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21 Record Store Day Black Friday Titles to Look for on November 29th

Posted by Amoebite, November 20, 2019 12:03pm | Post a Comment

21 Record Store Day Black Friday Titles to Look for

What are you thankful for this Thanksgiving? Is it awesome new tunes, out in unexpected formats, filled with "previously unreleased" promise? Head out to Black Friday at Amoeba on November 29th and you'll be counting your blessings, whether your "blessing" of choice is a picture disc, first-ever vinyl pressing, or limited edition 7" single. This year's Record Store Day Black Friday releases feature some of the most exciting titles to pass through our stores on any RSD -- both the annual April extravaganza and the November retail rocker included.

Part of what makes RSD Black Friday so spcial is the limited nature of many of these releases, so take a look at this year's .pdf menu of titles and plan ahead. If you can't make it in to one of our stores on 11/29, there's still hope you can snag one of these titles. We'll add remaining RSDBF releases to Amoeba.com starting Saturday, 11/30 at 5am PT.

Record Store Day Black Friday 2019

Please note: All Record Store Day Black Friday items are limit one per customer, no holds or phone orders. RSDBF titles are available in-store only on Nov 29. Remaining titles will available for sale online starting Nov 30 at 5am PT.

In addition to these spectacular new titles, we will also special Black Friday sales on headphones, posters, select turntables, green tag DVDs & Blu-ray, and a gift certificate sale between 5-6pm only. Find out more about the Black Friday deals and happenings at Amoeba.

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New "What's In My Bag?" Episode with Shepard Fairey

Posted by Amoebite, August 6, 2019 03:32pm | Post a Comment

Shepard Fairey - What's In My Bag?

Acclaimed street artist, graphic designer, and social activist Shepard Fairey (Obey Giant) did some shopping recently at Amoeba Hollywood and sat down with us for a What's In My Bag? episode! He shared some of his favorite records and album covers, and talked about how The Clash's London Calling is the embodiment of punk, the way graphic design serves as a visual parallel to what's happening in the music, and the pleasurable inconvenience of vinyl.

Shepard Fairey is the American street artist, activist, and graphic designer behind the iconic Obey Giant and Obama "HOPE" designs. He first became active in the early '80s, sharing his artwork on t-shirts and skateboards while still a teenager. While attending the Rhode Island School of Design in 1989, Fairey created his first instantly recognizable work: the André the Giant Has a Posse sticker campaign, which later evolved into the Obey Giant. After graduating from RISD, Fairey opened Alternate Graphics, a small printhouse that produced his t-shirt and sticker designs. In the late '90s, Fairey opened guerilla marketing firm BLK/MRKT Inc.; during this time, he designed Mozilla's red dinosaur logo. Fairey launched the OBEY Clothing company in 2001 as a way to bring activism to everyday design. He and his wife Amanda Fairey founded the Studio Number One design agency in 2003. Highlights of their work include the poster for the film Walk the Line, plus album covers for The Smashing Pumpkins (Zeigeist), Led Zeppelin (Mothership), and Flogging Molly (Whiskey on a Sunday).

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New "What's In My Bag?" Episode with The Chris Robinson Brotherhood

Posted by Amoebite, February 20, 2018 04:08pm | Post a Comment

Chris Robinson Brotherhood What's In My Bag?

Chris Robinson and Neal Casal took time to go shopping during a recent visit to Amoeba Hollywood to perform songs from the new Chris Robinson Brotherhood album Barefoot in the Head. It was immediately clear that the bandmates and avid record collectors share a deep love of blues and folk music. In this What's In My Bag? episode, the pair talked with us about unsung heroes of music, sitting in with blues legend Albert Collins, and aging in the music business.

American roots rock band Chris Robinson Brotherhood was founded by Black Crowes frontman Chris Robinson while his earlier project was on hiatus in 2011. Current members include guitarist Neal Casal, bassist Jeff Hill, keyboardist Adam MacDougall, and drummer Tony Leone. Initially launched as a casual project, the Brotherhood's original lineup coalesced as the band toured California. They then embarked on 118 date North American tour. The band released their debut full-length, Big Moon Ritual, the following year.

Chris Robinson Brotherhood Barefoot in the HeadJust three months later, the band released their sophomore LP, The Magic Door. Betty's S.F. Blends, Volume One, a collection of CRB live tracks selected by the Grateful Dead's record producer, Betty Cantor-Jackson, was released as a vinyl-only LP in 2013. Phosphorescent Harvest, co-written by Chris Robinson and Neal Casal, arrived in 2014. The band's fourth studio LP, Any Way You Love, We Know How You Feel was followed by the release of the EP, If You Lived Here, You Would Be Home By Now. The acclaimed Barefoot in the Head was released shortly afterward, in July 2017.

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New Taboo: Recent Vinyl Releases for Exotica Enthusiasts

Posted by Kells, August 31, 2016 10:32pm | Post a Comment

Lounge lizard brothers and sisters, tiki torch-bearers, and any other Jazz/World/Oldies bin-combers craving an escape from the harsh realities of this cruel world: rejoice! A splash of freshly pressed exotic pu-pus for your easy listening pleasure platters has hit the shelves this Summer, with the quartet of new releases pictured above presenting an especially potent sonic swizzle of hi-fi reverie. So disable your rudder, lose the shoes, stir up a tipple or two and drift into the intoxicating lagoon of these "new" grooves.


V/A - Taboo: An Exploration into the Exotic World of Taboo Vol. 1 (Stag-O-Lee)

The first of a series dubbed Journey To The Centre Of The Song (each volume celebrating a singular tune by exploring a sampling of various recorded versions), this 10" contains nine genre-spanning interpretations of the popular standard "Taboo" (or "Tabou" or "Tabu") composed by Cuban musician Margarita Lecuona, a lady also responsible for the classic "Babalou". From Charles Blackwell's raucous "Surf'stramental" opener to the brassy cha-cha of Tito Rivera, and from the island rhythms of Cyril Diaz to Sylvia Mora's noir popcorn grind, all these and more buttoned up nicely by Arthur Lyman's own sensual evocation, nothing feels forbidden about the magic of examining these songs altogether or individually. In fact, it feels great to have them all in one place.



V/A - Voodoo Party Vol. 1 (University of Vice)

This recent release is actually a reissue of the first Voodoo Party compilation, long sought-after since being out of print for over a decade. It's return may also be in part due to the success of the most excellent Voodoo Party Vol. 2—the second volume in the series of occult-focused eccentricities compiled by music research gurus University of Vice (please, oh, please let there be a volume three). In any case, both enchanting volumes are chock full of enough nocturnal, ritualistic burners from Cuba, Haiti, Jamaica, Peru, Puerto Rico, the African continent, and the infernal beyond to make ones head spin. With song titles like "Zombie Jamboree", "El Diablo", and "Animal Concert In A Cemetery", expect something wild, something weird, something sensual, something sinister, and drums, baby, DRUMS! 



Eden Ahbez - Wild Boy: The Lost Songs Of Eden Ahbez (Bear Family)

Eden Ahbez—if ever there were a true mystic of the nebulous Exotica genre, it would be he. Be it a demo sung by Ahbez himself or a rare renditions by Eartha Kitt and Arthur Lyman, most of the "lost" songs gathered for this collection span the years between Ahbez's best known work, "Nature Boy" (an autobiographical song that scored a hit with Nat "King" Cole in 1948), and his lone 1960 solo album and cult/tiki collector's item Eden's Island. The insightful and  extensive liner notes by Brian Chidester flesh out Ahbez's somewhat foggy past and posits his lifestyle choices and creative expressions as a well-spring of the hippie movement and a plausible genesis for psychedelic music as we know it. Needless to say, and all novelty aside, this is essentially far out.



Elvis Presley - Way Down in the Jungle Room (RCA/Legacy)

While Elvis' last studio recording sessions may seem more than a tad removed from the above three LPs, it makes up for any lack of sonic similarity with a certain vibe imparted by its ambient provenance. Consider for a moment how this record might be received if it had been recorded, say, way down in the TV Room. It could sound the same, but dropping the needle on this collection "fly-on-the-wall" late night outtakes (at one point you can hear Elvis yelling for someone to shoot the phone off the wall or something) while the tikitastic Jungle Room album cover stares down at you with it's hulking and markedly empty Witco chair propping Presley's guitar on its arm, flanked by more Witco, tropical plants, a meadow of funky, and overgrown shag "grass" carpet hemmed with a cut stone, red-light waterfall wall, a distinct transportative quality is lent to the listening. That Elvis chose to render Graceland's Jungle Room into a recording studio says something about the man's moods and relaxation preferences, and I think anyone with piqued interest in the three records reviewed above can heartily recognize these leanings and savor the flavor of the particular atmosphere harnessed on this record. I'm no expert when it comes to late, late-era Elvis, but it seems to me that he and his players were really feeling this gig and living it up accordingly way down in the Jungle Room. Just browsing the photos included in the album artwork is intoxicating enough to induce delirium.
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Essential Records: Gene Vincent and The Blue Caps

Posted by Amoebite, August 8, 2016 03:58pm | Post a Comment

Gene Vincent and The Blue Caps - Amoeba Music

Call it a rough patch, call it a dry spell, call it whatever, but let's just say a while ago the relationship between my guitar and me got a little stale. Now of course I loved that thing dearly but, well, you know how it is: sometimes it just seems like the two of you are stuck in the same old routine. Now the electric guitar is a tricky instrument, there are so many variations, effects, and styles, and it's so overly saturated in the mainstream consciousness that while it can be the most primal and cathartic sounding of instruments, it can also be the most horrendous, self-involved sound known to modern man. At this particular juncture, I just wasn't hearing anything new that was compelling me towards the former sentiment. In an attempt to revive our relationship I pulled out this guitar magazine I had from high school that was all about rockabilly and the late '90s neo-swing revival. In it was a picture I always found striking but was never sure why: five young men all dressed in white, wearing dark, floppy caps. I thought to myself: it's finally time I really dug into Mr. Gene "Be-Bop-A-Lula" Vincent and His Blue Caps. I learned a couple of riffs out of the magazine, all attributed to Gene's original guitarist, Cliff Gallup, then I went to the record store and picked up their second album (thinking it was their first), Gene Vincent and The Blue Caps.

I put the needle on and right out of the gate the band is swaggering and in full swing. My toe's tappin', my hand's snappin' and my hair's getting greasier by the second. Gene finishes his first verse of "Red Bluejeans and a Ponytail" with the order to his band to "Rock!" and the next thing I know Cliff Gallup's guitar struts onto the scene and picks up the lead while someone lets out a banshee wail in the background. Gene comes back into the second verse, singing like he's crooning and panting at the same time, a cross between Dean Martin and that cartoon wolf from the droopy cartoons whose mouth drops to the floor at the sight of the cute redhead, and before I can finish that thought the second verse is ending and Gene calls out, "Rock again!" and Cliff's back with his plunky, shimmering, echo-y tone.

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