Pink Floyd New Vinyl Thursday

It’s Pink Floyd New Vinyl Thursday at The Vinyl Underground at 7th Heaven. Check out this week’s list of new vinyl arrivals:

The 8th Wonders of the World – The 8th Wonders Of The World (Orange Colored Vinyl)

Alice Cooper – Alice Cooper’s Greatest Hits (140 Gram Vinyl)

Art Blakey – Selections From Golden Boy

Band of Horses – Things Are Great (Rust Clear Vinyl, Indie Exclusive)

Beastie Boys – Aglio E Olio

Beths – Warm Blood (Brown Colored Vinyl)

Blue Lab Beats – Motherland Journey

Bad Brains – Quickness

Beach House – Once Twice Melody (Gold Clear Vinyl, Poster)

Beck – Guero

Bonobo – Fragments (Limited Edition, Colored Vinyl, 140 Gram Vinyl, Indie Exclusive, Digital Download Card)

Billie Eilish – When We All Fall Asleep, Where Do We Go? (Colored Vinyl)

The B-52’s – Live! Rock ‘n Rockets 1998

Weekly Review:

The pride of Athens, Ga., were two decades removed from their dazzling left-field debut when they took
the stage in Orlando, Fla., in November, 1998, as part of Disney’s Rock ‘n Rockets festival. All but one
song from that night’s set is preserved on this two-LP set.
After several years of lower activity, 1998 found the band invigorated, with several new songs on a best-
of collection to support. The Rock ‘n Rockets set reflects this, containing many of the band’s biggest and
most beloved songs – “Rock Lobster,” “Private Idaho” and, yes, “Love Shack” – in pristine, almost studio-
quality sound.
With a pastiche of 1950s and ‘60s trash culture, sci-fi and garage rock, the B-52s always sounded a bit
ragged and worn, so it’s a bit jarring to hear them this cleanly. However, it doesn’t diminish much of the
charm of these songs.
“Debbie,” the lone omission from that night, is preserved because of some inartful editing, which finds
the quartet introducing the missing song, yet playing another. Removing some of the between-song
banter and dead time would have also helped with pacing.
Regardless of these drawbacks, Live! Rock ‘n Rockets is a welcome addition to the B-52s catalog, if only
because live representation of the band on vinyl is so hard to find. -Joel Francis

Carole King – Tapestry (Boxed Set, 180 Gram Vinyl, Limited Edition, Indie Exclusive)

Cigarettes After Sex – Cigarettes After Sex

Creedence Clearwater Revival – Chronicle

Dinosaur Jr. – Farm; I Bet on Sky

Weekly Review:

Dinosaur Jr. are alternative rock’s version of AC/DC. Every album is pretty much like the one that came
before it, yet still deeply – and uniquely – gratifying. The formula is straightforward: J. Mascis wails on
his guitar like the Crazy Horse version of Neil Young while singing very much like the Harvest version of
Neil Young. Drummer Murph and bass player (and vocalist) Lou Barlow provide a rock-solid foundation
for this heartfelt, six-string cacophony. A couple times each album, Barlow takes over and does one of
his songs, which are frequently terrifying and also serve as effective palate cleansers.
Both Farm and I Bet on Sky date from the trio’s unlikely second act. Nearly 20 years after bitterly leaving
the band, Barlow began working with Mascis again. The pair immediately reconvened with Murph
leading to a wildly fruitful – and ongoing – renaissance that has lasted more than three times as long as
the original run.
Released in 2009, Farm has the distinction of being the band’s longest album. At a dozen songs and just
over 60 minutes, Farm proved that the three players weren’t just working well musically, but actually
had quite a bit to say as well.
The joy in listening to Farm lies in hearing Mascis, Murph and Barlow play off and around each other.
Three songs push past six, seven and eight minutes, respectively, as the unit allows themselves to space
to explore and push each other. The best of these journeys is “I Don’t Want to Go There,” where Murph
brutalizes his drum set to prod Mascis to new places. The magnificent “Ocean in the Way” manages to
travel almost as far in half the time. The wah-driven “Over It” is one of Mascis’ best pop gems.
Three years later, I Bet On Sky dropped. The third album of the second act not only matched the group’s
brilliant original run, but showed they had some new tricks up their sleeves. Sky is the most subdued
album in the Dinosaur Jr catalog. The album’s 10 songs find the group working with subtlety and
shading, as opposed to just turning everything up to 11 and letting it rip.
On opening number “Don’t Pretend You Didn’t Know,” Mascis uses an eerie synthesizer to fill out the
track, instead of his standard wall of guitars. Later in the song, a piano appears down in the mix, adding
another new texture to the performance. The piano appears in a similar role on a few other songs as
Don’t be fooled into thinking this prehistoric reptile has been fully domesticated, however. The guitars
on “See It on Your Side” and anthemic “What Was That” are still capable of melting faces and Barlow
remains delightfully off-kilter (and nakedly emotional) on his two cuts.
In for a penny, in for a pound. Pick up either of these albums sounds most appealing, but keep in mind it
won’t be long until you’re back for the other one as well. -Joel Francis

Daft Punk – Discovery

Dropkick Murphys – The Warriors Code

David Bowie- The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Eric Clapton and B.B. King – Riding with the King (Bonus Tracks, Anniversary Edition, Expanded
Version, Reissue)

Weekly Review:

A photo inside the gatefold of B.B. King and Eric Clapton’s 2000 collaboration Riding with the King
depicts the King of the Blues jamming with a permed-out Slowhand, then a member of Cream. This late
‘60s image captures how long blues fans had been waiting for this release. With so much built-up
anticipation, any final release can’t help but feel like a bit of a let-down. A 20th anniversary vinyl edition
makes it easier to appreciate – and examine – Riding with the King for what it is.
It’s easier to start with what Riding with the King is not. This isn’t a head-cutting contest where two
guitar heroes try to outdo the other. It also isn’t the type of blues you’d hear coming from a late-night
juke joint. At 74 and 55 years old, respectively, King and Clapton are more concerned with enjoying each
other than proving anything. The glossy production and slick arrangements are better suited for the
sports arenas Clapton played than any of the down-home joints where King started out.
For anyone still willing to ride with the king(s) after these caveats, the album is a smooth, enjoyable
outing. The opening, title track – a John Hiatt cover – shows how comfortable the pair are together.
There are no egos involved and the guitar licks and vocal lines pass back and forth smoothly and warmly.
The remaining 13 tracks – there are two bonus tracks for this edition – follow this form. Whether
covering a gem from King’s back catalog, the standard “Come Rain or Come Shine” or Robert Johnson’s
“Rollin’ and Tumblin’,” B.B. and E.C. are warm and affable. It may not please the purists, but there’s
plenty of room for everyone else to ride along. -Joel Francis

Floating Points, Pharoah Sanders & The London Symphony Orchestra – Promises

Grant Green – The Latin Bit

Guided by Voices – Crystal Nuns Cathedral

Iron Maiden- Senjutsu

Jill Scott – Who Is Jill Scott: Words And Sounds, Vol. 1 (Blue Colored Vinyl, Limited Edition)

Johnny Marr – Fever Dreams Pt. 1-4 (Turquoise Colored Vinyl, Indie Exclusive)

Joe Henderson – Inner Urge

Weekly Review:

If nothing else, you have to applaud jazz saxophonist Joe Henderson’s moxie. On his debut album, in
1963, Henderson plucked one of the greatest supporting pianists of all time. Pianist McCoy Tyner was
well-suited for the role, because he’d been playing a similar one in titan John Coltrane’s legendary
quartet for years. Just three years later, Henderson had not just Tyner playing on his releases, but
Coltrane’s drummer Elvin Jones as well. Henderson had to know the comparisons to Coltrane would be
inevitable, but didn’t care.
Recorded in 1964, but not released until 1966, Inner Urge finds Henderson working with Tyner, Jones
and bass player Bob Cranshaw. While Tyner’s distinctive playing stands out, the five-song statement
quickly refutes any notion that Henderson is playing in Coltrane’s shadow, or anyone else, for that
The nearly 12-minute title track is an exhilarating proclamation. The extended piece not only allows for
gripping solo by Jones and Tyner, but gives Henderson plenty of room to dodge and dart across the
compositional chords, applying different textures and patterns each time. Despite its length, the
performance never lags or feels labored.
“Isotope,” the other song on side one, has an uneven feel, like a Thelonious Monk number. Side two
opens with “El Barrio,” the third Henderson original, and includes covers of Duke Pearson’s “You Know I
Care” and Cole Porter’s “Night and Day.” Porter’s song had been done so many times, even back in
1964, Henderson and his combo don’t add anything new, but sound like they are having fun. “El Barrio”
is the gem on this side, with Henderson employing rough textures and dark tones to bring this portrait of
a south-of-the-border neighborhood to life. -Joel Francis

Kenny Mann With Liquid Pleasure – Kenny Mann with Liquid Pleasure

King Gizzard & Lizard Wizard – Live In Melbourne ’21 (Indie Exclusive)

King Gizzard and the Lizard Wizard- Nonagon Infinity

Kendrick Lamar – Good Kid, M.A.A.D. City

Khruangbin and Leon Bridges – Texas Moon (Extended Play, Blue Colored Vinyl, Indie Exclusive)

Weekly Review:

Two years after psychedelic trio Khruangbin and neo-soul singer Leon Bridges – all natives of the Lone
Star State – released the collaborative EP Texas Sun, the pairing is back with another EP, fittingly titled
Texas Moon.
While the Texas EPs have similar cover art, the content is also complementary. Texas Sun is upbeat and
hopeful. Texas Moon is more reflective and laid back. At just five tracks, Khruangbin and Bridges make
every note count, but a few songs rise above the others. The funky, guitar-driven “B-Side” (an answer to
the previous volume’s “C-Side”) provides the most playful moment, with guitarist Mark Speer
channeling a hybrid of Steve Cropper and Catfish Collins. On the other end of the spectrum, “Father
Father” is a haunting plea for divine help from a shattered soul. Album closer “Mariella” continues this
mood, working within the same weighty atmosphere as a War on Drugs cut.
At 22 minutes, Texas Moon is just long enough to tantalize. This can be somewhat abated by pairing
Texas Moon with Texas Sun. Hopefully in two years we’ll have Texas Noon or some other approximation
to add to the collection. -Joel Francis

Lady Blackbird – Black Acid Soul

Lauryn Hill- Miseducation of Lauryn Hill

Lana Del Rey – Blue Banisters

Mankunku Quartet – YakhalL’ Inkomo

Marlena Shaw – The Spice Of Life

Muddy Waters – Hard Again: 45th Anniversary (Limited Edition, 180 Gram Vinyl,Blue Colored Vinyl)

Megadeth – A Night In Buenos Aires (Blue Vinyl)

Weekly Review:

Over time, if a band is able to exist long enough, its studio output inevitably slows and live releases
increase, filling that gap. As one of the Big Four metal acts to break in the 1980s, Megadeth has been
banging heads for nearly 40 years. Between 2007 and 2013, the band released four live albums,
understandably leaving casual fans to wonder which, if any, of these concert documents are worth their
time and money.
Recorded at a 2005 stop in Argentina, That One Night was the band’s second live album. Now that
performance is finally getting released on vinyl. Spreading across three LPs and encompassing 90
minutes, That One Night captures the group in support of The System has Failed. The quartet perform
four numbers from that album, but really the show is an excuse to break out crowd favorites and hits.
The 22-song set reaches back to the band’s second album for “Wake Up Dead” and touches on several
high points, including the non-album song “Angry Again,” breakthrough single “Symphony of
Destruction” (ingeniously paired here with “Peace Sells”) and “She-Wolf,” one of the better songs on
Cryptic Writings. Rust in Peace, Megadeth’s masterpiece, is represented by three tracks, as is
Countdown to Extinction.
Throughout the course of the night, the exuberant South American audience almost becomes a fifth
band member, singing along with not only the lyrics, but the guitar riffs. Hearing the crowd sing along to
“Hangar 18” and “A Tout Le Monde” makes already electrifying renditions become even more
energized. That One Night might not supplant a greatest hits collection, but it is enjoyable and
comprehensive enough to satisfy the needs of both casual Megadeth fans who only need one release,
and put it atop the pile of live releases for more dedicated fans. -Joel Francis

My Morning Jacket – Z (Purple Colored Vinyl, Limited Edition, 180 Gram Vinyl, Reissue)

Miles Davis – The Essential

Mitski – Laurel Hell (Opaque Red Vinyl)

The Moldy Peaches – Origin Story 1994-1999
Weekly Review:
The Moldy Peaches were probably one of the most unique voices to come out the late 90’s/ early 00’s  golden era of New York Indie Rock which included bands like The Yeah Yeah Yeah’s, Interpol and The Strokes.
The co-opting of MP material for the Academy Award winning film soundtrack to “Juno” catapulted the band into mega success shortly after announcing they were taking an indefinite hiatus.
Even though the main songwriting forces, Kimya Dawson and Adam Green, have both gone on the have successful solo careers, no new original material has been release under the band name since 2001.
What a lot of people may not have known is that a version of The Moldy Peaches has existed as far back as 1994.
After meeting at a record store in Mt. Kisco, New York Adam and Kimya would form a friendship and creative collaboration that centers around a common aesthetic for spontaneous, lofi, often surreally humorous, folk songs.
I had the benefit of meeting Adam and Kimya when they first started hanging out at the Sidewalk Cafe in NY around 2000. It was soon after they had recorded their self titled album that would be released on Rough Trade Records and result in a opening slot on a tour with another somewhat unknown band at the time called The Strokes.
Their blend of shy confidence, mixed with sometimes irreverent humor, lined with an earnest sweetness was something that truly captured the zeitgeist of the time and helped to deliver the indie music culture from the previous era of testosterone driven grunge rock.
“The Moldy Peaches Origin Story 1994-1999” is a compilation of previously recorded songs, sketches, live performances, and poems.
Whether it’s the blatant jealousy expressed through “I Wish I Was Ben Lee” or references to the the DIY music scene centered around the Olympia Washington label “K”  records in “The Shoes That He Died In,” like little bread crumbs on the trail, the tracks throughout “Origin Story” offer clues to this, at times, unique and enigmatic band.
For fans of Daniel Johnston, early Sebadoh, early K Records bands like Beat Happening and Mirah.  – Major Matt

Nas – Illmatic

Nusrat Fateh Ali Khan – Shahbaaz

Orville Peck- Show Pony (Purple Colored Vinyl, Sticker, Extended Play, Poster)

Orville Peck – Pony

Ozzy Osbourne – Diary Of A Madman (Picture Disc Vinyl LP, Remastered)

Outkast – Speakerboxxx / The Love Below

Pink Floyd – Piper At The Gates Of Dawn (Mono Version) (180 Gram Vinyl, Remastered)

Peter Brötzmann, Milford Graves & William Parker – Historic Music Past Tense Future

Phil Ranelin – Phil Ranelin Collected 2003-2019

Phil Ranelin – Time Is Now

Pearl Jam – Vs. (180 Gram Vinyl)

Radiohead – Kid A Mnesia (Gatefold LP Jacket, 3LP)

Sam Cooke – Best of (140 Gram Vinyl, Download Insert)

Slave – Stellar Fungk: The Best Of Slave Featuring Steve Arrington (Red Colored Vinyl)

Sinead O’Connor – So Far … the Best Of (Clear Vinyl)

Weekly Review:

A quarter of a century has passed since this collection was first released, putting quite a load on the “So
Far” part of the title. Of course, 25 years ago was also the peak of the CD era, making So Far a 15-song,
77-minute ode to that medium as well.
The collection’s selling points upon release remain its strengths today as well, namely the hybrid format
of putting rare songs stans crave next to the hits casual fans want. For the former, So Far collects several
soundtrack contributions, including “Heroine,” a collaboration with U2 guitarist The Edge, “You Made
Me the Thief of Your Heart,” a song written with The Edge’s bandmate Bono, and “Empire,” a song
performed with Bomb the Bass and Ben Zephaniah.
Casual fans will enjoy the front-loaded playlist, opening with the Prince cover “Nothing Compares 2 U,” a
No. 1 hit in 1990. Next up is “Mandinka,” which introduced Sinead O’Connor to audiences around the
world. “The Emperor’s New Clothes,” another big hit, follows that.
O’Connor didn’t have a lot of big hits, so after this the anthology starts mixing key album cuts in with the
lesser-charting singles. This aids in rounding out the portrait of a famously complicated, oft-pained
To be honest, casual fans will probably fine with just I Do Not Have What I Have Not Got, O’Connor’s
best-selling album (with the big hit). Those wanting to go just a bit deeper will be well-served by So Far. -Joel Francis

St. Paul and The Broken Bones – The Alien Coast

Tears for Fears – The Tipping Point (Green Colored Vinyl, Lithograph, Indie Exclusive)

Ty Segall- Harmonizer

Thurston Moore – Screen Time

Voka Gentle – Writhing
Weekly Review:
Voka Gentle are a London based trio consisting of Imogen MaSon, Ellie MaSon and William J.STokes. All three are writers. All three are musicians. All three are producers.
The band exploded onto the music scene in 2020 by opening for Flaming Lips at the special anniversary show of  ‘‘the soft bulletin’’’ at London Brixton Academy.
With a musical pallet as broad as the works of Picasso in the art world, perhaps the most consistent description critics have made about Voka Gentle is that they evade categorization.
The band has self-described as a  “… constantly evolving project. Our roots are in traditional soil – we love the structure and soundscape in folk songs – but we wanted to work from those foundations to develop a new vocabulary, a new kind of songwriting.”
The opening track, Kestral, on their latest album “Writhing” starts off as a sweet and melancholic synth pop song with guy/ girl vocals. But soon it descends into slightly chaotic drum and bass track. The vocals continue to float on top in contrast to the ominous lyrics being sung:
“When the pack goes for the kill
When the pack gets on the smell
The bulb will burst and we won’t care
We won’t care”
Track two: “Necrofauna/The Garden of Eden” starts off like a plodding animal with big Juno synth bass lines. The song features Wayne Coyne. Giving a lofty sound eulogy at the end a la Eclipse on Pink Floyd’s “Dark Side Of The Moon.”
“Horse Latitudes” is a slightly more traditional industrial synth track that sounds a bit like post apocalyptic Human League, while Respect My Integrity, Pt. 1 is an atmospheric instrumental the melts into Respect My Integrity, Part 2 which emerges like a brooding guitar dirge that could be an outtake from Wire’s “154” album.
Miasma Field Modulator (Trafalger Square) is pretty much what you’d imagine the title to sound like, basically a warmly extended sound collage collaboration with Bristol lofi poet folk musician Oliver Wilde.
If it were possibly imaginable that Avila Gentle could generate a single the song  “TV Bra” would probably be it. A visceral and rhythmic vibes-driven groove is accompanied by Stokes’s spoken word vocal track that sounds like he’s basically reading instructions for installing Internet service software when it’s actually a bra made of TVs?!?
Election Day is a slightly edgy trance house track with a distinct “Kid A” era Radiohead vibe while DREAD/ TKO sounds like it could be a standout track on the next Sparks record.
“Slow Joe” is slow brooding introspection that seems to be about desire, art and perhaps a hint of mental illness. The wonderful thing about Voka Gentle is that they are not afraid to take their time with a song and allow it to unfurl organically, not dissimilar to some of the great progressive, Krautrock, or even experimental electronic bands like  Pink Floyd, Can, or The Orb.
The album concludes with the almost straight up madrigal inspired folk tune that devolves once again into trance house inspired dream.
If you can’t tell by now,  I really, really like this record. I think you should buy it because I want more people to be inspired by the open approach Voka Gentle seem to takes to creating. Plus there’s a picture of a hairy butt on the back of the album. And it’s Yellow!!! – Major Matt

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Sherman, Gordon, Cat, Matt, Dylan, Doyle, Heather, Greg, Dave and Lain