April 19 is fast approaching.

    First, there are no pre-orders or advance holds on any Record Store Day release.

    As always, we like to reward those who get here earliest and are most excited for Record Store Day without making the whole occasion about who camps out the longest.

    We will be conducting our random drawing for high demand/limited titles at 9:30 am.

    We will open at 10am with the first person in line being the first person to enter the store to shop the Record Store Day titles.

    What is the drawing & how does it work?

    Everyone in line before 9:30 A.M. will be given the opportunity to fill out their RSD wishlist.  Basically, everyone requests the titles they want to purchase if they have the opportunity.  We will collect all the filled out wishlists at 9:30 A.M. sharp.  The filled out wishlists will be selected in random order and each person will be reserved the top 2 items on their wishlist, if the titles are still available.  These 2 items will be held in reserve behind the counter and cannot be purchased by anyone else even if they are further up in line.

    So when should you show up?

    If you want multiple titles,  it will be “first come, first serve” after the wishlist drawing is finished.  So getting here early will allow you the chance to be one of the first people to attack the RSD-exclusive section.

    If you are just looking to get 1 or 2 titles, the key time is 9:30 A.M.  which is the deadline to submit a filled out RSD wishlist. Everyone who submits a wishlist has an equal opportunity to reserve that one exclusive title they desire.

    Hope to see you on the 19th


    Pure Pop

    **We will be posting titles that will be available at Pure Pop here on the website as they arrive, so stay tuned**

    Feel free to bring a filled out wishlist with you. Download by clicking on the links above.

    Here is what is going on tomorrow besides the massive release of limited titles.

    All full-priced cds/dvds (new & used) 20% off

    All full-priced vinyl/cassettes (new & used) 10% off

    Posters 2 for $10

    25% to 50% off t-shirts

    There is also plenty of free goodies to give out.

    Here is the current list of what we’ve received so far for Record Store Day 2014. We will only be posting artists and formats so please cross reference with:

    The Official Record Store Day List

    This will be the master post for our RSD stock so be sure to bookmark this post and to check back regularly!


    • ††† 10”
    • Ab-Soul 7”
    • Action Bronson 7”
    • Alvarius B LP
    • Animals, The 10”
    • August Burns Red LP
    • Autumn Defense 7”
    • Bastille 10”
    • Beat Culture 7”
    • Bis 7”
    • Bis LP/7”
    • Black Lips 7”
    • Blitzen Tapper 7”
    • Bonobo 10”
    • Botch LP
    • Bowie, David (Childrens Music) LP
    • Bowie, David 7”
    • Bradley, Charles LP
    • Brian Jonestown Massacre LP
    • Bugg, Jake CD
    • Cake LP BOX
    • Cardinal LP
    • Chance The Rapper 7”
    • Chocolate Milk LP
    • Chromeo 7”
    • College LP
    • Common Ground 10” BOX
    • Cosmetics LP
    • Creedence Clearwater Revival 10”
    • Crystal Antlers 7”
    • Cults LP
    • Cut Copy 10”
    • De Lux 7”
    • Death Cab For Cutie LP
    • Deer Tick 7”
    • Deerhoof 7”
    • Dennen, Brett CD
    • DEVO LP
    • Disclosure CD
    • Dispatch LP
    • Divergent CD
    • Django Django 7”
    • Dodos, The 7”
    • Dot Hacker 7”
    • Drive-By Truckers 10”
    • Eric B & Rakim 7”
    • Ex-Cult 7”
    • Fenixon LP
    • Fleetwood Mac 7”
    • Forsyth, Chris LP
    • FUN. 10”
    • Garbage w/ Brody Dalle 10”
    • Green Day CD/TAPE
    • Hawthorne, Mayer 7”
    • Heatmiser – Dead Air, Cop and Speeder, Yellow NO.5 TAPE
    • Heavens To Betsy LP
    • Il Sogno Del Marinaio 7”
    • J. Spacemen LP
    • Jaded Inc. 7”
    • JB LP
    • Jones, Glenn LP
    • Jones, Sharon LP
    • Julie Ruin, The 7”
    • Jupiter LP
    • Just Friends 10”
    • Khruangbin 7”
    • Killyst LP
    • Kodaline 7”
    • Kode9 LP
    • Kuti, Fela 7”
    • La Coka Nostra 7”
    • Lake Street Dive 7”
    • Langhorne Slime & The Law 7”
    • Leithauser, Hamilton 7”
    • Lemon Heads LP
    • Lloyd, Charles 10”
    • Lydia Loveless 7”
    • Lynch, David LP
    • Lynn, Lera CD
    • Man Man LP
    • Matthews, Dave LP
    • Mayfield, Jessica Lea LP/CD/TAPE
    • Mazzy Star &”
    • Meadow Noise 7”
    • Medicine LP
    • Mel LP
    • Milk and Cookies 7”
    • Miller, James LP
    • Minor Forest LP
    • Molina, Jason 7” BOX
    • Montgomery 10”
    • Neon Trees 7”
    • Nirvana 7”
    • Of Montreal 7”
    • OFF! 7”
    • Oneohtrix Point Never LP
    • Paisley, Doug 7”
    • Paranorman LP
    • Parquet Courts 7”
    • Pastorius, Jaco CD
    • Pharoahe Monch 7” CD
    • Phosphorescent LP
    • Pinback LP
    • Pond, Bardo LP
    • Pujol 7”
    • Quantic 7”
    • Rush, Bobby LP
    • Sam Means Blue Jeans 7”
    • Scientist & Roots Radic LP
    • Scots 7”
    • Secret Sisters CD
    • Side By Side – ??? 7”
    • Skrillex TAPE
    • Snow, The 7”
    • Soundgarden 10” BOX
    • Specials, The 7
    • Spektor, Regina 7”
    • Stanglers, The 7”
    • Sunny Day Real Estate 7”
    • Tears For Fears 10”
    • Thievery Corporation 7”
    • Tontons CD
    • Turntable Football 7”
    • UN, The LP
    • V/A – Gauthier, Mary + Baker, Sam 7”
    • V/A – Oberst, Conor + Dawes 7”
    • V/A – Dance Mania 12”
    • V/A – Jam Up Twist 7” BOX
    • V/A – Nawa LP
    • V/A – Ninjatune & If Music LP
    • V/A – Sacred Bones LP
    • V/A – South Side Story Vol. 23 CD
    • V/A – Taang 7” BOX
    • V/A – The Space Project 7”
    • V/A – William Onyebour LP
    • V/A Easy Sound Recordings NO. 1, 2, 3 7”
    • Van Vliet, Don LP
    • VanGaalen, Chad 7”
    • Veruca Salt 10”
    • Villagers 7”
    • Vitamin String Quartet LP
    • Walker, Butch 10”
    • Weller, Paul 7”
    • Wild Feathers 7”
    • Williams, Hank 10”
    • Wray, Link 7”
    • Yardbirds LP
    • Zappa, Frank 7”


    • Adventure Club 10”
    • Ammons, Albert 12”
    • Atmosphere 12”
    • Baez, Joan LP
    • BANKS 12”
    • Big Mama Thorton LP
    • Black Prairie LP
    • Bombino LP
    • Breadwinners LP
    • Brian Blade & The Fellowship Band LP
    • Bugg, Jake LP
    • Buried Alive LP
    • Childish Gambino LP
    • Chiodos 7”
    • Church, Eric LP
    • Clutch 7”
    • Cooke, Same LP
    • Court Yard Hounds LP
    • Croll, Dan LP
    • Czukay, Holger LP
    • Dessa LP
    • Doors, The LP
    • Dream Theater LP
    • Dresden Dolls, The LP
    • Earle, Steve LP
    • Earth Crisis LP
    • Emerald, Caro LP
    • Everly Brothers – Roots & Songs Our Daddy Taught Us LP
    • Fenech Solor 12”
    • Ferreira, Sky LP
    • Five Man Army 12”
    • Flaming Lips LP
    • Foals LP
    • Fred, Jacobs LP
    • Frightened Rabbit LP
    • Garcia, Jerry LP
    • Gojira LP
    • Grateful Dead LP
    • Greenbaum, Norman LP
    • Hathaway, Donny LP
    • Hüsker Dü LP
    • Jackson, Chuck LP
    • Jay-Z & Linkin Park LP
    • John Spencer Blues Explosion 12”
    • Johnny Cash LP
    • Joy Division 12”
    • July LP
    • Karma To Burn LP
    • Katatonia LP
    • Kaukonen, Jorma LP
    • Kramer, Wayne LP
    • Kriedler 12”
    • LCD Sound System BOX
    • Lewis, Meade “Lux” 12”
    • Liars 12”
    • Little Dragon LP
    • Many Faces of Oliver Hart LP
    • Mastodon LP
    • Moebius Neumeir Enger 12”
    • Motörhead LP
    • Muppet Movie LP
    • Neon Neon EP
    • Notorious B.I.G. LP
    • Ozric Tentacles LP
    • Pagans 12”
    • Paramore 12”
    • Parsons, Gram LP
    • Pastorius, Jaco LP
    • Perry, Katy LP
    • Pissed Jeans 12”
    • Pixies LP
    • Public Enemy LP
    • Pussy Galore LP
    • R.E.M. LP
    • Redding, Otis LP
    • Robotnick, Alexander LP
    • Rough Guide To African Blues, Mali, Latin Rare Groove, Psychedelic Baliwood, & Voodoo LP
    • Saturday Looks Good to Me S/T & Love Will find You LP
    • Schnaus, Ulrich 12”
    • School of Seven Bells LP
    • Scott Pilgrim VS. The World LP
    • Secret Sisters LP
    • Slipknot LP
    • Spanish Gold 7”
    • Spoon LP
    • Strife LP
    • Sun Ra LP
    • Supersonic LP
    • Surfer Blood LP
    • Tame Impala LP
    • The Birthday Party LP
    • The Field LP
    • Timbuktu, Imarhan LP
    • Type O Negative LP
    • United LP
    • V/A – Folk Box BOX
    • V/A – Inverted LP
    • V/A – Live From High Fidelity LP
    • V/A – Medical Records LP
    • V/A – Non Violent Femmes LP
    • V/A – South Side Story Vol. 23 LP
    • V/A – Sun Records Company Vol. 1 LP
    • Various Artists – The Space Project 12”/CD
    • Velvet Underground LP
    • Watson, Doc LP
    • West of Memphis LP
    • White Denim 7”
    • Winter, Johnny LP
    • Wizard of OZ LP
    • Xiu Xiu LP
    • ZEDD LP
    • Zombies, The S/T & Odessy & Oracle
    • Zoumbas, Alexis LP

    Cloud Nothings – Here and Nowhere Else
    It’s easy to get lost in the urgency of Cloud Nothings on this album and not really consider what is being talked about. “Psychic Trauma” features a chorus constructed by Baldi’s fractured bark, which will have many recalling Kurt Cobain in a comparison that proves more apt than we’d like to admit. But no one’s going to call this mere idol-aping, as Billie Joe Armstrong steps into Cobain’s place as key influence on album closer “I’m Not Part of Me”. Elsewhere, “No Thoughts” concludes with a rise in intensity octave to heights Cobain would have been hard-pressed to match. Moments like the outro to “Psychic Trauma” or the bridge of “Just See Fear” seem to unfold unrealistically, capturing studio moments in ways that you always hope to hear but rarely ever do, putting you practically in the room with the band. Read the full review on Consequence of Sound

    thieverycorpThievery Corporation – Saudade
    Though countless songs have “saudade” in the title, the condition of saudade isn’t usually conveyed through words. It’s evoked. Its wistfulness radiates through every element of the music — from the sound Joao Gilberto makes humming that iconic introduction to “The Girl From Ipanema” to the yearning melody itself to the precise chop of the rhythm guitar behind the voice. You can’t just order up saudade. There’s no setting for it on a drum machine; no software emulation available. It comes seeping through the music, between the notes, as delicate and evanescent as a May breeze. Read the full review on NPR

    Mac DeMarco – Salad Days
    DeMarco isn’t a greenhorn – he’s been recording and releasing raunchy rock ‘n’ roll for five years, first under the great pseudonym Makeout Videotape, and now simply as himself. Salad Days is his third release for Captured Tracks, after the album-sized EP Rock And Roll Nightclub, and subsequent album-sized album 2. For the uninitiated, he’s like a bluesy Ariel Pink, an artist unafraid to blurt out incredible tracks with amazing proficiency to vast swathes of acclaim but not knockout sales. DeMarco probably doesn’t give a shit about either. Read the full review on Music OHM

    London Grammar – If You Wait
    There is not a single weak track, but amongst the many highlights is a spellbinding cover of French house artist Kavinsky’s “Nightcall”. There’s a particularly gorgeous moment around the two-minute-thirty-second mark when the instrumentation is peeled away and, for a few seconds, you think the song will end – before Reid’s dazzling vocal is re-introduced amidst a haze of swirling keys. It’s nothing short of transcendent. Also, the flawless sequencing leads to an album that begs you to drink in its beauty by listening to it from beginning to end.

    This is an enthralling, stunning, deeply emotive album that perfectly marries understated electronica to sublime vocals and melodies. In a year dominated by titanic LPs, London Grammar have not only made the most perfectly formed debut album of the year – they’ve made one of the best LPs, period. Read the full review on Pretty Much Amazing

    Hold Steady – Teeth Dreams
    If you’ve ever had that dream where your teeth fall out or crumble apart, you can recall that tossing-and-turning feeling of helplessness and existential dread that you can’t escape from while you’re asleep. For the Hold Steady, though, its Teeth Dreams are about being trapped in reality, what happens after coming down from a high and facing up to the latent fears and nagging disappointments that all the self-medicating could fend off for only so long. This time out, there’s not so much about booze and drugs, and nothing about hoodrats, with the key terms on Teeth Dreams being frustration and anxiety. Read the full review on Pop Matters

    Bad Plus – Rite of Spring
    Of all the jazz groups to tackle such a hurdle, The Bad Plus seems like the right horse for the course. It’s a group with an affinity for quirky, proggy original music; a reputation for transformative covers of anything from 20th-century classical music to Aphex Twin; an evident love for music history, whether jazz or otherwise. It’s also been touring frequently for well over a decade, with sizeable fan base and media attention, making it possible for a few major performing arts institutions to commission it for something of this scope. So they did, at first performing their adaptation of the Rite with a video installation and later with a dance company. Now the music is on record for anyone to hear. Read the full review on NPR


    “Brother, can I get an ‘amen’? Amen! That’s the sentiment the listener gets after hearing Alabama based sextet St. Paul and the Broken Bones. Influenced by the church, specifically the black gospel tradition in addition to vintage soul, debut albumHalf the City is a legit soul LP in 2014. Soul and the year 2014 seem an unlikely pairing, particularly with the heavy reliance of electronic instruments and autotune, but the relationship proves to be one that’s ‘Simply Beautiful’ as Al Green would put it. St. Paul (aka Paul Janeway) leads the charge of the soul-band, delivering truly amazing, gut-wrenching vocal performances. Unafraid to get ‘down and dirty’ with it, Janeway’s Pentecostal influence coupled with a love for James Brown, translates nearly perfectly on Half the City…” – Brent Faulkner, (See full review here.)

    War on Drugs – Lost in the Dream
    As detailed in a recent Grantland feature, Lost In the Dream was the product of a grueling, year-long recording process. Though Granduciel involved his touring band more so than any previous War on Drugs record, his perfectionist tendencies still held sway, resulting in endless cycles of recording, revising, and scrapping. And such self-doubt wasn’t helped by the fact that Granduciel was recovering from the flame-out of a long-term relationship, the ashes of which are scattered all over his lyric sheet here. But the obsessiveness and insecurity pay off massively on Lost in the Dream—this is the War on Drugs’ most lustrous, intricately detailed, and beautifully rendered record to date. Read the full review on Pitchfork

    Freddie Gibbs/Madlib – Pinata
    This is the type of idea that can’t go wrong. Piñata might not even work as a front-to-back listen, but it’s a damn near guarantee you’re going to get good raps over left-field beats. That’s what’s expected, and that’s what’s given, but that’s not all. Freddie Gibbs and Madlib don’t reflect off each other in the way Action Bronson and Party Supplies bring out the best in each other when they meet. There’s a sense of reverence that extends beyond chemistry. Read the full review on consequence of Sound

    Black Lips-Underneath the Rainbow
    With The Black Keys’ drummer Patrick Carney on production duties for a number of tracks, Underneath The Rainbow has been recorded at various places from Nashville to New York as the band meld their usual abrasive garage punk rock with a touch of bluesy Southern rock. Opener Drive By Buddy is a perfect example of this, sounding something like a bunch of drunken hillbillies playing The Monkees’ Last Train To Clarksville, accompanied at one point by a most annoying alarm clock. Read the full review on MusicOHM

    Metronomy – Love Letters
    Metronomy’s Mercury nomination for their third album, The English Riviera (2011), gave a giddily high-profile to what had begun as Devonian Joseph Mount’s bedroom-produced, solo project. Their breakthrough’s thin-voiced, faintly melancholy English dance-pop seemed to bracket them with Hot Chip, following a progressively more anaemic lineage that began with early New Order. Mount is an easy-going soul, but interviews suggest he sometimes smarts at being underestimated, fuelling an ambition to progress and prove his doubters wrong. Love Letters, recorded to tape in east London’s analogue, White Stripes-favoured studio Toe Rag, certainly rings the changes impressively. It’s Metronomy’s best work to date. Read the full review on The Independent 

    Aloe Blacc – Lift Your Spirit
    The most contemporary R&B of the productions is on trend with the latest disco revivalist movement, which finds its expression with the Pharrell produced four-on-the-floor of “Love is the Answer” and would be right at home with the butterfly collars and bellbottom flairs decorating any ‘70s roller rink. On the socially conscious single, Blacc is delivering his best Bill Withers at the discotheque impression. The unabashed soul continues with plenty of triumphant strings and hip hop beats for the fist-pumping choral anthem, “The Man,” an epic song already featured on the national Beatz by Dre headphones commercial. The testosterone propulsions and more palatable braggadocio that thread much of the male-centric Lift Your Spirit is at its most cinematic on the funky “Solider in the City” which sports the kind of Blaxploitation scoring elements that personified such film soundtracks as Shaft and Trouble Man, if slightly brighter in tone. Read the full review on SoulTracks

    Elbow – Take off & Landing of Everything
    The sound of change is all over the band’s sixth album. During the recording of The Take off And Landing Of Everything, Garvey’s 10 year relationship ended, and although this isn’t a “break-up album” in the way that Leaders Of The Free World so explicitly was, it’s impossible not to hear the sound of the recently heartbroken in there (listen to a line like “I am the boy who loved her so in every song” and try to imagine it’s not autobiographical). Most surprisingly, these most Mancunian of bands have a new city in their creative eyeline: New York. Read the full review on Music OHM

    Real Estate – Atlas
    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. Read the full review on Pitchfork

    Drive By Truckers – English Oceans
    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.

    Cooley’s “Shit Shots Count” kicks off the album with the sort of sly, weary wisdom of someone who’s long since dropped all idealism: “Friday night rich is all you’re ever gonna be until the fight in you on Monday’s gone.” Go to work and have your weekends and forget about measuring your life in terms of pride or shame, advises Cooley, adopting a resigned barfly honesty: “Don’t act so surprised, and try not to look so lost.” Read the full review on Paste

    Nick Waterhouse – Holly
    Nick Waterhouse looks like Elvis Costello and sings like a smoother Dan Auerbach. He writes tight, short songs that would make Bert Bern of Twist And Shout fame proud. You can imagine that he and Van Morrison have a similar record collection, including the Irish bard’s own classics. Unlike other genre-resurging acts like The Allah-las, Tame Impala, Ty Segall or Foxygen, Waterhouse’s main well of inspiration is not classic ’60s rock and roll, but R&B and soul, the kind you listened to in the ’50s on a Chess Records LP. Read the full review on Music OHM

    Beck – Morning Phase
    Naturally, after three albums in a row without much stripped down material, Beck has returned to the musicians (and emotions) of Sea Change with Morning Phase, his first new studio album in six years. And this time around, Beck not only has a more positive outlook on life, but sports refined songwriting and musicianship. That is, instead of wallowing in minimalism and his own sadness, Beck uses Morning Phase to show that he’s “tired of being alone”, but also to state that he’s comfortable in his own skin. All in all, it’s one of the best records he’s ever made. Read the full review on Music OHM

    St. Vincent – St. Vincent
    St. Vincent continues Clark’s run as one of the past decade’s most distinct and innovative guitarists, though she’s never one to showboat. Her harmonic-filled style bears the influence of jazz (she picked up a lot of her signature tricks from her uncle, the jazz guitarist Tuck Andress) and prog rock, two genres known to embrace sprawl. But Clark’s freak-outs are tidy, modular and architecturally compact—like King Crimson rewritten by Le Corbusier. Even at its most spazzy, there’s always something efficient about St. Vincent. Read the full review on Pitchfork

    Mike Gordon – Overstep
    What Gordon may have given up in control, he gains by creating a more unified and satisfying sound. Don’t worry, Gordon lovers. There’s still plenty of his off-the-wall lyrics. Take “Ether,” the first track, where he dreamily describes floating around and encountering a Cyclops and using rocket components to build a new girlfriend. Read the full review on ABCnews

    Phantogram – Voices
    The most noticeable difference, at first, between Phantogram and say Purity Ring is how frontwoman Sarah Barthel controls the songs. Barthel can easily be cooing and seductive one moment only to be breathing fire the next. Even while she’s at her most sleek, she’s still hiding daggers behind her back, after all the opening tack “Nothing But Trouble” is filled with her “shotgun smiles”. When she starts describing her R.E.M. cycle on “Bad Dreams”, be assured that nightmares will be induced. Read the full review on Pop Matters

    Glitch Mob – Love Death Immortality
    The Glitch Mob’s sophomore album, Love Death Immortality, truly showcases how much the band has grown since their debut full-length album, Drink The Sea, in 2010. Released on their own Glass Air label, Love Death Immortality walks the tight rope between light and dark, playing both sides perfectly against one another in a tug of war between infatuating melodic leads and deadly bass line rhythms that transcend what everyone else in the electronic music scene is doing. Read the full review on Joonbug

    Bombay Bicycle Club – So Long, See You Tomorrow
    The most striking feature of So Long, See You Tomorrow is the manner in which BBC manage to successfully mix eclecticism with cohesiveness. As we’ve witnessed with the transitions from blues to folk to pop that have occurred in their back catalogue, they’re certainly not a band to stick with one sound and SLSYT is not an exception to that trend. Much of the record is devoted to perfecting the middle-ground between indie-pop and dance, a feat which many bands recently have stumbled over. Read the full review on Absolute Punk