Mills Record Company

9/9/22 New Releases At Mills Record Company

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It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.
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Daft Punk

Human After All [2LP]

Vinyl: $29.98 UNAVAILABLE

Daft Punk repress three archival titles on vinyl. Human After All, Alive 2007 and Daft Club will be in stores on September 9, 2022. 

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Daft Punk

Alive 2007 [2LP]

Vinyl: $34.98 UNAVAILABLE

Daft Punk repress three archival titles on vinyl. Human After All, Alive 2007 and Daft Club will be in stores on September 9, 2022. 

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Daft Punk

Daft Club [2LP]

Vinyl: $29.98 UNAVAILABLE

Daft Punk repress three archival titles on vinyl. Human After All, Alive 2007 and Daft Club will be in stores on September 9, 2022. 

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Moby

18 [LP]

Vinyl: $34.98 Buy

Double vinyl LP pressing. 18 is the sixth studio album by electronica musician, songwriter, and producer Moby, originally released in 2002. After the unexpected commercial and critical success of his previous album, Play (1999), Moby started to write songs for a follow-up during it's supporting tour. He started work on the album at it's conclusion in December 2000, using fewer samples than before. Guest vocalists include Azure Ray, MC Lyte, Angie Stone, and Sinéad O'Connor.
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With such iconic tracks as “Christmas Time is Here” and the instantly recognizable “Linus and Lucy”, the Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas remains the second–best-selling jazz title in history, and was certified 4x Platinum by the RIAA in late 2016. 

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First time on colored vinyl. Déjà Vu is the first album by the rock band Crosby, Stills, Nash & Young, and the second by the trio configuration of Crosby, Stills, and Nash. Released in March of 1970 by Atlantic Records, it topped the pop album chart for one week and generated three Top 40 singles: "Teach Your Children," "Our House," and "Woodstock." Without a doubt - Essential. 

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A recently-found copy master of the original 1977 Track Records tape, without mud! This classic punk album, recorded in London by the NYC band featuring two New York Dolls, was always controversial - and not just for the acronym. On release in 1977 on Track Records, it was widely condemned in the press for having a "muddy mix" - later discovered to be a mastering fault. When Track went bust the following year, manager Leee Black Childers burgled the office and liberated the tapes - he found everything except the master tape.

Subsequent releases were remixes or compiled from outtake mixes - the latter "lost '77 mixes" in 1994 being the version commonly known since. Meanwhile, fans found the 1977 cassette version didn't have the infamous "mud", neither did certain European vinyl matrixes.

In 2020 a chance meeting led to Danny Secunda's archives. Danny was an old-school music biz pioneer who understood punk. He became a Track Records director and the Heartbreakers L.A.M.F. co-producer. In amongst his tape box archive were two with no artist name, marked "Copy Master 12.7.77". They turned out to be a crystal-clear "L.A.M.F.", just as the band and producers intended it.

Sadly, none of the Heartbreakers lived to hear of the discovery. In 2020 the Heartbreakers co-lead vocalist, guitarist and songwriter Walter passed away, the last of the Heartbreakers "L.A.M.F." line-up. First released as a much-in-demand RSD release in 2021, it now returns for its 45th Anniversary as a 'Record Store Day Essentials' release. A limited-edition in neon pink and white vinyl. With inner bag and notes by Simon Wright, and a new RSDE obi-strip.

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"Welcome To My World" is a collection of some of Daniel's most-beloved songs and is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners. The LP includes previously unheard sonic surprises. 

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On Halloween night, this pumpkin-shaped orange LP will rise from sincere vinyl collections the world over and bring audible presents to all the good girls and boys. Previously thought lost to time: this album contains the original analog session reels for It’s The Great Pumpkin, Charlie Brown. This 33 1/3 rpm version of the soundtrack are the cues as recorded by Vince and crew before edited for the television special, as well as a selection of alternate takes. Includes new expanded liner notes.

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Previously thought to be lost to time: this album contains the original analog session reels for It’s The Great Pumpkin, Charlie Brown. What you will hear on most tracks of this new and improved “best” version of the soundtrack are the musical cues as recorded by Vince and crew before they were edited for the television special, in show order, as well as a selection of alternate takes. Mastered at 45 RPM for optimum sound with new expanded liner notes. 

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Blockhead

Music By Cavelight

Vinyl: $38.98 UNAVAILABLE
Limited orange colored vinyl LP pressing. Includes digital download. Music by Cavelight is the first solo studio album by hip hop producer Blockhead, originally released in 2004. It peaked at #43 on the UK Independent Albums Chart.
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Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, Ramsey Lewis, Rotary Connection, Minnie Riperton, Muddy Waters, Howlin Wolf, Terry Callier, and many more. In the decades since his untimely death in 1976, the presence of his name in liner notes has become a seal of quality for record collectors, while his sound has been sampled extensively by artists such as Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. Step on Step – which comes almost 50 years after Stepney’s passing – is the enigmatic producer's eponymous debut album. It's an album full of creative compositional seedlings – originally written, performed, and recorded by Stepney in the basement of his home in Chicago, between the late 1960s and early 1970s, using just primitive drum machines, early-gen Moog synthesizers, pianos, vibraphones, and a few other instrumental accessories.

Charles Stepney - Step On Step [Indie Exclusive Limited Edition Certified Gold 2LP]
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Every feedback squeal, bass chug, and hi-hat sizzle of what would be Unwound's final 37 shows was taped, the most compelling bits of which have been edited into a cohesive snapshot of a band at the end of an incredible run.
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Like the many Banded Stilts that spread across the cover of her newest album Flood, Stella Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as an artist among the flock, and how abundant one individual can be. Flood is Donnelly's record of this rediscovery: the product of months of risky experimentation, hard moments of introspection, and a lot of moving around. Her early reflections on the relationship between the individual and the many can be traced back to Donnelly's time in the rainforests of Bellingen, where she took to birdwatching as both a hobby and an escape in a border-restricted world. By paying closer attention to the natural world around her, she recalls "I was able to lose that feeling of anyone's reaction to me. I forgot who I was as a musician, which was a humbling experience of just being; being my small self." Reconnecting with the 'small self' allowed Donnelly to tap into creative wells she didn't know existed. Soon songs were coming to her in a way she could not control and over the coming months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the country, often finding herself displaced due to border restrictions, a tough rental market, and once from the joys of finding black mould in the walls. "I had so many opportunities to write things in strange places," Donnelly remarks, having passed through Fremantle, Williams, Guilderton, Margaret River and Melbourne. "I often had no choice about where I was. There's no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about." With new locations came new approaches. "It freshened things up for sure," Donnelly says, and writing with band members Jennifer Aslett, George Foster, Jack Gaby and Marcel Tussie, soon began to feel like kindergarten play. "They all brought themselves to the record in such a beautiful way. A lot of us were playing instruments that weren't our first instrument: me on piano, Jack doing all these synth sounds, George trying a bunch of stuff out, Marcel sang! We were all like 'plink plonk'; it was quite vulnerable for all of us." Along with the support of her band members, co-producing the record beside Anna Laverty and Methyl Ethyl's Jake Webb helped to foster an important spontaneity in the studio. With Webb, Donnelly could "dig in" and discover a "forward-leaning sound" she'd been searching for, while Laverty's ability to "capture the piano" and discern the "perfect take" allowed the songwriter to take further risks. Straying from the easier option of writing on an electric guitar, Donnelly's move to piano imbues her new work with a fluidity and vulnerability that befits the record's introspective nature. Donnelly had not played much piano - what she fondly calls "a very easy instrument to fuck up" - since her early childhood and there was something wonderfully playful and poignant about climbing back up onto the piano stool and finding her fingers. Flood revels in this. In "Restricted Account", the piano quietly dances back and forth with her vocals, while the warmth of the fluegelhorn blooms above; piano again drives the band along in "Move Me" as the understated horn returns and Donnelly later aptly sings, "You're the bit that holds us all together". These patterns flicker across the record, dispelling any fears of the record turning out disjointed from it's origin story. Much of the album is ultimately united by Donnelly's intuitive songwriting, where listeners can expect commanding assertive verses, euphoric shimmery choruses and killer bridges; and just when you think you really know what to expect, something alien will arrive: the offspring of the band's "plink plonking". Subverting expectations and keeping people on their toes has long been a strategy of the 'firstborn' in Donnelly. "I can't sit on something for too long," she laughs, "it's an oldest child thing: you strive to entertain; you've got to fight for your spot to keep someone engaged." The child's fight for their spot at the table, both in and out of the home, appears throughout Flood in different personas; one offers a bold exclamation about being a child the rest of her life, while another grapples over whether to wear or throw away her beads from when she was five. In "Morning Silence", one declares "Same old fight was had today / Great grandchild will see the same." Throughout the record, Donnelly looks back at history and wonders where she's come from and where she'll go next. In opener "Lungs" we hear her plead, "History again teach me like a friend what you know and why," and this curiosity extends into many of the songs exploring relationships, be them familial, romantic or platonic. "I do love observing human dynamics," Donnelly says. "Dynamics between old best friends, or dynamics between housemates, or a relationship where the two people are broken up and haven't spoken in years. I like getting into the mind of someone who we've all been at some point." This interest expresses itself in a unique way on the record as Donnelly regularly 'plays dress-up', adopting different faces and personas to help her distill her truest self. In "Lungs" she writes from the point of view of a child whose family has just been evicted, while "Flood" invites us to look through the eyes of someone dating Donnelly, with lyrics frank and at times damning. Looking back at the Banded Stilt, Donnelly ultimately appreciates how when "seen in a crowd they create an optical illusion, but on it's own it's this singular piece of art." While each song on Flood is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance: her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of this record, and although it would take an ocean to fathom everything she feels, it's well worth diving in.
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2022 release, the 12th album from one of the most successful girl groups in pop music history. For nearly four decades, Bananarama has been one of pop's most influential and revered groups. Their hit packed career happened because they were the mold-breakers. Sometimes reminders of pop genius come in the slightest of touches, the subtlest of triggers.

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2022 release, the 12th album from one of the most successful girl groups in pop music history. For nearly four decades, Bananarama has been one of pop's most influential and revered groups. Their hit packed career happened because they were the mold-breakers. Sometimes reminders of pop genius come in the slightest of touches, the subtlest of triggers.

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Stars and Satellites is an album by Minnesota-based bluegrass group Trampled by Turtles, released April 10, 2012, on their label BanjoDad Records. According to Dave Simonett, the creation of their sixth studio album started in the fall of 2011. Their studio was a log home outside Duluth, where they moved furniture aside, set up microphones and started to develop the album. The album has been on Billboard's bluegrass charts since April 18, 2012. It was also No. 14 on the Billboard Folk Album Chart, and peaked at No. 32 on the Billboard Top 200 Chart.
 
The limited run 10th Anniversary Edition features Red Vinyl + bonus orange flexi disc with 2 tracks. “Alone feat. Caamp (Live at Red Rocks)” has never been released in physical form and “Stars and Satellites (demo)” has never been released in any format. The latter will be exclusive to this edition and not available digitally.
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Jeff Parker - Eric Revis - Nasheet Waits "Eastside Romp" - Jeff Parker (guitar) - Eric Revis (double bass) - Nasheet Waits (drums)
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