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Paul McCartney & Wings

Band On The Run - 50th Anniversary Edition

    Vinyl Description:
    To celebrate the 50th anniversary of Band On The Run, this special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1973 by Miles Showell at the legendary Abbey Road Studios, London. This tracklist mirrors the US release which includes the song “Helen Wheels”. Includes reproduction of Linda McCartney Polaroid poster. Features an Obi strip.

    CD Description:
    To celebrate the 50th anniversary of Band On The Run, this special 2CD edition features the original album and a second disc of previously unreleased “underdubbed” mixes of the songs. CD1 mirrors the US release which includes the song “Helen Wheels”. The set also includes a double-sided fold-out Polaroid poster taken by Linda McCartney.


    Band On The Run (Side A)
    Jet (Side A)
    Bluebird (Side A)
    Mrs. Vandebilt (Side A)
    Let Me Roll It (Side A)
    Mamunia (Side B)
    No Words (Side B)
    Helen Wheels (Side B)
    Picasso’s Last Words (Drink To Me) (Side B)
    Nineteen Hundred And Eighty Five (Side B)

    Disc 1 - Band On The Run
    Band On The Run
    Mrs. Vandebilt
    Let Me Roll It
    No Words
    Helen Wheels
    Picasso’s Last Words (Drink To Me)
    Nineteen Hundred And Eighty Five

    Disc 2 - Band On The Run (Underdubbed Mixes)
    Band On The Run
    No Words
    Mrs. Vandebilt
    Nineteen Hundred And Eighty Five
    Picasso’s Last Words (Drink To Me)
    Let Me Roll It

    EOB (Ed O'Brien)


      Ed O’Brien never planned to make a solo record. As a guitarist with Radiohead, who over almost three decades and nine albums have established themselves as one of the most innovative and influential musical forces of our time, he thought his artistic side had its outlet and was happy to spend any downtime from Radiohead with his family. Plus, he wondered, would it really be necessary? “Thom, Jonny and Phillip are making music,” he says, “and I’m like, ‘The last thing the world needs is a shit album by me.’”

      But suddenly a switch was flicked and the songs came pouring out of him. That creative surge resulted in an album of rediscovery and adventure by O’Brien under the moniker EOB that deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism. A spirit of collaboration runs through it, from the production team of Flood, Catherine Marks, Alan Moulder and Adam ‘Cecil’ Bartlett to the extraordinary musicians O’Brien assembled to help bring these tracks to life; Omar Hakim, Colin Greenwood, David Okumu, Laura Marling, Adrian Utley, Nathan East and Glenn Kotche.

      But every group of collaborators needs a leader, and this album is all O’Brien’s vision. “I wanted to make a record from the heart,” he says. “I wanted to make something direct. I wanted to talk about love, your family in the immediate and the wider sense, where we are on the planet, the bigger picture, life and death. I wanted to make a big hearted, warm and colorful album… something hopeful and full of love.”

      It all started in Brazil. Ed and his family moved out to the Brazilian countryside at the end of 2012. After setting up a home studio and dabbling with the idea of making an electronic record, a listen to Primal Scream’s landmark Screamadelica was O’Brien’s eureka moment. “I thought, this is it… I want my music to have that joy, that light, the depth and breadth of that album… elements of dance, soul, ambient… Uplifting in parts.” He immediately picked up an acoustic guitar and started writing, the new direction further influenced by a trip to Rio Carnival. “Carnival was another eureka moment… an extraordinary explosion of rhythm, melody, dance, light and joy… I felt there was a thread right through Screamadelica, rave and carnival.”

      The O’Briens returned home in summer 2013 and Ed hunkered down in a remote cottage in the shadow of the Cambrian Mountains in Wales to begin writing songs. As the material for the album was taking shape, Flood offered his services as producer having heard some of the demos. “I had my man, my producer… He’s probably my favorite producer. The breadth of the stuff he’s done, from Depeche Mode, PJ Harvey, U2, Foals… he’s a sonic maestro.”

      They rented a big house in Wales and over three weeks, in the Autumn of 2017, O’Brien and his house band – East, Hakim and Okumu – got down the bones of the record. A year of tinkering and re-working followed at Assault & Battery Studios in Willesden, London. “The house band was so good for some tracks – but other stuff needed a different approach. Any record that I’ve been involved with, that’s been of any merit, is always a journey.”

      And then, following five years of writing and recording scheduled during any possible break from the making and touring of Radiohead’s A Moon Shaped Pool, EOB’s debut was finally completed. “I see this as part of a bigger story…. A trilogy perhaps…I’ve really just started.” It has been a long, necessary process, and O’Brien has emerged a different person. “You have to keep moving and finding the things that inspire you and that resonate… there’s a music that I’m chasing… this feels like the right start.” EOB marks a new beginning for Ed O’Brien. From here, he can go anywhere.


      1. Shangri-La
      2. Brasil
      3. Deep Days
      4. Long Time Coming
      5. Mass
      6. Banksters
      7. Sail On
      8. Olympik
      9. Cloak Of The Night

      Beastie Boys

      Ill Communication - 180g Vinyl Edition

        "Ill Communication" follows the blueprint of "Check Your Head", accentuating it at some points, deepening it in others, but never expanding it beyond the boundaries of that record. It was the first Beastie Boys album not to delve into new territory, but it's not fair to say that the band were coasting, since much of the album finds the group turning in muscular, vigorous music that fills out the black-and-white sketches that comprised "Check Your Head". Much of the credit has to go to the group's renewed emphasis on their rhyming; there are still instrumentals, but the Beasties do push their words to the forefront, even on dense rockers like the album's signature tune, "Sabotage". But even those rhymes illustrate that the group is in the process of a great settling, relying more on old-school-styled rhyme schemes and word battles than the narratives and surreal fantasies that marked the high points on their first two albums. With this record, the Beasties confirm that there is indeed a signature Beastie Boys aesthetic, with the group sticking to a blend of old school rap, pop culture, lo-fi funk, soulful jazz instrumentals, Latin rhythms, and punk, often seamlessly integrated into a rolling, pan-cultural, multi-cultural groove.


        Sure Shot
        Tough Guy
        B - Boys Makin' With The Freak Freak
        Bobo On The Corner
        Root Down
        Get It Together
        The Update
        Futterman's Rule
        Alright Hear This
        Eugene's Lament
        Flute Loop
        Do It
        Ricky's Theme
        Heart Attack Man
        The Scoop
        Bodhisattva Vow

        Beastie Boys

        Check Your Head - Remastered Vinyl Edition

          "Check Your Head" brought the Beastie Boys crashing back into the charts and into public consciousness on its original 1992 release. Following "Paul's Boutique", the Beasties had repositioned themselves as a lo-fi, alt-rock groove band. They had not abandoned rap, but it was no longer the foundation of their music, it was simply the most prominent in a thick pop-culture gumbo where old school rap sat comfortably with soul-jazz, hardcore punk, white-trash metal, arena rock, bossa nova, spacey pop, and hard, dirty funk. On "Check Your Head" turned toward primitive grooves they played themselves, augmented by keyboardist Money Mark and co-producer Mario Caldato Jr. Music was the message, and the rhymes, which had been pushed toward the forefront on both "Licensed To Ill" and "Paul's Boutique", have been considerably de-emphasized (only four songs - "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" - could hold their own lyrically among their previous work). The focus is on the music, mood, and even the newfound neo-hippie political consciousness. As much as "Paul's Boutique", this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound DIY that makes it all seem equally accessible - which is a big reason why it turned out to be an alt-rock touchstone of the 90s, something that both set trends and predicted them.


          Jimmy James 3:14
          Funky Boss 1:35
          Pass The Mic 4:17
          Gratitude 2:45
          Lighten Up 2:41
          Finger Lickin' Good 3:39
          So What'cha Want 3:37
          The Biz Vs. The Nuge 0:33
          Time For Livin' 1:48
          Something's Gotta Give 3:28
          The Blue Nun 0:32
          Stand Together 2:47
          Pow 2:13
          The Maestro 2:52
          Groove Holmes 2:33
          Live At P.J.'s 3:18
          Mark On The Bus 1:05
          Professor Booty 4:13
          In 3's 2:23
          Namasté 4:01

          Beastie Boys

          Paul's Boutique

            Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album - an embarrassing commercial flop that should have ruined the group's career. But not only did 'Paul's Boutique' eventually transform the Beasties from a fratboy novelty to hip hop giants, its sample-happy, retro aesthetic changed popular culture forever.

            With the considerable help of Los Angeles-based production duo the Dust Brothers, the Beastie Boys helped redefine what sampling could be with this record. Snatches of familiar music are scattered throughout the record - anything from Curtis Mayfield's "Superfly" and Sly Stone's "Loose Booty" to Loggins & Messina's "Your Mama Don't Dance" and the Ramones' "Suzy Is a Headbanger" - but never once are they presented in lazy, predictable ways. the Dust Brothers and Beasties weave a crazy-quilt of samples, beats, loops, and tricks, which creates a hyper-surreal alternate reality, evolving into a wholly unique record, unlike anything that came before or after. It very well could be that its density is what alienated listeners and critics at the time; there is so much information in the music and words that it can seem impenetrable at first, but upon repeated spins it opens up slowly, assuredly, revealing more every listen. Musically, few hip-hop records have ever been so rich; it's not just the recontextulations of familiar music via samples, it's the flow of each song and the album as a whole, culminating in the widescreen suite that closes the record.

            STAFF COMMENTS

            David says: I don't want to come across all 'hip hop isn't what it used to be' BUT you can't listen to this without.
            A: Dancing like a drunk uncle at a very funky wedding.
            B: Smiling like you've got a winning lottery ticket in your pocket.

            TRACK LISTING

            To All The Girls 1:29
            Shake Your Rump 3:19
            Johnny Ryall 3:00
            Egg Man 2:57
            High Plains Drifter 4:13
            The Sounds Of Science 3:11
            3-Minute Rule 3:39
            Hey Ladies 3:47
            5-Piece Chicken Dinner 0:23
            Looking Down The Barrel Of A Gun 3:28
            Car Thief 3:39
            What Comes Around 3:07
            Shadrach 4:07
            Ask For Janice 0:11
            B-Boy Bouillabaisse 12:34
            59 Chrystie Street
            Get On The Mic
            Stop That Train
            A Year And A Day
            Hello Brooklyn
            Dropping Names
            Lay It On Me
            Mike On The Mic

            Mazzy Star

            Among My Swan

            "Among My Swan" features the same swirling, psychedelic folk music that brought Mazzy Star mainstream success with 1993's "So Tonight That I Might See". The songs employ the sparse arrangements and dark sense of space first explored by bands like Big Star (on "Third/Sister Lover") and the Velvet Underground. But with tunes that are always accessible, and sometimes irresistible, Mazzy Star has brought this dreamy ballad sound up from the underground. David Roback provides a shimmering backdrop of slide guitar and organ for Hope Sandoval's mesmerising vocals. Smooth as honey and wispy as tumbleweed, Sandoval's haunting voice traps the listener in a celestial trance. "Among My Swan" never lapses into the self-indulgent side of psychedelia; the music is always kept muted and close to its folk and blues roots. This is an album of beautiful mood music that flickers in the shadows.

            Mazzy Star

            So Tonight That I Might See

            Combining the considerable talents of guitarist Dave Roback (Opal, Rain Parade) and Hope Sandoval's sultry, heavy-lidded vocals, Mazzy Star fuses blues, country, and pulsing acoustic folk in a dark psychedelic mix that recalls the Velvet Underground and The Doors. The group's highly textured, atmospheric sound emerged glittering and fully formed on the debut "She Hangs Brightly", surprising listeners with its moody yet accessible mix. "So Tonight That I Might See" sticks close to the ground staked out by its predecessor, though with no less success. "Wasted" moves insistently down the twelve-bar road to nuanced, snarling guitar embellishments. "Blue Light" is smoky, blue-eyed (if black-hearted) soul. Of particular note is the cover of Arthur Lee's "Five String Serenade", graced with lilting cello and tambourine accompaniment. Roback's electric/lysergic guitar explorations and Sandoval's blusey, lazily erotic sigh weave a deeply evocative spell, making "So Tonight That I Might See" a perfect 2:00AM album.

            Steve Miller Band

            Children Of The Future

              From the Floydian Mellotron ballad of "In My First Mind" to the seagulls and wavesounds on "The Beauty of Time Is That It's Snowing" the first Steve Miller Band album from 1968 is full of suprises, each track segues into the next and can be termed a concept album, there is a blues feel about it but there are also moments of psychedelia and progressive rock that make you really sit up. A minor classic.

              Steve Miller Band

              Number 5

                "Number 5" the Steve Miller Band's 1970 release remains a real favourite amongst his fans. It seems to epitomise his early work (prior to his car crash and later more pop-orientated career). It's full of melodic, spacey guitar-led songs with much use of the Echoplex. It includes classic Miller songs like "Good Morning", "Going To The Country" and "Jackson-Kent Blues".

                Steve Miller Band


                  Opening with the haunting "Song For Our Ancestors" Steve Miller's 1968 album "Sailor" is probably the finest of his career. The band were on song with half the album more bluesy and the other half more rockin'. It includes classic Miller songs like "Living In The USA" and "Gangster Of Love". With Stones producer Glyn Johns at the controls, this is a great album if you love that epic 60s San Francisco sound.

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