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Workingman's Dead (180 Gram Vinyl) lLP pressing. Workingman's Dead is the fourth Grateful Dead studio album. It was recorded in February 1970 and originally released on June 14, 1970. The album and it's studio follow-up, American Beauty, were recorded back-to-back using a similar style, eschewing the psychedelic experimentation of previous albums in favor of Jerry Garcia and Robert Hunter's Americana-styled songcraft.
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heavyweight black vinyl 12” LP in spined sleeve, with printed inner bag and download card.
The sixth full-length studio release for the Damon Albarn's animated band features guest appearances from George Benson, Jamie Principle and Snoop Dogg.
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The album is the biggest selling in the band's illustrious catalog, with sales surpassing twelve million copies since its 1993 release. The album contains nineteen classics including 'American Girl,' 'Refugee,' 'Don't Come Around Here No More' and many others. The collection also features the singles from Tom Petty's solo album Full Moon Fever including 'Free Fallin,' 'I Won't Back Down' and 'Runnin' Down A Dream.' Rounding out the track listing are 'Mary Jane's Last Dance' and a cover of Thunderclap Newman's 'Something In The Air' which were first made available on this hits collection.
Calexico and Iron & Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam’s artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan’s “Rolling Thunder Revue” that cemented their bond. Their roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. Although they often talked about rekindling their collaboration in the studio and on the stage, it wasn’t until last year that their schedules aligned. Years to Burn can’t help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner), but wondering if Beam’s material was so complete and self-contained that it lacked a way in. Beam had been intimidated by Calexico’s virtuosic playing and their deep comfort in an encyclopedic array of styles. Those fears were dispelled quickly. Calexico was bowled over by Beam’s many talents: “The arranging, the writing, his sense of rhythm, the quality of his vocals—and then there’s the experimental side of Sam,” Joey says. “They were the perfect band at the perfect time for me,” Sam adds. “I loved all their different sounds. They’re musical anthropologists, not regurgitating but absorbing what they discover.” Beam, Burns and Convertino reconvened in Nashville for four days of recording in December 2018. Nobody was keen to retread old ground. The change of venue—In the Reins was tracked in Tucson—was one part of the effort. Together with steel guitarist Paul Niehaus, Calexico trumpet player Jacob Valenzuela and frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass, they settled in at the Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement. An added ingredient was Grammy-winning engineer/co-producer Matt Ross-Spang (Margo Price’s Midwest Farmer’s Daughter, Al Green, Jason Isbell’s Something More Than Free). As on In the Reins, Beam took the lead on songwriting for Years to Burn, but Burns added one of his own in the end. They took differing approaches: Sam shared meticulous demos ahead of time and was ready with arrangement ideas and instrumental parts, while Joey came in with concepts and an eagerness to improvise. “Life is hard. Awesome. And scary as shit. But it can lift you up if you let it,” Sam offers. “These are the things Joey and I write about now. And the title can encapsulate a lot of things. ‘Years to Burn’ could mean you’re cocky, you’ve got it made. Or, our life is ours to burn, to be inspired. Or you’re burned by life, brutalized. It’s an ambiguous title, because life is complicated.”
Soundgarden-Badmotorfinger - Badmotorfinger is the third studio album by American rock band Soundgarden and was released through A&M Records. Soundgarden began the recording sessions for the album with new bassist Ben Shepherd in the spring of 1991. The album maintained the band's heavy metal sound while featuring an increased focus on songwriting as compared with the band's previous releases. Considered the album's music to be "surprisingly cerebral and arty"; alternative tunings and abnormal time signatures were present on several of the album's songs, and lyrics were intended to be ambiguous and create imagery.
US version includes one exclusive 'hidden' bonus track, 'You Know I'm No Good' (featuring Ghostface Killah). 'Back to Black' is the second album from London-based chanteuse Amy Winehouse. Although her 2003 debut was a success, her rowdy offstage behavior became the focus of tabloids and critics instead of the music. Because of this, Winehouse stepped out of the spotlight and concentrated on putting the focus back on her music. Three years later, her sophomore release has surprised critics and excited her fan base. Combining a strong, Jazzy vocal style with often frank lyrical content recounting tales of love and loss, Winehouse is a truly talented songwriter with a good ear for melody, making this album an essential purchase. Includes the single 'Rehab'. Universal. 2007.
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