Championed by everybody from John Lennon to Peter Gabriel - and decried by 'establishment' critics ranging from Vincent Canby to Gene Siskel - El Topo remains one of the most controversial movies ever made. Director Alejandro Jodorowsky's bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire 'midnight movie' counterculture phenomenon of the early '70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score - after, no doubt, intently studying the work of Morricone - is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this one-of-a-kind soundtrack album on LP for the first time since the original release produced by Allan Steckler for Apple Records back in 1971. What's more, the four-page booklet boasting some of the film's hallucinogenic imagery that came with the original release will be included in the gatefold LP reissue. Mastered by Joe Yannece at Classic Sound in New York, and produced for reissue by ABKCO's in-house Engineer Teri Landi and Mick Gochanour, with tape transfers by Landi, lacquer cutting by Carl Rowatti at TruTone Mastering and a 180-gram vinyl pressing, Real Gone/ABKCO's release of El Topo on LP fully captures Jodorowsky's singular sonic vision.
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Championed by everybody from John Lennon to Peter Gabriel—and decried by “Establishment” critics ranging from Vincent Canby to Gene Siskel—El Topo remains one of the controversial movies ever made. Director Alejandro Jodorowsky’s bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire “Midnight Movie” counterculture phenomenon of the early ‘70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score—after, no doubt, intently studying the work of Morricone—is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this oneof-a-kind soundtrack album on LP in limited edition (of 330) “Coke Bottle” clear vinyl LP. What’s more, the release replicates the gatefold packaging of the LP and includes the fourpage booklet boasting some of the film’s hallucinogenic imagery that came with the original release. Produced for reissue by ABKCO’s in-house Engineer Teri Landi and Mick Gochanour, with lacquer cutting by Carl Rowatti at Trutone Mastering from the original 16- track analog tapes, Real Gone/ABKCO’s release of El Topo on LP fully captures Jodorowsky’s singular sonic vision.
Now in a brand-new white vinyl edition limited to 372 copies! One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York’s Elgin Cinema. After six months of soldout midnight screenings at the Elgin, it was Lennon’s manager, Allen Klein (ABKCO’s founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, “another kind of music—something that wasn’t entertainment, something that wasn’t a show, something that went to the soul, something profound,” for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver—the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, “Trance Mutation,” give way to an almost jaunty percussion-and-plucked-strings melody, “Pissed and Passed Out.” On the next track, “Violence of the Lambs,” a single flute is slowly joined by a set of mournful strings, while “Drink It,” an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief’s ill-considered decision to guzzle tequila (or sleeping potion). Then there is “Christs 4 Sale,” a blaring orchestral riff that sounds like it was ripped from a 1950’s swords-andsandals epic. The next track, “Cast Out and Pissed,” begins with a bee-like buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. “Eye of the Beholder” which follows, changes moods entirely once again—a string section swells with overwrought romanticism. And then there is “Communion,” a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain’s first 24 minutes! Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents the original soundtrack to Alejandro Jodorowsky’s 1973 masterpiece The Holy Mountain. The CD gatefold double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece with lacquer cutting by Carl Rowatti at Trutone Mastering, this long-awaited release of Alejandro Jodorowsky’s The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience.
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Soft Machine was one of the first prog-rock bands, but if your vision of prog-rock consists of musicians wreathed in pot smoke airily singing of fairies and wizards, it will be summarily dispelled by this fantastic “authorized bootleg,” which captures the band in March 1969 at the Paradiso in Amsterdam, playing material that was to be released six months later on Soft Machine: Volume Two. The trio of Robert Wyatt on drums and vocals, Mike Ratledge on organ, and Hugh Hopper on bass launch what can only be called a high-decibel, jazz-rock sonic assault; “Like vindaloo for the ears” is how Hopper puts it on the accompanying notes on the inner sleeve, adding, “I do remember playing incredibly loud, Mike on fuzz organ and me on fuzz bass, both through hundred-watt Marshall stacks.” Some of the frenzied instrumental passages might recall Miles Davis’ Agharta-era band, but remember, this is a trio making all this racket (in 1969, no less); Soft Machine at this point in time were on a journey all their own. This is the first-ever vinyl release of this notorious concert, and it comes on “soft” purple vinyl limited to 600 copies. Anybody interested in just how far out rock got in the late 60s will want to give this repeated listens.
Remastered edition of the original album, plus seven impossible-to-find 12" mixes and liner notes by Aaron Kannowski With the 2015 release of the film Straight Outta Compton, we at Real Gone Music figured it was about time somebody revisited one of the landmark albums of West Coast rap, The D.O.C.’s No One Can Do It Better. The D.O.C. a.k.a. Tracy Lynn Curry was a behind-the-scenes contributor to some of the biggest and most hallowed rap releases ever, including Dr. Dre’s The Chronic, NWA’s Straight Outta Compton, Eazy-E’s Eazy-Duz-It, and Snoop Dogg’s Doggystyle, and his Dr. Dre-produced debut record lived up to the braggadocio of its title by going platinum, spawning the #1 rap singles “It’s Funky Enough” and “The D.O.C. & The Doctor,” and being hailed by critics nationwide as one of the greatest hip-hop albums ever recorded. However, there has never been an updated reissue of the original 1989 CD, which, like most releases of the early CD era, doesn’t really do the music sonic justice. Real Gone Music’s Expanded Edition of this classic album adds seven impossible-to- find 12” single mixes to a remastered version of the original release, along with liner notes by Aaron Kannowski that feature quotes from The D.O.C. himself. No one really could do it better than The D.O.C. — now here’s a better (and longer…75 minutes!) edition of his career-making classic.
Demon Knight is the official soundtrack to the 1995 horror film, Demon Knight. It was released on January 10, 1995 through Atlantic Records and mostly consisted of heavy metal and alternative rock, with "1-800 Suicide" by the Gravediggaz being the only hip-hop song. The soundtrack peaked at 157 on the Billboard 200.
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Limited to 600. There are zombies...and then there are braineating zombies! And Return of the Living Dead was the film where brain-eating zombies got their first lease on, er, life. Co-written by John Russo, who was George Romero's writing partner on Night of the Living Dead, this 1985 quasisequel introduced more ''splatstick'' humor to the horror formula as well as the indelible image of ghouls groaning ''Braainsss'' as they shuffle along. All set to a KILLER score featuring the greatest punk and death rock bands of the era, including The Cramps, 45 Grave, The Flesh Eaters, The Damned, Roky Erickson, The Jet Black Berries, T.S.O.L., Tall Boys and SSQ. 600 copies in limited edition grey ''brainsss'' vinyl!
Limited Edition of 1000 copies on purple vinyl. Waiting to Exhale made author Terry McMillan a literary superstar, and, when brought to the screen, was one of the first movies to feature African-American women in leading roles. Its soundtrack took the music industry by storm, topping the Billboard Pop and R&B charts for five and ten weeks, respectively. The soundtrack was masterfully produced by, and all but one track written by, Kenneth “Babyface” Edmonds. Featured are R&B divas Aretha Franklin, Patti LaBelle, Chaka Khan, Whitney Houston, Brandy, Mary J. Blige. The album includes the #1 hit singles “Exhale (Shoop Shoop),” “Not Gon’ Cry,” and “Let It Flow”. The soundtrack was originally released on vinyl only overseas in an inferior package that jammed both records inside a single album jacket pocket. Real Gone Music’s Limited Edition Purple Vinyl Double LP (of 1000 copies) package puts this landmark album out on vinyl in the U.S. for the first time with gatefold packaging featuring a luminous photo of the movie’s four female leads.
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Limited to 700. Real Gone Music is proud to present Germfree Adolescents, one of the signature albums of the early (1978) British punk movement, in shocking pink colored vinyl! The one and only LP release from X-Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, yet, somehow, this is its first vinyl reissue (and you can tell because prices for the used vinyl are insane)! And we've done it right; besides the colored vinyl, we've reproduced the inner lyric sheet, where you can read Poly's brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone); this is not only one of the most penetratingly observant punk records, it's also one of the most passionate, and, surprisingly enough, catchy. Check out ''The Day the World Turned Day-Glo'' and ''Germ Free Adolescents'' if it's hooks you're after; if it's righteous anger and a noisy racket you're seeking, every track will do ya.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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