Easy Street Blog
POSTED BY Rod ON Fri Mar 7, 09:12 AM
Mudhoney - "Slipping Away"
We just got in a fresh batch of vinyl from the good folks at Third Man Records! Mudhoney's appearance last year at the Third Man Blue Room in Nashville was transformed direct to acetate to a 10-song vinyl LP, which arrived yesterday. Our friendly UPS man also delivered vinyl of The Divine Fits' July performance at the same venue. Both are available now for $14.99/ea. A right bargain!
POSTED BY Rod ON Thu Mar 6, 10:01 AM
The six legendary "American" collaborations between Johnny Cash and Rick Rubin are once again available on vinyl! The unlikely pair began working together in 1994 on American Recordings, which provided the Man In Black a new career highlight and brought his music to a new audience. Its success resulted in five subsequent volumes, in which Cash & Rubin experimented, recording everything from Soundgarden and Beck to U2 and Nick Cave to country classics by Jimmie Rodgers, Don Gibson & Ray Price. He also took the opportunity to recast several songs from his own immense catalog. Cash became sicker and weaker with each release, but it didn't stop him from making the effort - in fact the sessions are likely what kept him alive. If you missed these releases on vinyl the first time around, don't make the same mistake twice....these are absolute classics!
Buy American Recordings (1994)
Buy American II: Unchained (1996)
Buy American III: Solitary Man (2000)
Buy American IV: The Man Comes Around (2002)
Buy American V: A Hundred Highways (2006)
Buy American VI: Ain't No Grave (2010)
POSTED BY Rod ON Thu Mar 6, 09:40 AM
Queens emo-punk band Bayside will rock El Corazon on March 14th with Four Year Strong, Daylight & Mixtapes! Enter to win a pair of tickets by e-mailing email@example.com with the subject line "Cult" (the title of their most recent release) and please include first & last name with entry. We'll draw a winner on 3/12. Good luck!
POSTED BY Rod ON Tue Mar 4, 01:30 PM
Pharrell Williams - G I R L
"Pharrell Williams has a knack for turning 'not much' into a little slice of dance-floor joy. 'Happy,' the first single from his new album, G I R L (Columbia), came out in connection with an animated movie, Despicable Me 2, and it doesn't pretend to be anything more than a pop trifle. 'Clap along if you feel like a room without a roof,' Williams exults. It's tough to make feel-good feel substantial, and Williams doesn't overthink it. Yet, Stevie Wonder-like, he turns the slight-if-uplifting lyrics into something sublime by the way he orchestrates voices, instruments, even hands. Hand-claps become the song's rhythm section with their variations on the beat: steady, double time, syncopated. Williams' falsetto swerves through a cushiony choir, the layers of backing vocals becoming another percussion instrument alongside the hand-claps during the bridge. Underpinning it all is yet another layer of bounce, a bubbling bass line that only emphasizes the lightness, the hip-twitching sparkle of the party going on a floor above. Williams' sense of making the most of the least is his signature as one of the more acclaimed producers of the last decade. Last year he re-emerged as an in-demand vocalist, thanks to his work on two inescapable singles: Daft Punk's 'Get Lucky' and Robin Thicke's 'Blurred Lines.' Like those two songs, 'Happy' and much of G I R L has a pronounced retro feel, echoing earlier styles and eras with acute attention to sonic detail and hooks." - Greg Kot, Chicago Tribune
Drive-By Truckers - English Oceans
"Life is always messy on Drive-By Truckers albums, populated by the endless cast of assorted lowlifes and down-and-outs that spring from the minds of Patterson Hood and Mike Cooley. On English Oceans, the songwriters fill their songs with evocative tales of dying ambitions, interpersonal discord, suffocating shame and in an astute pair of politically edged tunes, turn their sights to the cloying misdirection that dirty tricksters use to pave over all that familiar suffering. What distinguishes the Truckers’ 12th album from the rest of their excellent recent pack is two-fold: 1) The band came out firing hot, the batch of lean rock songs presented in their visceral, unadorned rawness, and 2) More than ever before, this is a Cooley album, with six of his compositions shaping the overall tone of the record. ... If the Truckers hit their peak on the back-to-back Southern Rock Opera and Decoration Day more than a decade ago, the band hasn’t strayed but a few paces from that summit since. And after former Trucker Jason Isbell’s career-best Southeastern last year, the prolific and consistent Hood and Cooley seem reinvigorated." - Eric Swedlund, Paste
The Men - Tomorrow's Hits
["Vocalist/guitarist Mark] Perro and the other Men – and vocalist/guitarist Nick Chiericozzi, guitarist Kevin Faulkner, bassist Ben Greenberg, and drummer Rich Samis all deserve attention here, too – clutch to rock music like it’s a flotation device. Accordingly, Tomorrow’s Hits reflects decades of reverent listening and plays like it’ll have some say in whatever becomes of the now 11-year-olds this record will transform like Tommy transformed William Miller. Perro recently told Rolling Stone that Tomorrow’s Hits bears the influence of classics like The Stooges’ Fun House and The Rolling Stones’ Exile on Main St., which implies not just a degree of debauchery but also an appreciation for the roots of rock. Remember, for all the hooch and cooch and Marseilles heroin, Keith Richards maintains that his Gibsons were what inspired him to wake up in the morning (or whenever) during the recording of Exile. Tomorrow’s Hits doesn’t boom like The Men’s early material (namely, 2010’s Immaculada and 2011’s Leave Home), but it’s more rousing instrumentally than last year’s New Moon. ... Let’s face it: The Men have all the tools required to spur obsessive listeners. Perro and company are lifers in an ambiguous sense, writing and recording without apparent commercial ambitions. It’s like they’ve never given a thought to what might be good or bad about that. They’re slaves to the groove. They can’t help it." - Michael Madden, Consequence of Sound
Real Estate - Atlas
"Before their rich, sad new album Atlas, it would have been difficult to imagine the Real Estate song you'd turn to in a time of crisis. 'Suburban Beverage'? 'Let’s Rock the Beach?' The New Jersey band's first two albums were simply not places to which you brought problems—they were escapist havens, Tiki-torch grottos leading you away from your worries and gently towards the pool raft. The lyrics, meanwhile, were mantras best understood with a beer koozie gripped in one hand: What you want is just beyond your reach; keep on trying. Whoah, it's real. Budweiser, Sprite. On Atlas, their basic sound hasn't changed—frontman Martin Courtney's clean-strummed open chords, Matt Mondanile's bright leads, and a light-stepping rhythm section all squish together comfortably like college housemates sprawled on a sectional sofa—but the mood has. 'I'm just trying to make some sense of this before I lose another year,' shrugs Courtney on 'The Bend.' On 'Crime,' he sings 'Toss and turn all night, don't know how to make this right/ Crippling anxiety.' The once-ideal pool party band, in other words, has turned to soundtracking the cleanup: Everyone's gone, the sky's threatening rain, there are cigarette butts floating in the pool, and we've all gotta work tomorrow. The result is at once their most forlorn album and their most beautiful. Producer and mixer Tom Schick dissolves the noncommittal haze of reverb that made it sound like you were hearing Days through a fisheye lens, and the crispness that emerges on Atlas is gorgeous. Courtney’s tenor is soft and even, and the room tone is bruised-ripe like an October sunset. In this soft light, the band sounds like the platonic ideal of themselves, and it’s difficult not to wish all their albums had been recorded this way." - Jayson Greene, Pitchfork
Rick Ross - Mastermind
"Like all of Ross' albums, Mastermind is expansively gorgeous—a scenic blend of curbside taunts, felonious overreactions, groupie shout-outs, and orgasmic braggadocio. It's cohesive without being 'concept.' Its soundscape is dynamic without being as scattershot as God Forgives…. Where that record crowded Ross out of his own project—the beats were too atypical and the features too plentiful—Mastermind brings a somewhat more understated roster—if you call Puffy and French Montana and Kanye West and Big Sean and Lil Wayne and Jeezy and The Weeknd and Mavado and Sizzla understated. ... At Rick Ross' zenith—embodied by 2010's Teflon Don—he thrived by obliterating beats that thumped too heavily for his skinny contemporaries, on the one hand; and by jet-skiing over piano riffs on the other—his lighter, more recreational tracks. Here he's dialed down the symphonic onslaught of his later efforts, opting for island bass strums on 'Mafia Music III' and the marching brass segno of 'Rich Is Gangsta.' It's a graceful balance from an artist who, in recent years, could easily be accused of trying too hard, doing too much. All of which goes to say, if you love Deeper Than Rap, then you'll fuck with this. For all of his cheeky experimentation with flows here, Ross’ Mastermind features minimal innovation of the formula that he patented five years ago. This album isn't growth, exactly, so much as a feat of pure persistence. Ross appropriates Kanye's funk and YMCMB's pop hypnotics without meaning to become them. And so, true to the album's artwork, Mastermind is a graffiti portrait of the artist as a grown-ass multi-millionaire." - Justin Charity, ComplexMusic
Linda Perhacs - The Soul Of All Natural Things
"Out Rodriguez-ing Rodriguez, septuagenarian Linda Perhacs is the crate-digger’s favourite cult folk singer who, after releasing her rudely overlooked, ethereal, Topanga Canyon-birthed masterpiece Parallelograms in 1970, put down the patchouli oil and returned to her job as a dental hygienist. Tempted out of retirement over the past decade by a gang of muso fans including Devendra Banhart, her second album is a gorgeous, glimmering offering of cynicism-free psychedelia, in which Perhacs’ delicate, girlish vocals seem unchanged despite the passing of 44 years. From the title track’s inviting flamenco guitar, through to the near-mystical harmonies of the elaborately textured 'Intensity' and the choral experimentation of 'Prisms Of Glass,' this is an album in possession of a rare innocence and charm." - Leonie Cooper, NME
Nick Waterhouse - Holly
"Rooted in rhythm & blues with a damned Bobby Darin stance that says 'I'm the Mayer Hawthorne-type singer that's perfect for adding sensual tension to any given David Lynch soundtrack,' Nick Waterhouse is in fine form on his 2014 effort Holly; just don't take that Dan Fogelberg-ish album cover for music filled with '70s nostalgia. Go back a decade or two as the '50s and '60s are where this sometimes garage-rocking, sometimes Allah-Las member gets his kicks, something easily picked up on the album's title track, where a tight horn section, a standard beat combo, and plenty of wet reverb power the lusty tune. Indie Chris Isaak is the way that the cleverly titled third track 'It #3' rocks over the detached lyrics, which are an almost haiku-like exploration of paranoia, with the short yet vivid words given more meaning by Waterhouse's increasingly itchy and anxious performance. Impressionist tactics are also applied to the story of the nightmare lady found in 'Sleeping Pills,' and while the organ and the shuffling beat of 'Dead Room' suggest it could turn into the '60s hit 'The In-Crowd' at any moment, lyrics come from the Joy Division or Radiohead schools of expressing angst. Hawthorne may have injected his throwback songs with exciting modern slang and swag, but Waterhouse's style is arguably more interesting, blurring the lines between contemporary and classic and offering a version of Roy Orbison's great Mystery Girl album for the post-everything set. Ten tight songs and out, and the album feels like a mystery itself, but artists who nail that stoic sense of wonder, like Isaak and Orbison, don't come around often. Waterhouse is certainly of their ilk, and since he adds his own abstract touches and modern emotions to the mix, he's arguably one of the best." - David Jeffries, All Music
NOTE: We only have time to spotlight a fraction of the new releases out each week in the Fresh Sheet. See our full list here!
POSTED BY Rod ON Tue Mar 4, 12:31 PM
The first five people who come to Easy Street Records and ask for tickets for Hobosexual's Thursday (3/6) show at the Nectar Lounge will get a pair for free! Limit one pair per person, this is a 21+ show. Hobosexual will be joined by The Spinning Whips, A Breakthrough in Field Studies and DJ/MC Matt Brown!
Get down here!
POSTED BY Rod ON Mon Mar 3, 05:27 PM
The devil horns will be a-flyin' when Seattle bad boys The Supersuckers hit the stage at Easy Street March 26th at 6pm! The Supes will be blazing through songs from their new album Get The Hell before their show later that evening at El Corazon with the Toadies. Free and all-ages!
POSTED BY Rod ON Mon Mar 3, 05:09 PM
The market is hot, the time is now to enter to win a pair of tickets to Real Estate, who will be at Neumos on March 6th! Do it now by e-mailing firstname.lastname@example.org with the subject line "Atlas" (the name of their most recent release) and please include first & last name with entry. We'll draw a winner on 3/5. Good luck!