Season’s Greetings music lovers – The Turkey is barely turning into turkey sandwiches and we’re all ready to go again for another holiday season. What can we say we love it, all the twinkling lights, holiday feasts, and of course our favorite holiday songs by our favorite non-holiday indie rock power(not-really-a)couple. “She & Him”.

You don’t have to act all tough – you know you’ve got a holiday album or three on your iPods. Time to update your selection!

httpv://www.youtube.com/watch?v=1gCd23Jrc0M

PS. Entertainment Weekly Raves “Deschanel’s unfussy voice puts a charming spin on yuletide chestnuts ”Blue Christmas” and ”Rockin’ Around the Christmas Tree.” And their take on the Beach Boys’ ”Christmas Day,” with its gingerbread-spicy surf licks, is sweet enough to cure an eggnog hangover. ” So there’s that too.

Opening at 10 A.M

We will have a random draw for the order of the line at 10.  Please do not arrive super early hoping to be first in the line.

We do not pre-reserve any items for Black Friday/Record Store day.

If you can’t make it down on Friday, you may call starting at 12 noon to see if we still have the item you desire & we will hold it for 24 hours.

Here is the list of the items we will have available.  For more info on the releases, you can visit recordstoreday.com.

311 Grassrots LP

Black Belles  7″

Civil Wars 10″

Crowded House cd/dvd

Flat Duo Jets  LP.

Jeff the Brotherhood 7″

Julian Velard  cd

Lauren Sheara  cd

Lost Notebooks of Hank Williams lp

Milk Carton Kids  cd/lp

Peter Hook  cd

Pinback 7″

Rival Sons 12″

Sharon Jones cd/lp

Boris cd

NIck Lowe 7″/10″

Black Face 7″

Helms Alee  cassette

Los Straitjackets  7″

Fleshtones 7″

Tom Ze LP

Phish  Party Time LP

Brendan Benson lp

Kings of Leon  Lp box

Ryan Adams 7″

All that Remains  7″

Syd Barrett  Book/7″

Beatles 7″ box

Doors 7″ box

Bob Dylan 7″ box

Janis Joplin 7″ box

Pink Floyd 7″ box

Craig Finn 7″

Trampled by Turtles 7″

Miles Davis lp

Nirvana singles box

Sea Wolf 7″

Silversun Pickups 10″

Pete Townshend  10″

Soundgarden 10″

Warren Haynes 12″

John Cale cd

Best Coast cd

Black Keys 12″

Dr Dog 7″

Justin Townes Earle 7″

Matisyahu 7″

Fear 7″

Jimmy Cliff 12″

Dream Theater  lp

Iron & Wine lp

Phish white lp

Grateful Dead lp

Chris Cornell lp

Beach Fossils lp

Wilco 10″

Red Hot Chili Peppers lp

Tom Petty lp

Mobb Deep cd

That’s it , I think.
Michael

ps Rolling Stones 7″ is coming but late , will probably arrive some time next week.

It’s that time of year again folks – christmas trees, hanookah minorras hanukkah menorahs, kwanza… uh menorahs, (don’t forget Atheist contempt) – And Pure Pop Year Enders! And as with last year, you’re all invited to submit your lists! Because of last year’s overload of submissions and because you never start a sentence with “because”, we’d like to lay out a few ground rules to help keep things organized.

• Your year ender should be relevant to Music, music culture and/or pop culture.
• Your list should be not more than a top 5 (short and simple.)
• Your review should contain at least 2 descriptive sentences / explanation for why you picked said year ender list item.
• Each list item should contain both artist name and title, where applicable, if it’s a film list – film title, maybe director… use your best judgement.
• Who you are. Name, Age, Location, Occupation, social security number and images you want to include… your cat, etc.

You’ve got a few weeks to put your thoughts together, and keep your eyes on the our facebook page and the website for more info. We’ll post up a link to a page where you can submit your list info. We’re gonna try and publish all the lists we get that meet the list criteria, so get crackin’!

Sigur Ros – Inni
Inni attaches real people to this totemic image: At the heart of it all, it’s four guys playing music and singing, with all their naked humanity on full aural display. And that, for me, is the one downside to this live album. Ironically, it’s also the best thing about it. Inni brings Sigur Rós and their music down from Olympus; it reminds us that they are mere mortals after all. Towards the end of the album, the band does provide a few “seeing God” moments of apotheosis, complete with the crescendo and climax that form the essential component of their best songs, restoring them to demigod status. “Festival”, the centerpiece of their most recent album, Með suð í eyrum við spilum endalaust, rears its fire-breathing head even more fully with Dýrason’s frenetic drumming in full force. Read the full review on Consequence of Sound

Childish Gambino – Camp
If you have only enjoyed “Heartbeat,” the LP’s first single, get the whole album. Because although it’s one of the album’s strongest tracks, there are better displays of Gambino’s talent on “Camp.”

The single’s catharsis is matched and exceeded in the album opener “Outside,” which uses stadium-sized posturing in production to showcase self-consciousness, regretful notions about death, heavy nostalgia. If this sounds like familiar – like Kanye, for instance – then you’re only partly right, because although he nods toward his contemporaries, Gambino does his own thing. Read the Full review on Death and Taxes Magazine

Tegan and Sara – Get Along
Sara Quin, one-half of the Canadian duo, said she hopes the intimate look into their lives will show the world there is a low-key side to their quirky personas.

“We’re just normal people and I didn’t want it to be too over-the-top funny, or too over-the-top rockstar-y. I just wanted it to be normal, middle-of-the-road,” Quin deadpanned in an interview with Wired.com. “We should’ve put that on the package: ‘Middle of the road. Not very funny. Not very intense.’” Read the full (sorta) review on Wired

The Beach Boys – Smile Sessions
But part of the allure of SMiLE will always be the pieces, and the deluxe box has a lot of them. There’s almost a full disc of “Heroes and Villains” fragments and another entire CD with bits of “Good Vibrations”. Given the nature of this release, the extras are illuminating, arguably more essential than most outtakes included with bonus albums. Having source materials hints at roads not taken, and also offers insight into the difficulty of actually creating a record on this scale, given how much we’ve heard about all the bouncing and layering that SMiLE entailed (the complexity of which is partly to blame for the project’s being late and ultimately abandoned) and how many of the basic tracks were recorded live in the studio with a dozen or more musicians at once. There were only four and eight tracks to work with on the tape of the time, so one of them would need multiple instruments just to have voices and overdubs added later. Read The Full Review on Pitchfork

Atlas Sound – Parallax
There’s a couple ways to approach Parallax, the latest and greatest heart-pouring from Bradford Cox’s home-recording project Atlas Sound. The first is without the context of who Bradford Cox is, without knowing he is diagnosed with Marfan syndrome, without knowing he’s disseminated hundreds of songs on his blog, without knowing his role as frontman of the far more accessible psych-rock group Deerhunter, without a bead on his mercurial, tortured, and aching lyrics of past projects, and without a sense that Cox is becoming the premiere artist who combines his self and his music to create an unparalleled artistic symbiosis. Without that context, Atlas Sound can feel insular and difficult to penetrate. Read The Full Review on Consequence of Sound

Youth Lagoon – The Year of Hibernation
I guess what is so appealing, to me at least, about Trevor Powers and his Youth Lagoon project, is how believable it all is. This is just some fucking kid from Idaho (much like Arrange is just some fucking kid from Florida). And I don’t mean that in any derogatory way whatsoever, despite my callous and idiotic usage of the F-word. What I mean is that when you listen to the far-off then jittery electro treat “Posters,” and hear lines like, “When I was nine years old / I had a poster…/ I knew what I wanted to be / Never was the same,” it’s trite and childlike and not all that complex. Sure. What it is, in fact, is everything we wish we could say. But instead we spend too much time obsessing over what our words might be perceived to mean; Powers connects because he isn’t trying to. I’m speaking for him like a dickhead, but The Year of Hibernation would be just as successful if nobody ever heard it. At least for him. Read the full review on Absolute Punk

Lou Reed & Metallica – Lulu

Lulu was first previewed with an especially repellent 30-second tract of “The View” that confirmed everyone’s worst suspicions of the project– namely, that Reed’s crotchety, atonal poem-rants would be wholly incompatible with Metallica’s fidgety riffage. The clip’s most prominent lyric (“Throw it away/ For worship someone who actively despises you!”) seemed to mock both artists’ most forgiving fans for even clicking on the link. By the time “The View” was released in its full, five-minute ghastliness– with Hetfield variously professing himself to be a table, a 10-story building and, possibly, the premier member of Philly hip-hop band the Roots– the Internet had all the evidence it needed to preemptively crown Lulu the Worst Album of All Time. – Read the full review on Pitchfork

The Decemberists – Long Live the King

A collection of outtakes from the King Is Dead sessions, Long Live The King finds inspiration in the Grateful Dead, whose gently rollicking “Row Jimmy” gets covered in spirited, surprisingly boozy fashion. Similarly, Long Live The King is a loose, almost ramshackle record; the songs, particularly the home-recorded demo “I 4 U & U 4 Me” are as catchy as ever, but they’re like snapshots of a band living in the moment, without regard for whether everything is falling exactly in the right place.  Read the the full review on AV Club

Florence + The Machine – Ceremonials

On her follow-up, “Ceremonials,” Welch has struck a fantastic and necessary balance. She’s found a way to honor her Bjorkian appetites for lavish orchestral spectacle while finding the depth and subtlety of her voice. She’s become a better actor, a keener listener and still manages to let it rip on occasion. But she also knows when to hush up, like at the close of “Spectrum,” when Tom Monger’s harp gorgeously flutters and dips around her. Read the full review on LA Times Blog