Record Store Day is Coming...And We've Been Saving Some Juicy Stuff for April 20

Posted by Amoebite, April 13, 2013 12:45pm | Post a Comment

 April 20 is almost here and you know what that means... RECORD STORE DAY!!! Our favorite holiday, celebrating the glorious musical community of independent record stores! Real record stores are where music lives and thrives, and anyone who works or shops at a neighborhood record store deserves their very own day of glory.

For Amoeba it's one of our best days of the year, when we throw open our doors and welcome one of the biggest communities of music lovers ever assembled under one roof. YOU ARE Record Store Day!

Of course there are hundreds of exclusive RSD releases, and folks line up hours in advance to grab the rarest of the rare. This year features the biggest lineup of exclusive releases yet, featuring records by everyone from The Cure to the Grateful Dead to Notorious B.I.G.. As always, line up early to snag those exquisite jams! The Coffee Bean is providing coffee for the early birds at Amoeba Hollywood, so they'll keep you nice and caffeinated that morning.

But it's more than just the RSD releases. We've been saving up treats and collections and goodies and rare stuff for months, and it's all hitting the floor on April 20th. It'll be a bonanza you won't want to miss! Our pricers and our warehouse staff have been prepping tons of rare records, posters, DVDs, books, 45s, toys and collectables, and piling it high in the warehouse in preparation for the big day. We're putting out bins and bins of fresh CDs in every department. Boxes and boxes of fresh 45s. It's like a whole holiday shopping season in one day and you're a part of it!

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10 Releases to Check Out on Record Store Day

Posted by Billy Gil, March 26, 2013 06:35pm | Post a Comment

Record Store Day 2013 takes place April 20, featuring new releases, reissues of out-of-print albums and other rarities. I’ve pulled out 10 titles or sets of releases that jumped out to me personally. If it’s anything like last year, you’ll have to get here early to get those in-demand releases (check out last year’s coverage here).

You can view a listing all of the releases that will be made available that day here and find more information on Record Store Day's official site. Check out my picks below.


The BatsBy Night

The Bats AmoebaThe debut release by The Bats, part of the Flying Nun clan of New Zealand jangle-pop bands. The Bats are fronted by Robert Scott, sometime bassist of The Clean, a band whose cult infamy has helped lead to their brethren being rediscovered by a new generation. I haven’t heard By Night, but having quite enjoyed 1987’s Daddy’s Highway, I’m sure their debut is just as chockfull of jangly delights. Seriously, I want to just jump on an airplane slash time machine and live in New Zealand in the ’80s and listen to awesome bands like The Bats, though they’re still around making fine records today.



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(In which we... Wait... Did you hear that? Hold on and AAAAAAAAHHHHHH!!!)

Posted by Job O Brother, October 30, 2012 01:10pm | Post a Comment

witch black cat halloween
"What you should be scared of is Romney's plan for those of us in the working class!"

It’s been just long enough since last year’s Reese’s Peanut Butter Cup hangover to allow me to look forward to another Halloween. Assuming I will have learned nothing from previous celebrations, I’ll undoubtedly be purchasing an extra big bag of candy under the pretence of preparing for trick-or-treaters, knowing full well that, in the five years I’ve lived here, I’ve gotten exactly one caller.

Let me tell you though – that one trick-or-treater made me so excited I gave him three huge handfuls of candy; enough that both he and his mother looked a little concerned; there was almost certainly an after-hours comb-through to search for pins and poison in the hoard I’d bestowed.

I’m digressing here, but why hasn’t anyone invented candy pins? Am I alone in thinking that would be neat?

poison labels
Still better than Necco Wafers!

Every year I assemble folks to watch horror films and eat candy. I don’t yet know what we’ll be watching (last year it was Susperia) but I am ready with a playlist of atmospheric Halloween music, some of which I’ll share with you…

First, nothing fills out a Halloween playlist better than a hearty dose of organ music by the baddest mutterficker of baroque: Johann Sebastian Bach.

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The 90s...the best albums of 1992...

Posted by Brad Schelden, October 26, 2012 06:00pm | Post a Comment
1992 was a big deal for many reasons. This was my last year of High School. The year I turned 18. My last year living at home. It was also my first year at college. My first year living away from home. And another year that I got even more obsessed with music. And it all happened 20 years ago! Hard to believe. By 1992 I had really worn out my copy of Disintegration by The Cure. So I was ready for the new Cure album. Wish was released in March of 1992. It would really become the album that I most associate with 1992. I can remember listening to it for the first time. It became the album that I would listen to most throughout the summer and well into 1993. I was still primarily listening to cassettes at this point. I don't think I got a CD player until 1993. I held out for a while for some reason. The Cure was one of the first bands whose catalog I upgraded to CD as soon as I got a CD player. 1992 was also the year that I discovered Lush, Curve & Pale Saints! The year I discovered Bjork & The Sugarcubes. The first time I heard PJ Harvey and Red House Painters. These bands would all become a huge part of my musical life throughout the 90s. I became a lifelong fan of both PJ Harvey and Red House Painters. And I seriously can't imagine my life without these guys. I was still listening to a lot of radio in 1992. KROQ was starting to become a bit annoying this year though. It seemed that every other song was Pearl Jam, Red Hot Chili Peppers or U2. I didn't like any of those bands and had to constantly change the station whenever they came on. But KROQ still played a lot of Morrissey & The Cure. It is where I first heard Lush, The Sugarcubes, The Lemonheads, James, Cause & Effect, Catherine Wheel, Soup Dragons, St. Etienne, Curve & Utah Saints. So I did still manage to listen to it quite a bit. I also watched 120 Minutes every Sunday. Dave Kendall was the host until 1992 when Lewis Largent took over. 1992 was also the first year of Alternative Nation on MTV. I became a big fan of this show and its host Kennedy! She probably annoyed most people. But I loved her. And I loved being introduced to new bands by watching their videos. 120 Minutes was always cooler though. There was too much Pearl Jam and Red Hot Chili Peppers on Alternative Nation just like on KROQ. Just to give you an idea of what was being played on KROQ in LA here is their top 20 songs of 1992...

1. Red Hot Chili Peppers - Under the Bridge
2. Pearl Jam - Jeremy
3. The Cure - A Letter to Elise
4. Nirvana - Come As You Are
5. U2 - One
6. Toad the Wet Sprocket - All I Want
7. Shakespear's Sister - Stay
8. Pearl Jam - Even Flow
9. Morrissey - Tomorrow
10. R.E.M. - Drive
11. James - Born of Frustration
12. Sugarcubes - Hit
13. The Cure - Friday I'm in Love
14. Temple of the Dog - Hunger Strike
15. L7 - Pretend that We're Dead
16. Peter Gabriel - Digging in the Dirt
17. The Charlatans - Weirdo
18. Cause & Effect - You Think You Know Her
19. Annie Lennox - Why
20. Alice in Chains - Would

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Album Picks: Fiona Apple, King Tuff, Grass Widow, Liars

Posted by Billy Gil, June 19, 2012 07:27pm | Post a Comment
fiona apple the idler wheelToday Fiona Apple’s The Idler Wheel … was released. The first time I spun the album my jaw dropped. I grew up listening to Fiona Apple. She was one of my favorite artists in high school, and I’d followed her since the Tidal days, through her more “mature” albums When the Pawn … and Extraordinary Machine. I’d always still liked her, but my fervor had subsided a bit since those awkward teen years when her brand of super-confessional experimental pop really hit home. Well, this is something wholly different. As great as her previous three albums were, The Idler Wheel is the gutsiest thing she’s put out yet. Even more so than on Extraordinary Machine, Apple sounds uninterested in storming the radio with The Idler Wheel. She’s after something bigger here. Lyrically, she exposes her greatest wounds and digs at them with extraordinary candor and self-directed venom. “I root for you, I love you, you you you you” she sings on one of her lovelier tunes, “Valentine,” but even then, that devotion has a desperate tone that makes it hard to take at face value. Similarly, on “Jonathan,” lines like “I like watching you live” are accompanied by a fairly dissonant arrangement, deranged drumwork by collaborator Charlie Drayton and musique concrète that makes the whole thing sound like a ship coming apart. Vocally, Apple has never sounded stronger, scarier and more assured, frequently unleashing shiver-inducing cries, growling and singing with unchained vibrato within the same breaths, on songs like the searing “Left Alone.” And just when things get too grim, she closes the album with a jazzy, sexy ode to a guy who cuts through her like a “hot knife.” From start to finish, across its jagged edges and soaring heights, Idler Wheel is an exhilarating, simply astonishing listen.
king tuffI’m a big fan of garage rock but not necessarily of its sometimes limiting factors — guitars and vocals have to have just enough care balanced with slop, that sort of thing. So it’s nice to hear a couple of great up-and-coming albums from bands who subscribe to garage rock aesthetics but not “surf rock fun times” generic modes. King Tuff’s self-titled album is a real riot, from its opening track “Anthem,” which delivers perfectly delivered riffery the likes of which is pretty rare these days. Along with like-minded peers Ty Segall and the late Jay Reatard, King Tuff write songs first and foremost, and the ground covered here becomes more apparent upon repeat listens, which isn’t hard to do with an album that’s this much fun to listen to. “Alone & Stoned” has terrific ascendant vocal lines and a cool ’80s vibe under its garage veneer. “Unusual World” is a touching garage ballad that doesn’t shy away from varying its instrumentation, with synths and vibes adding nice touches to Tuff’s Marc Bolan-esque delivery. What I’m most taken with on King Tuff is that it delivers catchy garage pop tunes while refusing to adhere to one tempo and one sound like so many albums of a similar ilk. My personal favorite: the Vaselines-ish “Stupid Superstar.”
Grass Widow Internal LogicAlong those same lines, I really can’t get enough of Grass Widow’s Internal Logic. Starting off with its lo-fi sci-fi opener “Goldilocks Zone,” Internal Logic is a perfect example of a band perfectly executing a much-missed particular sound while adding its own peculiar flair of cool nerdy girl chic. Not to be limiting, but the album in some ways plays like a master class in post-punk girl bands: the multiple harmonic voices of Stereolab; the out-of-step tempos of Kleenex and ESG and their progeny, like Erase Errata and Electrelane; and off-kilter charm of bands like The Breeders. Fun and clever without biting off more than it can chew, Internal Logic pretty much leaves me with a smile on my face from start to finish.
liars wixiwLast but not least, I hope the new Liars album doesn’t get lost in the shuffle ‘cause WIXIW is every bit as good as their previous few releases, in my mind. Thought it doesn’t quite reach the heights of Drum’s Not Dead, I’m digging this new, quieter yet just as paranoid edition of Liars. WIXIW is pop in the way the Silver Apples or Portishead’s Third are pop, equal parts sinister and beautiful, with a throbbing heart underneath its digital beats. “Octagon” is disturbing, atonal at parts, yet its whole is instantly memorable, sticking mean hooks into you that feel better than they should. “No. 1 Against the Rush” sends goth down the autobahn, playing out like a krautrock variation on The Cure’s “A Forest.” WIXIW has been compared to Radiohead’s Kid A, and, listening to the title track — which disintegrates eerily under waves of oscillators and comes pulsing back for a haunting chanted chorus — it’s not hard to see why.
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