Search "mobb deep" 13 Items

"Anyone who's ever worn out a copy of the Stones' It's Only Rock & Roll or The Black Crowes' Shake Your Moneymaker is going to find LOTS to love" - Jambase. Comprising the Brothers Kinnon (Chris on vocals and guitar; Jeff on drums), riff-master Sean Casey (guitar), and classically educated bass player Enzo Figliuzzi, the Canadian/California-based band has played with everybody from the Dirtbombs to the Kings of Leon, making SXSW best-of lists numerous times, and hanging out with Andrew Loog Oldham. After years in the wilderness-working as a garbageman, surviving cancer and serious workplace injuries-they are back rocking with next album produced by Dave Cobb (Chris Stapleton, Greta Van Fleet, Brandi Carlile, Rival Sons). Despite experiencing the best and worst of the of old music business, the band somehow kept going, releasing music piecemeal. Now the streaming platforms revolution has given Lions in the Street a new life an audience, allowing them to release largely-unheard music-finally finished and remixed/remastered. "This is rock with a direct line back to the nasty blues, jump tunes, and country boogie that birthed the whole damn genre. Untamed, direct, and bristling with hairy masculinity, Lions in the Street play rock like the cause it is... that is when you do it right. " - Jambase - LITS' upcoming album Moving Along captures their trademark swing and swagger. The title track, mixed by Rick Parker (Beck, BRMC, Scott Weiland), is a menacing, harmonica-driven vamp "worthy of Mick and Keith at their sticky-fingered best" (Jambase. Com). "Moving Along" is also the lead track in the upcoming Paramount film "Cassino In Ischia", starring Prison Break's Dominic Purcell. Never to rest on their laurels, Lions in the Street are also putting the finishing touches on a live album and a record they made with multi-Grammy-Award winning producer Dave Cobb (Chris Stapleton, Greta Van Fleet, Brandi Carlile, Rival Sons).

Perched in the belfry of The Chapel we caught thee mighty Oh Sees, alive and in their natural element, with our shutters aflutter and our tapes on a roll. After a short incubation period, the beast has reached full maturity and it is hideous. Over three nights they pummeled, and we’ve culled some great photographs, a wicked recording, and even a little live video action. Castle Face is happy to announce the first double LP in the Live in San Francisco series, presented on two discs, in a handsome double gatefold jacket, with live video shot by Brian Lee Hughes, Casey Anderson and their crew of merry gentlemen on an included DVD. Finally you depraved Oh Sees freaks have something to take home with you when you lose your shoes and your girlfriend at the show. Put it on at home and pretend to wait in line for the bathroom and it’s like you’re really there. The thrash, the throb, the mob is all present and pushed to the front. Dual drummers synced in each ear, Tim Hellman rounding out the bottom and Castle Face’s own John Dwyer up front on guitar, lasering young brains off and fomenting the crowd to a froth—it’s a great band, in a great room, with a great crowd and it’s cooked to perfection… Take a little bit of it with you this time.

It's Cocktail Time, America! That’s right—Grace, the sophomore effort from Planet Earth's favorite Western Mass bar band Animal Piss, It's Everywhere, is officially upon us. And indeed, there is a certain grace present amidst the rambles and ambles of this particular trip around the gramophone. Picking up where 2022’s self-titled LP left off (deemed an "all-star romp through early West Coast country rock a la Moby Grape, Sons of Champlin, & Byrds" by Byron Coley), this latest full-length further explores such collectively road-tested themes as mortality, partying, doomed celebrity, and wasted-days-turned-regrettable-nights with equal parts stardusted mania and genuine pathos. Sorta like if an early Jimmy Buffett LP took a wrong turn down a dark alley somewhere between the poolside cabana and neighborhood crab shack, or if Brewer & Shipley tripped with the Meat Puppets in a tour van together. Sophomore Lounge and Half A Million Records are happy to co-present this aural truckstop feast from the experimental northeast, and it arrives just in time to squeeze in a few more shoreline drives with what's left of these hazy summer daze. Jump in!

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly...

Limited Edition of 1000 Opaque Light Blue 180 Gram Vinyl LP.Ghost on Ghost is Iron & Wine's fifth full length record and was originally released in 2013. The album found Sam Beam the bands principle member working once again with longtime associate Brian Deck (Modest Mouse, Califone). The record marks the last time the two would work together on a journey that began with the bands second record, Endless Numbered Days. It also marked a shift for the two from working in Chicago to setting up in New York City. The idea behind the move was to tap into the creative musical community New York had to offer.The line-up that helped bring Beam's vision for Ghost on Ghost to life included a who's who from the jazz community as well as the deep wells of outside art including Steve Bernstein (Sex Mob/Levon Helm Band), Rob Burger (Tin Hat Trio), Brian Blade, Curtis Fowlkes (The Jazz Passengers), Tony Garnier (Bob Dylan Band), Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr (The Lounge Lizards), Doug Wieselman, Kenny Wolleson (Tom Watis/John Zorn) and Anja Wood. The level of talent on Ghost on Ghost far surpassed anything Beam ever imagined when he first began writing songs as Iron and Wine on his four-track.Upon completing the Ghost on Ghost Beam jokingly referred to the recording process as "a reward to myself" after years of chasing sounds by himself. Being able have the finest in musicians in New York City perform on the record, elevating these songs into places he never imagined Beam stated, "it was an honor -- really inspiring."Beam stated at the time that Ghost on Ghost takes it's inspiration from records like Nilsson Schmilsson, Ram, Mingus Moves and What's Going On. The record they all crafted is warm and inviting and was like anything up to that point in the Iron & Wine catalog.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and touredNorth America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home.That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released onOctober 4th via Hellcat."SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers,and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Modeand The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense fontof inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barnwhere the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, anart studio, a storage space and a hangout spot all-in-one.Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere younotice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got alot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have inLondon."RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al -bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producerStephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

Soulful, spiritual, psychedelic, funky, hard-edged, colourful, classic. It’s downright impossible to get out of your head. Rival Sons release their greatest album production to date.

It has been just two years since Rival Sons last graced us with their hugely impressive Great Western Valkyrie album. Since then, the band has been touring both on their own, and supporting several of rocks greats such as Deep Purple, AC/DC, Lenny Kravitz, and the mighty Black Sabbath on their The End World Tour.

Recorded over a few weeks in October 2015, again teaming up with award-winning producer Dave Cobb in Nashville, Tennessee, Rival Sons created their fifth studio album, Hollow Bones. This is the verdict.

Oakland CA's Blue Ocean have been working around the fringes of the Bay Area indie scene since 2019, honing their very particular noise-soaked racket into a unique and instantly identifiable sound. They blend elements of shoegaze, pop, noise rock and electronics into a dense, sometimes disorienting soundworld that embodies a spectral mystery that recalls forebears like Disco Inferno, Bark Psychosis and Flying Saucer Attack. "Fertile State" is their debut album, following on the heels of 3 tape EPs and a LP drawn from those tapes that sold out instantly on release in 2021. Songs like "Ode," "Fertile State" and "Syncnine" show how much Blue Ocean has grown in the last few years. They've easily shrugged off many of the markers of their punk/indie roots, allowing their experimental urges free rein and and the noise to find it's own level. It's a bracing, invigorating album that truly rewards deep listening and points the way forward to an intriguing future.

Warm in the Shadows rounds out the trio of three-song 12" singles that Music Go Music havereleased over the course of 2008-09. It's both a fitting end-piece to the trilogy and a remarkableexpansion of the group's sonic and emotional breadth. There is a casual but undeniable magicto these songs, and it flows around and out of each note of every melody.Title song "Warm in the Shadows" is dance music, as envisioned by a group with a greaterallegiance to pop archetypes than to the hymns of the dance-floor. It's a step in a differentdirection; an invitation to shake, coupled with a gentle evocation of the pain of wrecked love("what kind of heart would break so easy as my own"). It's a case history and a cure for both thelovesick and the lovesick-to-be.The B-side offers up stories of exotic depravity consuming itself...