u003eA5        Different People    4:34\u003cbr\u003eA6        Hey You    3:34\u003cbr\u003eA7        The Climb    6:37\u003cbr\u003eB1        Sixteen    3:21\u003cbr\u003eB2        Sunday Morning    4:33\u003cbr\u003eB3        Don't Speak    4:23\u003cbr\u003eB4        You Can Do It    4:13\u003cbr\u003eB5        World Go 'Round    4:09\u003cbr\u003eB6        End It On This    3:45\u003cbr\u003eB7        Tragic Kingdom    5:31\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":609654713,"sku":"","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/A1Y_v9doJML._UF1000_1000_QL80.jpg?v=1771629709"},{"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":"nirvana-mtv-unplugged-in-new-york","title":"Nirvana - MTV Unplugged in New York","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIf In Utero is a suicide note, MTV Unplugged in New York is a message from beyond the grave, a summation of Kurt Cobain's talents and pain so fascinating, it's hard to listen to repeatedly. Is it the choice of material or the spare surroundings that make it so effective? Well, it's certainly a combination of both, how the version of the Vaselines' \"Jesus Doesn't Want Me for a Sunbeam\" or the three covers of Meat Puppets II songs mean as much as \"All Apologies\" or \"Something in the Way.\" This, in many senses, isn't just an abnormal Nirvana record, capturing them in their sincerest desire to be R.E.M. circa Automatic for the People, it's the Nirvana record that nobody, especially Kurt, wanted revealed. It's a nakedly emotional record, unintentionally so, as the subtext means more than the main themes of how Nirvana wanted to prove its worth and diversity, showcasing the depth of their songwriting. As it turns out, it accomplishes its goals rather too well; this is a band, and songwriter, on the verge of discovering a new sound and style. Then, there's the subtexts, as Kurt's hurt and suicidal impulses bubble to the surface even as he's trying to suppress them. Few records are as unblinkingly bare and naked as this, especially albums recorded by their peers. No other band could have offered covers of David Bowie's \"The Man Who Sold the World\" and the folk standard \"Where Did You Sleep Last Night\" on the same record, turning in chilling performances of both -- performances that reveal as much as their original songs.\u003c\/p\u003e\n\u003cp\u003eA1        About A Girl\u003cbr\u003eA2        Come As You Are\u003cbr\u003eA3        Jesus Doesn't Want Me For A Sunbeam\u003cbr\u003eA4        The Man Who Sold The World\u003cbr\u003eA5        Pennyroyal Tea\u003cbr\u003eA6        Dumb\u003cbr\u003eA7        Polly\u003cbr\u003eB1        On A Plain\u003cbr\u003eB2        Something In The Way\u003cbr\u003eB3        Plateau\u003cbr\u003eB4        Oh Me\u003cbr\u003eB5        Lake Of Fire\u003cbr\u003eB6        All Apologies\u003cbr\u003eB7        Where Did You Sleep Last Night\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":643590009,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61hdwOycOxL.jpg?v=1661893147"},{"product_id":"nirvana-nevermind","title":"Nirvana - Nevermind","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNevermind was never meant to change the world, but you can never predict when the Zeitgeist will hit, and Nirvana's second album turned out to be the place where alternative rock crashed into the mainstream. This wasn't entirely an accident, either, since Nirvana did sign with a major label, and they did release a record with a shiny surface, no matter how humongous the guitars sounded. And, yes, Nevermind is probably a little shinier than it should be, positively glistening with echo and fuzzbox distortion, especially when compared with the black-and-white murk of Bleach. This doesn't discount the record, since it's not only much harder than any mainstream rock of 1991, its character isn't on the surface, it's in the exhilaratingly raw music and haunting songs. Kurt Cobain's personal problems and subsequent suicide naturally deepen the dark undercurrents, but no matter how much anguish there is on Nevermind, it's bracing because he exorcizes those demons through his evocative wordplay and mangled screams -- and because the band has a tremendous, unbridled power that transcends the pain, turning into pure catharsis. And that's as key to the record's success as Cobain's songwriting, since Krist Novoselic and Dave Grohl help turn this into music that is gripping, powerful, and even fun (and, really, there's no other way to characterize \"Territorial Pissings\" or the surging \"Breed\"). In retrospect, Nevermind may seem a little too unassuming for its mythic status -- it's simply a great modern punk record -- but even though it may no longer seem life-changing, it is certainly life-affirming, which may just be better.\u003c\/p\u003e\n\u003cp\u003eA1        Smells Like Teen Spirit    5:00\u003cbr\u003eA2        In Bloom    4:13\u003cbr\u003eA3        Come As You Are    3:38\u003cbr\u003eA4        Breed    3:03\u003cbr\u003eA5        Lithium    4:16\u003cbr\u003eA6        Polly    2:56\u003cbr\u003eB1        Territorial Pissings    2:22\u003cbr\u003eB2        Drain You    3:43\u003cbr\u003eB3        Lounge Act    2:35\u003cbr\u003eB4        Stay Away    3:30\u003cbr\u003eB5        On A Plain    3:12\u003cbr\u003eB6        Something In The Way 3:43\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":643599761,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/51tr3o4kd9L.jpeg?v=1395866524"},{"product_id":"black-keys-the-magic-potion","title":"Black Keys, The - Magic Potion","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAkron's the Black Keys have jumped labels again with Magic Potion. Beginning on their own Alive label, the band established itself internationally with Thickfreakness and Rubber Factory. They appear now with their Nonesuch debut -- they share a label with everyone from Pat Metheny and Sam Phillips to Toumani Diabaté and Stephin Merritt. Fans needn't worry that the Black Keys being on a label distributed by Warner has done anything to their sound. Magic Potion is gritty, raw, immediate and sludgy. It was recorded at the band's studios in Akron, and the only real difference is that they've become even better at what they do. Here are 11 tunes rooted in blues and riff-heavy rock, with only guitar and drums ripping through them like a loose power cable in a thunderstorm. Check out the wildly rockist riff that is at the heart of the album's opener \"Just Got to Be,\" or the wily shambolic blues in \"Your Touch.\" If anything, Magic Potion reminds the listener of the late great Red Devils King King except they have a deeper country, south-of-the-Mason-Dixon-line feel to them, even on a ballad such as \"You're the One,\" which feels like it's barely being held together by Dan Auerbach's voice, which unifies the guitar and Patrick Carney's drums. \"Strange Desire\" is an electric-acid-blues moan disguised as a ballad, whereas \"Just a Little Heat\" inverts the riff from Led Zeppelin's \"Living Loving Maid \" to offer a wide-open howl of distorted guitar and a slippery snare and cymbals crash. For those who feel that the blues have nothing to offer in the 21st century -- especially electric blues, which has spawned countless cookie-cutter, slick deceptions disguised as the real thing -- Magic Potion should satisfy deeply. Here is a future blues that comes right from the groin of history, reinterpreted through garage rock, alcohol, and rage: just check out \"Modern Times.\" In the slow drawling burn, one can hear Junior Kimbrough's ghost possessing Auerbach. \"Elevator\" closes the set on a feedback-drenched, minimal Delta blues that has more to do with the cagey antics of Charley Patton and Lightnin' Hopkins -- and R.L. Burnside, too -- than with either the White Stripes or Ronnie Earl. This is vulgar music, completely unsentimental or nostalgic but with a deep, wild, and tenacious heart; it's spooky, un-caged, and frighteningly descriptive of our time and place. It's been a long time since the majors put out a record this savage. 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The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. 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It's not so much that the choice of songs is unusual -- nearly all of them are from the '60s and '70s, years when Young was also active, but a handful (\"Crazy,\" \"Since I Met You Baby,\" \"I Wonder If I Care as Much\") date from the late '50s or early '60s -- but the recording method. Young headed down to Jack White's Third Man Records in Nashville where Jack installed a refurbished Voice-O-Graph booth, a device designed to allow a user to \"Make Your Own Record\" by cutting a song or message directly to vinyl. These contraptions were designed in 1947 and were once a common sight in arcades and fairs but they died away in the '70s, turning into an artifact of a weird old Americana beloved by both Young and White. Neil decided to use the Voice-O-Graph to record a full album, an experiment that's strictly about the method of recording, not the music itself. By design, the Voice-O-Graph allows for no overdubs -- it captures everything that happens in the booth and nothing more -- so the performances are intimate and sometimes rushed, qualities that are alternately enhanced and undercut by the thin, crackly recording. This aural affectation can be affecting -- in particular, his readings of Gordon Lightfoot's \"Early Morning Rain\" and \"If You Can Read My Mind\" are quite sweet, as is Bob Dylan's \"Girl from the North Country,\" while there's a genuine pang of pathos lying in Bert Jansch's \"Needle of Death\" -- but the trebly, wavy audio can also seem cacophonous, whether it's capturing Neil alone (Bruce Springsteen's \"My Hometown\") or in tandem with White (a version of Willie Nelson's \"On the Road Again\" that always seems just on the verge of falling apart, which could be perceived as a compliment depending on your view). Usually, the flaws of A Letter Home can be pegged on the archaic recording technology -- only a couple of performances feel shambolic -- but Young is also having fun with what the Voice-O-Graph meant, opening the album with a wry, winding spoken letter to his departed mother and then addressing another missive to her later on the record. These words are simultaneously sentimental and impish, a wink to the audience that Young is in on the joke but also doesn't quite consider A Letter Home a joke. Sure, there's artifice and humor here, but there's also heart, and this blend of emotions is what makes A Letter Home one of Neil Young's quintessential, endearingly odd records.\u003c\/p\u003e\n\u003cp\u003eA1        A Letter Home Intro\u003cbr\u003eA2        Changes\u003cbr\u003eA3        Girl From The North Country\u003cbr\u003eA4        Needle Of Death\u003cbr\u003eA5        Early Morning Rain\u003cbr\u003eA6        Crazy\u003cbr\u003eB1        Reason To Believe\u003cbr\u003eB2        On The Road Again\u003cbr\u003eB3        If You Could Read My Mind\u003cbr\u003eB4        Since I Met You Baby\u003cbr\u003eB5        My Hometown\u003cbr\u003eB6        I Wonder If I Care As Much\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":729457089,"sku":"","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71b0RVFmyqL._SL1425.jpeg?v=1399407582"},{"product_id":"war-on-drugs-lost-in-the-dream","title":"War on Drugs, The - Lost in the Dream","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Philadelphia-based purveyors of stripped-down, haunted rock perfection the War on Drugs came on the scene with their 2008 debut, Wagonwheel Blues, their sound perked up the ears of a new generation of soul searchers looking for a soundtrack. Summoning up the patron saints of FM radio rock, the band was constantly framed as an update to the wild-eyed sermons of Dylan and Springsteen or the summer-night abandon that Tom Petty perfected, all filtered through walls of decidedly indie guitar noise. Founding member Kurt Vile left the band to pursue his blooming solo path by the time of 2011's Slave Ambient, leaving key songwriter Adam Granduciel running the show completely for that album's well-received set of songs and heightened production. Work on follow-up third album Lost in the Dream began while the band was on tour in 2012, with the full process of writing, demoing, and recording stretching out over a 15-month period and employing five different studios in as many states. Instead of resulting in a piecemeal pastiche of discordant ideas, Lost in the Dream actually represents the most fully realized statement from the group thus far, with all ten songs gelling together with a sense of purpose and understated brilliance the band came close to before, but delivers in full here. Starting with the epic two-chord gallop of \"Under the Pressure,\" Granduciel offers up song after song of incredibly restrained yet entirely engaged rock. The classic rock reference points led to a \"blue-collar rock\" labeling of the band's sound, and while there are undeniable callbacks to Petty, Dylan, and Springsteen here, as there were on earlier albums, the War on Drugs have come into their own with their sound. What comes on as simplistic or even predictable rock instrumentation always unfolds to reveal buried synth sounds, horn blurts, long ambient passages, and -- more impressively -- an unexpected emotional depth propping up the bare-bones songs. While \"Burning\" channels the same yelping frustration and working-class trudge of Springsteen's \"Dancing in the Dark,\" songs like \"Red Eyes\" and the gorgeous \"An Ocean in Between the Waves\" meld Jackson Browne's inward-looking sensitivity and Fleetwood Mac-like mysteriousness with an edgy depravity belonging to Granduciel alone. The songs are expansive, regardless of their tone, with the ten tunes sprawling out into almost an hourlong running time, leaving no stone unturned in their nuanced production and deceptively simple presentation. In this way, Lost in the Dream is the War on Drugs' Daydream Nation or Disintegration; lengthy distillations of similar themes result in wildly different threads of song, all connecting again in the end. It's a near flawless collection of dreamy vibes, shifting moods, and movement, and stands easily as Granduciel's finest hour so far.\u003c\/p\u003e\n\u003cp\u003eA1        Under The Pressure  8:51\u003cbr\u003eA2        Red Eyes  4:59\u003cbr\u003eA3        Suffering  6:01\u003cbr\u003eB1        An Ocean In Between The Waves  7:11\u003cbr\u003eB2        Disappearing  6:51\u003cbr\u003eC1        Eyes To The Wind  5:54\u003cbr\u003eC2        The Haunting Idle  2:55\u003cbr\u003eC3        Burning  5:48\u003cbr\u003eD1        Lost In The Dream  4:09\u003cbr\u003eD2        In Reverse  7:41\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":759225253,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/812VIRKui8L._UF1000_1000_QL80.jpg?v=1771629873"},{"product_id":"led-zeppelin-ii-2014-reissue","title":"Led Zeppelin - II","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock \u0026amp; roll standards that the band was performing on-stage at the time. Not only did the short amount of time result in a lack of original material, it made the sound more direct. Jimmy Page still provided layers of guitar overdubs, but the overall sound of the album is heavy and hard, brutal and direct. \"Whole Lotta Love,\" \"The Lemon Song,\" and \"Bring It on Home\" are all based on classic blues songs -- only, the riffs are simpler and louder and each song has an extended section for instrumental solos. Of the remaining six songs, two sport light acoustic touches (\"Thank You,\" \"Ramble On\"), but the other four are straight-ahead heavy rock that follows the formula of the revamped blues songs. While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint.\u003c\/p\u003e\n\u003cp\u003eA1 Whole Lotta Love 5:33\u003cbr data-mce-fragment=\"1\"\u003eA2 What Is and What Should Never Be 4:47\u003cbr data-mce-fragment=\"1\"\u003eA3 The Lemon Song 6:20\u003cbr data-mce-fragment=\"1\"\u003eA4 Thank You 3:50\u003cbr data-mce-fragment=\"1\"\u003eB1 Heartbreaker 4:15\u003cbr data-mce-fragment=\"1\"\u003eB2 Living Loving Maid (She's Just a Woman) 2:40\u003cbr data-mce-fragment=\"1\"\u003eB3 Ramble On 4:35\u003cbr data-mce-fragment=\"1\"\u003eB4 Moby Dick 4:25\u003cbr data-mce-fragment=\"1\"\u003eB5 Bring It On Home 4:19\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":791991489,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71jt5abEtmL._SL1280.jpeg?v=1402444944"},{"product_id":"jack-white-lazzareto","title":"Jack White - Lazaretto","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLike \"blunderbuss,\" a \"lazaretto\" is an ancient reference that means little in the modern world, a fact that does not escape Jack White, a musician who specializes in blurring lines between past and present. Contrary to his carefully cultivated persona as a raider of lost Americana, White never, ever was a purist: he thrived upon seizing the precise moment when accepted definitions lose all meanings and turn into something new. This tension surfaces on Lazaretto, his second solo album, a record that lives upon the edges of his interests. There is a fair share of blues bluster -- via Zeppelin riffs and huffed references to digital cameras, the opener \"Three Women\" modernizes Blind Willie McTell, while he twists a refrain from Howlin' Wolf's \"I Asked for Water (She Gave Me Gasoline)\" on \"Just One Drink\" -- but Lillie Mae Rische's violin occupies nearly as much space as his own howling guitars, pushing White into the left field where he prefers to reside. That eccentricity is the pleasure of Lazaretto, which is by every measure the strangest record associated with White since 2005's Get Behind Me Satan, a record that found Jack tackling the aftermath of fame by turning gothic. He's since lightened his outlook -- all the restored recording booths and trickster vinyl coming out of Third Man Records in Nashville show the heart of a prankster -- but he retains the itch of an artist, thriving upon self-imposed limitations. With Lazaretto, that amounted to adapting a clutch of fiction he wrote when he was 19, using the themes of these stories and plays to not only fuel the topics, but to freshen his songwriting, which was veering ever so slightly toward craftsmanship on Blunderbuss. Here, White kicks the legs out from under himself, allowing himself some signature indulgences -- the aforementioned blues blazers, plus the unhinged \"That Black Bat Licorice\" -- and reviving a few forgotten sounds (the closing piano ballad \"Want and Able\" recalls the moody turns of Satan), but generally he pounces upon detours, savoring the instrumental of \"High Ball Stepper,\" demonstrating a facility with hip-hop rhythms and cadence on \"Lazaretto,\" and lingering in dark corners for perhaps a little longer than necessary. All this sound and fury disguises how elsewhere on Lazaretto there are songs as exquisitely sculpted as those on Blunderbuss -- the heartbroken honky tonk of \"Temporary Ground,\" the deceptively sprightly \"Alone in My Home,\" the teasing melodrama of \"Would You Fight for My Love?\" -- but what makes it a better, richer work is how it simultaneously holds every side of White, existing at the crossroads where modernity, tradition, hard work, and inspiration all meet.\u003c\/p\u003e\n\u003cp\u003eA1        Three Women\u003cbr\u003eA2        Lazaretto\u003cbr\u003eA3        Temporary Ground\u003cbr\u003eA4        Would You Fight For My Love?\u003cbr\u003eA5        High Ball Stepper\u003cbr\u003eA6        Untitled\u003cbr\u003eA7        Untitled\u003cbr\u003eBA1        Just One Drink\u003cbr\u003eBB1        Just One Drink\u003cbr\u003eB2        Alone In My Home\u003cbr\u003eB3        That Black Bat Licorice\u003cbr\u003eB4        Entitlement\u003cbr\u003eB5        I Think I Found The Culprit\u003cbr\u003eB6        Want And Able\u003cbr\u003eB7        Untitled\u003cbr\u003eB8        Untitled\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":792134381,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/A1P4mqP3h9L._SL1500.jpeg?v=1402446064"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/collections\/R-52_LedZeppelin1973_Gruen.jpg?v=1697924871","url":"https:\/\/www.analogrecordshop.com\/collections\/rock-pop.oembed?page=21","provider":"Analog Record Shop","version":"1.0","type":"link"}