{"title":"Back in Stock","description":"","products":[{"product_id":"oops-i-did-it-again","title":"Oops!...I Did It Again","description":"Personnel includes: Britney Spears (vocals); Paul Umbach (acoustic \u0026amp; electric guitars, keyboards, background vocals); Larry \"Rock\" Campbell (guitar, bass, programming); Esborn Ohrwall, Johan Carlberg, Michael Thompson, Terry Mettam (guitar); Gloria Agostini (harp); Max Martin (keyboards, programming, background vocals); Kristian Lundin, Jake, Rami, Per Magnusson, David Kruger, Robert \"Esmail\" Jazayeri (keyboards, programming); Kent Wood (keyboards); Thomas Lindberg (bass); Nana Hedin, Darryl Anthony, LeDon Bishop, Jeanette Olsson, Nina Woodford, Jeanette Soderholm, Nikki Gregoroff, Anders Von Hofsten (background vocals).\u003cbr\u003eProducers include: Steve Lunt, Larry \"Rock\" Campbell, Timmy Allen, Max Martin, Rami.\u003cbr\u003eEngineers include: John Amatiello, Harvey Mason, Jr., Rodney Jerkins.\u003cbr\u003eOOPS!... I DID IT AGAIN was nominated for the 2001 Grammy Award for Best Pop Vocal Album. \"Oops!...I Did It Again\" was nominated for the 2001 Grammy Award for Best Female Pop Vocal Performance.\u003cbr\u003eThis second album by the former Mouseketeer turned nymphet heartthrob breaks little new ground compared to BABY ONE MORE TIME. The formula here remains, deliberately, the same: a candy-colored mix of Eurodance, hip-hop, and old-fashioned pop ballads. As before, the lyrics split the difference between \"Baby, I love you so bad,\" as in \"Can't Make You Love Me,\" and \"Sorry, I think of you just as a friend,\" in the title song.\u003cbr\u003eThere are also some genuinely amusing moments, as in the conversational finale of \"Oops!\" in which Britney, after being informed that her boyfriend has recovered the jewel the old lady dropped into the ocean at the end of the TITANIC movie, replies \"Oh, you shouldn't have.\" Most of the stuff here is, of course, transparently disposable pop, but to give Spears her due, she's a far, far better singer than any of the mall-rat pop stars of the late '80s.","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41860456644773,"sku":"194397532111","price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/5b7c647a23bf13ed119e91d70929ba85.jpg?v=1785837591"},{"product_id":"the-best-of-bond-james-bond","title":"Best of Bond... James Bond","description":"One of the signature aspects of a James Bond movie is its theme song, and, as demonstrated on this collection of those songs, there is a remarkable consistency to them. The first Bond film, 1962's Dr. No, featured Monty Norman's \"James Bond Theme,\" a distinctive instrumental piece that has figured in every Bond picture since and that leads off the disc. But with the second entry in the series, 1963's From Russia with Love, there was a specially written title song sung by a contemporary pop artist during the opening credits. And as of the third entry, 1964's Goldfinger, that song, as often as not, would become a hit. Shirley Bassey's melodramatic performance of \"Goldfinger\" remains a standard for Bond themes, but, just as the films have been subtly updated through the years, so the theme songs have reflected changes in pop music. Echoes and approximations of Norman's theme turn up over and over as a basis for the songs, even though they make room for individual interpretation. For example, Gladys Knight's \"License to Kill\" from 1989 may be an '80s power ballad complete with synthesizer accompaniment, but it still uses familiar orchestral elements. And some of the least characteristic songs are also some of the most successful. Carly Simon's \"Nobody Does It Better\" doesn't even use a film title, yet it is one of the better remembered theme songs. Many of the artists who sing the songs are pop footnotes (a-ha, Sheena Easton), but they were hot when they were asked to participate, and their performances hold up. [Originally released in 1999, the album was reissued in a 40th anniversary edition in 2002 containing three additional tracks, including Garbage's theme song for The World Is Not Enough and Moby's electronica-styled reconstruction of the original theme. It was reissued again in 2012 with Madonna's contribution to 2002's Die Another Day, Soundgarden\/Audioslave frontman Chris Cornell's \"You Know My Name\" from 2006's Casino Royale, and Jack White and Alicia Keys' \"Another Way to Die\" from 2008's Quantum of Solace. The 2012 \"50 Years - 50 Tracks\" two-CD version was reissued as a \"Deluxe Edition\" in 2017.] ~ William Ruhlmann","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41860457103525,"sku":"602508731082","price":57.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/4e661b4823982990c004895be7aeae55_10f063c1-558a-4d17-8838-a58618943c75.jpg?v=1781190127"},{"product_id":"you-signed-up-for-this","title":"You Signed Up for This","description":"YOU SIGNED UP FOR THIS","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41860457463973,"sku":"190296743566","price":31.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/b89cb35797e9c33dac15b4dd9c3a77dc.jpg?v=1788538468"},{"product_id":"american-beauty","title":"American Beauty","description":"With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash \u0026amp; Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love \"Sugar Magnolia\"), Ron \"Pigpen\" McKernan (on the husky blues of \"Operator\"), and Phil Lesh (on the near-perfect opening tune, \"Box of Rain\"). This album also marked the beginning of what would become a long musical friendship between Garcia and Dave Grisman, whose mandolin playing adds depth and flavor to tracks like the outlaw country-folk of \"Friend of the Devil\" and the gorgeously devotional \"Ripple.\" American Beauty eventually spawned the band's highest charting single -- \"Truckin',\" the greasy blues-rock tribute to nomadic counterculture -- but it also contained some of their most spiritual and open-hearted sentiments ever, their newfound love of intricate vocal arrangements finding pristine expression on the lamenting \"Brokedown Palace\" and the heavenly nostalgia and gratitude of \"Attics of My Life.\" While the Dead eventually amassed a following so devoted that following the band from city to city became the center of many people's lives, the majority of the band's magic came in the boundless heights it reached in its live sets but rarely managed to capture in the studio setting. American Beauty is a categorical exception to this, offering a look at the Dead transcending even their own exploratory heights and making some of their most powerful music by examining their most gentle and restrained impulses. It's easily the masterwork of their studio output, and a strong contender for the best music the band ever made, even including the countless hours of live shows captured on tape in the decades that followed. ~ Fred Thomas","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41860639391909,"sku":"603497847778","price":31.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/27987c88276633e5193ebe01b9bffea7_4e2e54d3-38e4-43fa-90e4-4d6b288dc6ae.jpg?v=1777581308"},{"product_id":"no-more-tears","title":"No More Tears","description":"Personnel: Ozzy Osbourne (vocals); Zakk Wylde (guitar); John Sinclair (keyboards); Bob Daisley, Michael Inez (bass); Randy Castillo (drums).\u003cbr\u003eEngineers: Duane Baron, John Purdell, Michael Bosley.\u003cbr\u003eIncludes liner notes by Phil Alexander.\u003cbr\u003eDigitally remastered by Stephen Marcussen (Marcussen Mastering).\u003cbr\u003eAfter an extended bout with alcoholism and drug addiction, Ozzy Osbourne emerged clean and sober for the recording of 1991's NO MORE TEARS, one of his most successful solo albums ever. Soon after the album's release, Ozzy stated publicly that the album's supporting tour would be his last, and dubbed the outing \"No More Tours.\" As it turned out, the tour was far from Ozzy's last. Ozzy is joined by guitarist Zakk Wylde, drummer Randy Castillo, while original Ozzy solo member Bob Daisley and newcomer Mike Inez (who eventually became a member of Alice in Chains) switch off on bass.\u003cbr\u003eRenowned metal producer Duane Baron helped Ozzy achieve a rocking and heavy sound throughout, as Motorhead's Lemmy Kilmeister contributed to the writing of several songs. Several videos for songs received extensive airplay on MTV's Headbanger's Ball, including the epic (and slightly Beatles-esque) title track, the fierce rocker \"Mr. Tinkertrain,\" plus three melodic and more sedate compositions (\"Mama, I'm Coming Home,\" \"Time After Time,\" and \"Road to Nowhere\"). 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An extended world tour had made the band musically tighter, but they'd also become better songwriters--HIGH 'N' DRY contains several tracks that longtime Leppard fans point to as classics. Another major reason for the group's vast improvement was that renowned producer Mutt Lange was involved in the proceedings.\u003cbr\u003eWhile the album wasn't a smash hit, it faired extremely well on the U.S. charts, due to touring and a newly born cable network called MTV, which aired Def Leppard's low-budget clips from HIGH 'N' DRY quite often. Highlights included the power ballad \"Bringin' on the Heartbreak\" (which would soon become a concert staple for the band), as well as the album-opening anthem \"Let It Go,\" the instrumental \"Switch 625,\" and the rough and rocking title track. HIGH 'N' DRY was reissued in the mid-'80s with a remix of \"Bringin' on the Heartbreak\" and a previously unreleased track from the album's recording sessions, \"Me and My Wine.\" The late-'90s version deleted these two extra tracks, however.","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41897673654437,"sku":"602508030680","price":33.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/23b67fe3aee2bcb1ccde2116a41aabf9.jpg?v=1788341013"},{"product_id":"kryptograf","title":"Kryptograf","description":"Kryptograf - Kryptograf","brand":"InnerSleeve","offers":[{"title":"Default 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This would just be the beginning of a run of classic albums that continued throughout the '70s, and both sides of Young's musical personality -- the hushed and patient songwriter side, and the side that tended toward rugged rock -- were integral to how that peerless run played out. Young appeared alone on-stage at Carnegie Hall, playing stripped-down versions of his songs on acoustic guitar and piano to an audience so rapt they remained completely silent even as he took his time tuning the guitar and bantering between songs. He played two nights at Carnegie Hall, and while audience recordings of the second show found their way onto various bootlegs over the years, no bootlegs were ever made of the first night. Carnegie Hall 1970 offers the first public release of multi-track recordings from that first night, finding Young in rare form and delivering a diverse set list that included material from his records up to that point, as well as tunes that hadn't been released yet. Songs that were raging and blusterous on record, like \"Cinnamon Girl,\" \"Southern Man,\" and \"Cowgirl in the Sand,\" are mysterious and tender in their solo renditions, peeling away the distortion and guitar heroics to expose the lingering melancholy and aching beauty that so often lie at the core of Young's songwriting. Already, folksy acoustic songs like \"Tell Me Why,\" and the piano-based \"Birds\" take on an even more marked intimacy on Carnegie Hall 1970. Young's legendarily quaky voice conveys the loneliness, hope, loss, and appreciation of his lyrics with a profound impact when he stands alone with a single instrument. Die-hard fans will want to listen closely to versions of \"See the Sky About to Rain,\" \"Old Man,\" and \"Bad Fog of Loneliness,\" all of which had yet to be recorded and commercially released at the time of these performances. It speaks to the creative streak Young was in the thick of at that time (and would continue in various forms for the majority of his career) that he was already tired of playing his groundbreaking songs that were only a few years old and was eager to get the next ones out. Any Young completist will need Carnegie Hall 1970, but it's a special performance that can be appreciated by more casual listeners as well. Alone at the microphone, the purity, simplicity, and one-of-a-kind magic of some of Neil Young's best songs come into view in a way that's undeniable. ~ Fred Thomas","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899871207589,"sku":"093624885153","price":35.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/8ad1b83fad159bd452656e030c5ab15a_bfa343ba-5aea-4852-b4bb-fff4a42fa937.jpg?v=1783674174"},{"product_id":"neon-lp","title":"Neon [LP]","description":"The Neon: Remixed [7\/30]","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899877630117,"sku":"5400863053154","price":37.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/b6884535a35867ed3003c552c4dc2740_7edc1115-16fe-484a-b265-f90ae602f277.jpg?v=1786895453"},{"product_id":"this-light","title":"This Light","description":"","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899882315941,"sku":"702224130111","price":30.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/ea686683b3054ee12db46a742865e892.jpg?v=1781190139"},{"product_id":"k-bay","title":"K Bay","description":"K Bay [9\/10] *","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899884675237,"sku":"887828043613","price":31.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/4e0544c2d18fa13849d53a03f6ee0a36_2b1f6d2b-0989-468b-831f-4cfd7553be53.jpg?v=1786528044"},{"product_id":"patina","title":"Patina","description":"PATINA","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899893817509,"sku":"028948605682","price":22.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/587087aa82764b789f7ef26c0ce68cf6.jpg?v=1781260641"},{"product_id":"antiphonals","title":"Antiphonals","description":"Antiphonals [9\/10]","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41899904958629,"sku":"5060263723899","price":30.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/54c63c17598f9386de8a336fd4e0726f_4cef3cb8-cd1b-42dd-be2b-a75778c24656.jpg?v=1783770136"},{"product_id":"individually-twisted","title":"Individually Twisted","description":"Jazz Passengers: Roy Nathanson (saxophone); Curtis Fowlkes (trombone); Bill Ware (vibraphone); Jim Nolet (violin); Brad Jones (bass); E.J. 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Now, its follow-up, was recorded during the global COVID-19 pandemic as the killings of unarmed Black citizens George Floyd, Breonna Taylor, Ahmaud Arbery, and a consequential presidential campaign captured the global imagination. Locks and his collaborators responded to these societal and cultural tensions with jarring sounds and fully coherent narrative expressions of emotion ranging from anger and grief to relentless hope. Through the spring and summer of 2020, Locks composed music and created samples as protests roiled on the streets. In August, he assembled clarinetist Angel Bat Dawid, cornetist Ben LaMar Gay, and a chorale of vocalists -- Phillip Armstrong, Monique Golding, Tramaine Parker, Richie Parks, Erica Rene, and Eric Tre'von -- behind Chicago's Experimental Sound Studios and cut the new material in single takes, accompanied by cicadas in the surrounding trees. A month later, Locks, drummer Dana Hall, and percussionist Arif Smith added beats, samples, and loops.\u003cbr\u003eThe title-track opener commences with a chorus of tribal drums and the choir offering an Eastern-tinged spiritual soul melody testifying that power resides in the undefined historical present. Dawid's spidery clarinet moves across jazz history from George Lewis and Sidney Bechet to Alvin Batiste and John Carter, as LaMar Gay's cornet stridently joins her, the singers, and the buzzing cicadas. \"Keep Your Mind Free\" begins with the sampled film dialogue: \"Did anything interesting happen today?\" amid hypnotic, zig-zagging percussion, sampled brass, and electronics. Across the narrative foreground, a narrated incident of street vandalism warns of apocalyptic reckoning. Lamar Gay's muted horn guides the drums through bluesy Afro-funk and modal improv as the vocalists exhort listeners to stay vigilant. Assembled, it speaks to the place of imagination as the locus point for change as Hall and Smith lock onto a groove attenuated by vocal polyphony and contrapuntal winds and brass. \"Barbara Jones-Hogu and Elizabeth Catlett Discuss Liberation\" and \"Movement and You\" are two short cues -- both under two minutes -- that offer a grounded context for the ten-and-a-half-minute closer \"The Body Is Electric.\" This spiraling jam weds Caribbean and African polyrhythms to free, hard-swinging improv from Dawid, smoothly chanted and sung choral lines, jagged samples, and undulant group pulses. At four minutes, the vocalists lead a rhythmic shift toward carnival funk as Dawid wails joyously through the grain of her instrument. She exchanges center stage appearances with the drummers and the chorus as Lamar Gay's horn and Locks' samples effect a swirling tapestry of steely affirmation and hopeful resolve. Based on the profundity of its content and the jagged beauty in its execution, Now belongs in the pantheon of culturally important works that include We Insist! Max Roach's Freedom Now Suite, Eddie Gale's Black Rhythm Happening, and Sun Ra's Nuclear War; they all successfully join socio-political polemics to spirituality and kaleidoscopically expressive art in edifying all who encounter them. ~ Thom Jurek","brand":"InnerSleeve","offers":[{"title":"Default Title","offer_id":41900266225829,"sku":"789993991167","price":28.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/6007\/1077\/files\/ac32d02cb280e4313c9e9702b17a1968_b42b7385-9e5f-45ac-bad4-412fcabb83e0.jpg?v=1783851554"},{"product_id":"angel-with-a-lariat","title":"Angel With a Lariat","description":"K.D. Lang \u0026amp; The Reclines: K.D. 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Between her androgynous look and vegetarianism, Lang sent the most shock waves through Music Row's establishment.\u003cbr\u003eRegardless of how she looked, LARIAT was a triumphant debut that found Lang \u0026amp; The Reclines updating Patsy Cline's sound when LeAnn Rimes was barely out of diapers. Producer Dave Edmunds oversaw this collection of Elvis-flavored rockabilly (\"Tune Into My Wave\") infectious stompers (\"Turn Me Round\"), high-flying kitsch (\"Watch Your Step Polka\") and countrypolitan ballads (\"Diet Of Strange Places\"). Although fiddle player Ben Mink's sound was closer to Mick Kaminski than Charlie Daniels, he nonetheless shone on material ranging from the raucous \"Pay Dirt\" to clip-cloppy \"High Time For A Detour.\" Lang's choice of covers is particularly noteworthy. 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