Durand Jones�s Wait �Til I Get Over is a memoir and a love letter.�It is the story of Jones�s life, his growth and revelations, the�wisdom of his hometown and the wisdom he could only gain�once he left. In it, he writes through Hillaryville�s contradictions:�the pristine beauty and the ragged roads; his teenage desire�to leave and his adult desire to honor his tangled roots; the�plantation history and the ups and downs of the Black community�that made homes of this reparation town. �Hometowns have a�way of keeping a part of you,� says Jones, �and if I�m making�something young-me would be proud of, Hillaryville is a big part�of that.� Jones finds something transformative in his memories�there and the life he has led since, ultimately claiming and�embracing his whole self.�

The result is vulnerable, personal, touching on Jones�s�relationship to church life, to his mother, to his queerness, to�his worth. �I wish I could tell my younger self �you don�t have to�stick to the dreams people have for you,�� says Jones, ��you can�dream bigger. You are more than capable, you are more than�able. I think about some nerdy punk kid in the rural south who�needs to hear that now.�� Wait �Til I Get Over does exactly that.

Single-sided 12" EP featuring two new originals from RSD US Ambassadors Jason Isbell & Amanda Shires, a reimagined version of "Tour of Duty" from the Jason Isbell and The 400 Unit album Here We Rest, and a cover of Richard Thompson's "Beeswing". Side B holds a stunning vinyl etching designed by Pearl Rachinsky-Moreland.

1. Old Habits (Amanda Shires)
2. Hired Gun (Jason Isbell)
3. Tour of Duty
4. Beeswing (Richard Thompson)

First Two Pages of Frankenstein is The National�s ninth studio album. This 11-song collection signals a new chapter in the band�s discography. Anchored by evocative melodies and an enthralling lyrical narrative, First Two Pages of Frankenstein finds The National sounding more creatively energized than ever and poised to earn them even more fans. The album was produced by the band at Long Pond Studios in upstate New York and features guest appearances by Taylor Swift (�The Alcott�), Phoebe Bridgers (�This Isn�t Helping� and �Your Mind Is Not Your Friend�) and Sufjan Stevens (�Once Upon a Poolside�).

Stephen Stills is an unyielding force of nature.��

The amount of music pouring out of this man could�ve fueled a half-dozen bands. Following the June�1971 release of his second solo album, Stephen Stills 2, he announced his first solo tour designed to�showcase all aspects of the ever-growing artist. Fans who were lucky enough to catch his historic debut�trek, dubbed �The Memphis Horns Tour,� were treated to the balladeer, the raving troubadour, the�acoustic bluesman, the soul driver, and by far the most passionate music maker offering his goods across�the better auditoriums and arenas that summer.��

This previously unissued live album, with performances hand-picked by Stills from his personal archives,�was recorded on August 20 and 21, 1971 at The Berkeley Community Theater. This 3,500-seat venue�made this one of the most unique and intimate stops on the tour that included his iconic concert at New�York�s Madison Square Garden. In many ways, these Northern California shows in Berkeley sound as if�Stills is leaving it all on the stage during a hometown gig.�

In addition to The Memphis Horns, Stills is backed by a loyal cast of friends, including his usual steady�rhythm section�drummer Dallas Taylor and bassist Calvin �Fuzzy� Samuels�along with keyboardist�Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala. Guesting on both nights of these�recordings was David Crosby, singing on his own nautical classic �The Lee Shore,� and the Stills-penned��You Don�t Have To Cry,� a Crosby, Stills & Nash favorite.�

The music on these grooves�timeless and era-defining performances� �Word Game,� �Love The One�You�re With,� �Sugar Babe,� �Cherokee,� among others, hasn�t aged a day since they were captured on�tape. This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you�into thinking, feeling and�most importantly�moving. This is music that�s been unearthed because it�s�simply too good not to be blasting out of cars and exploding from apartment windows and onto the�streets.��

Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound�and all of it bears the�distinct and loving fingerprint of Stephen Stills.

�Howie Edelson,�New York City,�December 2022

Drive It Like It�s Stolen is just as earnest and heartfelt, raw and real as anything Dave Hause has ever written before. Yet there�s also a subtle yet significant difference�here he�s delving into a more fictional type of storytelling to create what he terms "post-apocalyptic Americana�. The disturbing, apocalyptic quasi-reality of the album�s lyrics is matched and amplified by the music. Written by Hause with his younger brother Tim, Drive It Like It�s Stolen�just like the three that preceded it, as well as Tim�s 2022 debut full-length�is the distinct next phase of their creative partnership. The third release on the brothers� own Blood Harmony record label, it shakes up expectations while at the same time building off the sound and reputation Hause has established for himself over the past decade or so." Drive It Like It�s Stolen was engineered and mixed by David Axelrod, and�like Blood Harmony�produced by Will Hoge and recorded at Santi Sound in Nashville. With this particular car ride, then, Hause is en route to a whole new world. Whether real or imagined or a combination of both, it�s time to buckle up for the ride.

The Tisburys are an Indie Rock / Power Pop band from Philadelphia, PA led by singer-songwriter Tyler Asay. The band has released three full-length albums, most recently 2022�s�Exile On Main Street. Their music has received praise and radio play from NPR and 88.5 WXPN, where they played the XPoNential Music Festival. They have shared the stage with national acts (Gin Blossoms,�Jenny Lewis,�Wild Pink) and local Philadelphia heroes such as�The War On Drugs,�Baroness, and�Ben Arnold. The band is gearing up for their first US tour and recording their fourth LP in 2023.

But Here We Are is the new album from Foo Fighters, and marks the bands return after a year of staggering losses, personal introspection and bittersweet remembrances. A brutally honest and emotionally raw response to everything Foo Fighters have endured recently, But Here We Are is a testament to the healing powers of music, friendship and family. Courageous, damaged and unflinchingly authentic, the album opens with �Rescued,� the first of 10 songs that run the emotional gamut from rage and sorrow to serenity and acceptance, and myriad points in between.

But Here We Are is in nearly equal measure the 11th Foo Fighters album and the first chapter of the band�s new life. Sonically channeling the naivet� of Foo Fighters� 1995 debut, informed by decades of maturity and depth, But Here We Are is the sound of brothers finding refuge in the music that brought them together in the first place 28 years ago, a process that was as therapeutic as it was about a continuation of life.�

In March 2020, Jack Johnson reached out to Lee �Scratch" Perry to produce a dub remix album based on Jack�s�most loved recordings. On August 29, 2021, the project was brought to a halt as Scratch departed this physical world.�In 2022, Jack and Subatomic Sound System, Perry�s band of the last decade, connected directly and discovered they�had all the pieces to bring Lee �Scratch� Perry�s three creations to completion. The LP also features dubs from�Dennis Bovell, Scientist, Mad Professor, Nightmares on Wax, and more. Indie Exclusive Milky White LP.

7 Inch includes a studio version of the track 'We're Gonna Get There In The End' and an acoustic version of 'Pretty Boy'

Autographed Color LP

�More than anything, I wanted to make an album that was generous, that was useful,� says Ben Folds. �I want you to finish this record with something you didn�t have when you started.� Indeed, Folds� masterful new collection, What Matters Most, isn�t so much a statement as it is an offering, an open hand reaching out to all those wounded and bewildered by a world that seems to make less and less sense every day. Recorded in East Nashville with co-producer Joe Pisapia, the album marks Folds� first new studio release in eight years, and it�s a bold, timely, cinematic work, one that examines the tragic and the absurd in equal measure as it reckons with hope and despair, gratitude and loss, identity and perspective. The songs are bittersweet here, hilarious at times, but often laced with a quiet sense of longing and dread: a text message goes unanswered; an old classmate descends into the dark depths of internet conspiracies; a relationship unravels in the middle of a lake. And yet, taken as a whole, the result is an undeniably joyful record that refuses to succumb to the weight of the world around it, an ecstatic reminder of all the beauty and promise hiding in plain sight for anyone willing (and present enough) to recognize their moments as they arrive.

Avenged Sevenfold�s new album, Life Is But A Dream is a timeless work of art that blurs genres. Best served as a whole and consumed en masse to truly appreciate its musical breadth and sonic depth, it marks their boldest statement and most revolutionary work to date. Written and recorded over the span of 4 years, it was produced by Joe Barresi and Avenged Sevenfold in Los Angeles and mixed by Andy Wallace in the Poconos, PA. Inspired by Albert Camus� The Stranger, the album is a journey through an existential crisis; a very personal exploration into the meaning, purpose and value of human existence with the anxiety of death always looming. Immerse into this experience�