South Florida's Flagship Independent Record Store

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Hello all, just wanted to make sure you all know that we have moved…we are no longer at 1141 Washington Ave…we have now moved 2 blocks south to:

939 Washington Ave  Miami Beach, FL 33139

phone number is still 305-532-0973

stop by and see our new location….

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We have a crazy month ahead of us!! Starting off with Tuesday April 9th, we will be having 2 big listening parties for 2 BIG new releases!! Stop in at 3PM to hear the new Dawes album “Stories Don’t End”.  We are giving away an autographed Hard Cover copy of the book for their new album, so stop in to listen and enter your name in the drawing for this great prize!!

Then at 4PM on Tuesday April 9th we will be listening to the new Paramore album aptly titled “Paramore”.  If you purchase the album, we have some bracelets, buttons and stickers to give you free with purchase!!

On April 19th we will be showing the “Last Shop Standing”, about the Rise, Fall and Rebirth of the Independent Record Store!! Stop in at 11AM and then again at 5PM to watch the movie that is the official film for RSD 2013!!

Then on April 20th(4/20), the big day has arrived!! Record Store Day 2013 has an incredible 400 titles (give or take a few) to release.  As always we are doing our best to get everything you want, but we all know that all the titles are limited and we may order 20 and only get 5…so with that in mind, we are opening at 10AM.  We will have lots of yummy sweet treats for you to nosh on  while you wait!! You can hang out after and peruse the other vinyl we have in stock as well, we have been buying new vinyl weekly and have some great titles out in the bins!!

So to recap…Dawes Listening Party (4/9), Paramore Listening Party (4/9), Last Shop Standing Video (4/19) and RSD 2013 on April 20th!!  Hope to see you at the store soon!!

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Want to get a super limited edition Depeche Mode test pressing?? Only 75 made…1 2 LP set test pressing on vinyl!! Follow the link to our facebook page and follow the instructions!! Good Luck!! A winner will be picked by April 4th.

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The opening tom hits and fuzzbox riffs that start Indigo Meadow give the indication that this is yet another turn on the Black Angels‘ merry-go-round of stoner rock and neo-psychedelia. However, the third song, “Don’t Play with Guns,” takes a decided turn with its big pop single hook, and the follow-ups “Holland” and “The Day” follow suit, as songs that are more carefully structured than the usual two-chord repetition that we’ve grown to expect. Not that there’s anything wrong with the sound of bands like Spacemen 3 and Black Rebel Motorcycle Club, but after several albums based on repetition, this is a pleasant, unexpected change for the Austinites. Part of the inspiration for change is probably due to the paring down of the band into a four-piece. Song changes are easier when there are less cooks in the kitchen, and Bland, Maas, and Hunt take more chances in their songwriting, alternating who plays bass, guitar, or organ, and even spreading out their duties to include odd instruments like flutes, bass Moog, harmonium, Manetron, and a tibetan singing bowl. These bright touches give the album more of a thickly produced ’60s feel than prior albums. Producer John Congleton adds just the right amount of engineering tricks like reverse tape delay to make songs like “I Hear Colors” and “Twisted Light” true to the Nuggets era. Meanwhile, as always, Stephanie Bailey holds down the show with her rock-steady but exciting style of drumming. The Angels are masters at sounding simultaneously cool as a block of ice and hot as hellfire, but the cunning pop melodies are the real key to this album’s success.
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Switching from a major to his own Bushbranch imprint on Gary Hoey‘s independent SurfDog label is, to the say least, a little unexpected from Eric Clapton, but now that he’s reached the ripe old age of 67, the guitarist isn’t so concerned with proving himself. On Old Sock, his 20th studio album, he sounds downright happy to be slowly dropping off of the mainstream radar, not bothering with any music that could conceivably be called pop, or even writing his own songs. Only two of the 12 songs on Old Sock are new, and he didn’t write either himself; they’re co-writes between his longtime right-hand man Doyle Bramhall II, Nikki Costa, and Justin Stanley, and the vaguely propulsive blues-rock of “Gotta Get Over” and cheerful lite reggae bounce “Every Little Thing” fit neatly into the sunny nostalgia offered on the rest of the record. And “sunny” describes Clapton‘s sound, mood, and styles here, as he favors reggae over the blues, turning both Otis Redding‘s “Your One and Only Man” and Taj Mahal‘s “Further On Down the Road” into lilting bits of sunsplash, covering Peter Tosh‘s “Till Your Well Runs Dry,” and getting so besotted with good cheer on “Every Little Thing” he brings in a bunch of kids to sing the closing chorus, a jarring addition that treads the border of good taste. When Clapton does dip into the blues, it’s on a grandiose “Still Got the Blues,” a tribute to the late (and somewhat underappreciated) British blues guitarist Gary Moore, so it’s clear his heart now lies elsewhere, namely shuffling along with Paul McCartney to “All of Me” and knocking out Leadbelly‘s “Goodnight Irene” as a front porch singalong. Clapton indulged in this shameless, warm-hearted celebration of the past on 2010′s Eric Clapton, but that album bore all the hallmarks of a carefully considered major-label effort: the sound was immaculate and the song selection had the well-considered thrust of a history lesson. Here, he leaves all those classy trappings behind, picks up his guitar and plays a bunch of songs he likes, maybe even loves. It’s not an especially compelling reason to make an album but it’s not a bad one, either, and the same can be said about the experience of listening to Old Sock: it’s a pleasurable way to while away the time.
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We are in high gear for the WINTER MUSIC CONFERENCE 2013!!  We have WMC Shirts for $20.00 each in several styles fro both men and women.  The newest CDs are also in stock; Defected In The House Miami 2013, Hed Kandi Miami 2013, Louie Vega’s Elements Of Life, Above & Beyond Anjunabeats volume 10, Ministry Of Sound Clubbers Guide 2013, Nick Warren-Rennaissance The Master Series and John Digweed Live In London just to name a few….(Phew). The music is pumping, the people are flowing in the doors and all we are missing is YOU!!  Stop in and say hello, check out our vinyl selection, our awesome stereo bags , all our amazing T-Shirts and hats and everything else to make WMC ….well, WMC!!

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Want to Check out Snoop’s new movie Reincarnated?? I got your passes at Uncle Sams Music!! 10 passes available, each good for you and a friend. At O Cinema any showing from March 18-March 21…if you are interested just go to our facebook page (https://www.facebook.com/pages/Uncle-Sams-Music/80608321686?ref=hl)  and share the link…let everyone know about this movie, then I will message you and you can come in and pick up the FREE pass!! First 10 are good to go!!

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Although based in Seattle, Ivan & Alyosha create a sound that’s distinctly Californian, with acoustic instrumentation and bright vocal harmonies that evoke the West Coast’s summery, Southern locales. The band formed in 2007, when solo songwriter Tim Wilson met Ryan Carbary. Taking their name from Dostoevsky’s The Brothers Karamazov, the two began playing together, eventually traveling to Los Angeles to record a folk-pop EP with producer Eli Thompson. The Verse, The Chorus was released in early 2009, paving the way for a healthy tour and a decent amount of national buzz, including a nod from NPR’s “All Songs Considered.” Things picked up again in early 2011, when the band — now a four-piece featuring Wilson’s brother, Pete Wilson, as well as Tim Kin — released the sophomore EP Fathers Be Kind and launched another tour. An impressive full-length album, All the Times We Had, appeared from Dualtone Records early in 2013.
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Tomorrow there is a new release from Thom Yorke…No, not a new Radiohead record yet….not even a solo album….Atoms For Peace is an experimental rock & electronic supergroup formed in late 2009 in Los Angeles, California. The group consists of Radiohead lead singer Thom Yorke (vocals, guitar and piano), Red Hot Chili Peppers bassist Flea (bass), longtime Radiohead producer Nigel Godrich (keyboards, synths), Joey Waronker of Beck & R.E.M. (drums) and Brazilian instrumentalist Mauro Refosco (percussion).  Stop in the store and grab a copy of this great album on CD bith regular and deluxe or on album as a regular or deluxe version…..It is a must hear!!

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Upon leaving the Smiths in 1987, Johnny Marr embarked on a musical walkabout, choosing to collaborate rather than build a career. He began playing studio sessions, appearing on records by Talking Heads, Pretenders, Kirsty MacColl, Pet Shop Boys, and Billy Bragg, embarked on an extended collaboration with Matt Johnson of The The, and formed Electronic with Bernard Sumner, effectively sitting out the great Brit-pop explosion of the ’90s. By the turn of the millennium, he finally tried his hand at fronting a band, turning in the underwhelming Boomslang with the Healers in 2003, before once again sliding into a supporting role, joining Modest Mouse in 2006 and then decamping for the Cribs a few years later. Marr‘s time in two bands kick-started something within him, as after he departed the Cribs in 2011, he relocated to his hometown of Manchester and set about recording The Messenger, his first full-fledged solo album. The Messenger is an unapologetic return to his roots, sounding for all the world as if it could have been released in 1990, just a few years after Strangeways, Here We Come, which isn’t to say it’s a collection of demos awaiting finished vocals by Morrissey. Marr has long demonstrated an affection for electronics and dance rhythms, evolutions Moz considers as anathema, so it’s hard to picture the album’s title track, pulsating along to a slick disco beat, or the angular, echoing syncopation of “Word Starts Attack” coming out under the Smiths rubric. Nevertheless, considerable portions of The Messenger are filled with riffs and guitar textures Marr could conceivably have used during the band’s brief life, and the effect isn’t a desperate attempt at recapturing the past but rather an embrace of his core strengths as both a guitarist and songwriter. The latter is as crucial as the former, perhaps more so, as Marr‘s painterly skills as a guitarist have never been in question while his steadfast avoidance of releasing new songs under his name has obscured how he was the sonic architect of the Smiths. One quick listen to The Messenger brings all his signatures rushing back — the intricate, intertwining arrangements, the insistent riffs finding a counterpoint in the elastic yet precise melodies, a romance with the past that doesn’t negate the present. Marr has avoided these traits, so hearing each in full bloom on The Messenger is rather thrilling; he’s no longer wandering, he’s found his way back home
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