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EARLY TAKES VOL. 1 ALSO AVAILABLE ON CD AND VINYL!

Directed by Martin Scorsese, Living In The Material World is the stunning, award winning double-feature-length film tribute to one of music’s greatest icons. Features never-before-seen footage from George Harrison‘s childhood, throughout his years with the Beatles and solo career. Includes interviews with Ringo Starr, Eric Clapton, Paul McCartney, Yoko Ono, Olivia and Dhani Harrison, among many others.

OTHER NEW DVD/BLU-RAY RELEASES:

Phil Collins Live at Montreux 2004 DVD
Covert Affairs Season 2 DVD
Joyful Noise DVD

Killer Mike‘s EL-P produced R.A.P. Music is out Tuesday, May 15, but you can score a preview CD single of “Big Beast” (featuring Bun B, T.I and Trouble) now for only $2 at The Record Exchange!

The single features three tracks and comes with a $2 coupon that you can bring back and cash in on the new album on the 15th!

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BUY THE DELUXE EDITION CD HERE

Rufus Wainwright has always been an unabashed practitioner of “elitist” music, dabbling in Shakespearean sonnets and opera in recent years. With his seventh studio album, however, the acerbic singer/songwriter has leaned in the direction of – as he recently put it – “the common listener” by handing a large amount of creative control to pop producer Mark Ronson.

That turned out to be a remarkably inspired move. Out Of The Game is his most accessible effort to date but still very Rufus. Indulging in a classic late 70s/early 80s AM radio aesthetic, it’s full of breathtakingly beautiful harmonies and spiralling narrative lyrics that balance complex emotional subject matter with pitch-perfect delivery and hummable melodies.

Ronson and his players (including the Dap Kings) match the varied emotional terrain with expansive accompaniment. Whether it’s “Barbara’”s swirling synths, “Jericho’”s soulful swagger or “Candles”’ gloomy requiem, they provide a comfortable landing for Wainwright’s fanciful gestures. If there’s a pop formula at work here, you might call it “accessible elitism.” – NOW

OTHER RX CD RECOMMENDATIONS:

George Harrison Early Takes Vol. 1
Todd Snider Time As We Know It: The Songs of Jerry Jeff Walker
Carrie Underwood Blown Away
Hurt The Crux (free concert ticket with purchase)
Marilyn Manson Born Villain
Patrick Watson Adventures in Your Own Backyard
Santigold Master of My Make Believe
Anders Osborne Black Eye Galaxy
Lower Dens Nootropics
Blockhead Interludes After Midnight
Ane Brun It All Starts With One
Father John Misty Fear Fun

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In 2000, Fevers and Mirrors put Conor Oberst at the center of concentric, radioactive areas anticipating their impending “moment”: oversharing culture, emo, Omaha, Saddle Creek, Bright Eyes. It’s here where the weight of being essentially synonymous with Bright Eyes starts to dawn on Oberst, and fortunately for the listener, there was no separation between where he was an artist and as a person. Yes, it’s a record about breaking up (that is, if your affections are requited in the first place), unfulfilled dreams, real nightmares, the burden of talent, and the encroaching dread of a future where nothing substantial ever changes within you. All of the things that get judged as #whitepeopleproblems by other white people who apparently had their shit together before they could legally drink. Play Fevers and Mirrors for someone who served in a war or underwent a serious medical procedure, and they’d probably tell Oberst to snap out of it. Indeed, you learn later in your years that, as Morrissey put it, “there are worse things in life than never being someone’s sweetie,” but in the thrall of Fevers, sometimes these are the kind of things that do feel like the end of the world for at least an hour. — Pitchfork

OTHER NEW VINYL RELEASES:

Norah Jones Little Broken Hearts
George Harrison Early Takes Vol. 1
The Lumineers The Lumineers
Blockhead Interludes After Midnight
Jeremy Spencer Jeremy Spencer
Pennywise All Or Nothing
Slightly Stoopid Everything You Need
UFO Lights Out
Charles Walker and Bettye Lavette Yours & Mine/Serendipity

BUY THE CD HERE
BUY THE VINYL HERE
FREE GIFT WITH PURCHASE!

After the runaway train that was 2002′s Come Away With Me, Norah Jones had enough cache to pretty much do whatever she wanted. The diamond RIAA-rated coffee house jazz album came out of nowhere (a surprise considering her lineage) to top best of the year lists, also winning eight Grammys and many a mom’s heart as they stopped in to Starbucks on the way to pick up the kids from soccer practice. This instant freedom and carte blanche led to a vast array of projects, including a collaboration album featuring Q-Tip and Dolly Parton, forming roots country group The Little Willies, and working with Daniel Luppi and Danger Mouse on their expansive Rome. That last project must have had some serious mojo, as Jones brought the Mouse (aka Brian Burton) along to produce her new solo disc, Little Broken Hearts, her first since 2009′s The Fall.

Burton is one of the world’s biggest producers, and it’s no surprise that his diverse, singular set of sounds shapes Jones’ style in a new way. That smoky, lithe, gorgeous voice is still the same, the focal point that it deserves to be. That said, anyone still stuck on “Don’t Know Why” is a few steps back in Jones’ experimentation as an artist. She’s no longer anchored to the piano, and Little Broken Hearts steps out into a range that includes fuzzy guitars, string sections, and tinkling pop synthesizers. The two collaborators work together seamlessly, Jones smart enough to work with Burton’s envelope-pushing, and Burton smart enough to work to Jones’ vocal strengths.

This is a serious indie pop album. Jones and Burton have created something that should fit in the record collection of any Feist-loving indie kid just as easily as that of those soccer moms she won over years ago. Whether Little Broken Hearts actually finds that mass appeal or winds up frustrating both halves remains to be seen. It definitely walks a fine line between the two worlds, perhaps not edgy or different enough for indie pop, and too weird for the coffeehouse. But the songwriting, vocals, and clever production are undeniable, and the pairing just works, back on Rome and here as well. Only good things could come from Burton and Jones working together again in the future, perhaps pushing that envelope even further and finding an even more unique power. — Consequence of Sound