Format > 180 Gram Vinyl

Originally produced by Bob Ezrin, this multi-platinum effort forever etched the word superstar to Alice Cooper, as this legacy recording has truly stood the test of time. Aside from the smash title track, the album contained equally strong album tracks like "Public Animal #9," "My Stars" and "Alma Mater." This major release has also been one of the most influential hard rock recordings of its time, as well as being one of the biggest albums of Cooper's amazing career. Remastered from the original Warner Bros. vault tapes by Joe Reagoso (David Lee Roth, Deep Purple, Thin Lizzy), this stunning album now has the most impeccable sound ever, complete with a very sharp gatefold cover with the original art elements, and poly sleeve.

Track Listing:

1. School's Out
2. Luney Tune
3. Gutter Cat Vs. The Jets
4. Street Fight
5. Blue Turk
6. My Stars
7. Public Animal #9
8. Alma Mater
9. Grande Finale

This reissue of MoodSwing is Joshua Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz, a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy “Chill” to the urgent energy of “Rejoice,” Redman offers up a communicative and inspired record of emotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in “The Oneness of Two” and “Past in the Present.” The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums. As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success and many of these compositions are still featured in the saxophonist’s live sets today.

Track Listing:

1. Sweet Sorrow
2. Chill
3. Rejoice
4. Faith
5. Alone in the Morning
6. Mischief
7. Dialogue
8. The Oneness of Two
9. Past in the Present
10. Obsession
11. Headin’ Home

Track Listing:

1. Dead Is Dead
2. Late Bloomer
3. What A Drag
4. Samhain
5. Lungs
6. Bound And Hagged
7. Get High And Fuck
8. Dumb Luck

The Day Trip sessions were recorded at Manhattan’s Right Track studio in late October of 2005, sequenced and released into a 10-song set in the winter of 2008. Reviews from the daily U.S. press along the way have been a compendium of superlatives. The Philadelphia Inquirer declared, “Metheny shows why the trio is still relevant...There’s nowhere to hide, and the easy fluency of Metheny’s chops create a unique world. His energy and verve make it fun to follow where he goes.” The Boston Herald concurred, “The trio format brings out the best in guitar virtuoso Pat Metheny, going all the way back to his stir-causing 1975 debut with drummer Bob Moses and late bass legend Jaco Pastorius...But his current ensemble...is arguably his best yet.” And the Louisville Courier Journal summed up the nightly reaction to the trio’s sets, “It was a collaborative tour de force that earned a standing ovation.”

Tokyo Day Trip was originally released in May of 2008 as a 5-track EP recorded live in Tokyo with the Day Trip trio prior to their studio sessions. This 3-disc vinyl release combines the contents of the full-length album and the live EP in a 3-pocket deluxe gatefold package plus 2 CDs in baby jackets.

“The Pat Metheny Trio’s playing conveys a sense of proportion, substance and coherence, along with rigorous clarity; solid benchmarks for any great improvisers at the peak of their game.” – The New York Times

Track Listing:

1. Son of Thirteen
2. At Last You’re Here
3. Let’s Move
4. Snova
5. Calvin’s Keys
6. Is This America? (katrina 2005)
7. When We Were Free
8. Dreaming Trees
9. The Red One
10. Day Trip
11. Tromso
12. Traveling Fast
13. Inori
14. Back Arm & Blackcharge
15. The Night Becomes You

Released at a time when Reggae was gaining worldwide attention, Exodus perfectly illustrated the political and cultural nature of an art form that was becoming the mouthpiece for both the Rastafarian religion and the struggles of the Jamaican people and it made Bob Marley the undisputed sovereign of the genre. Originally released on Island Records in 1977, Exodus became one of Marley's first albums to receive international recognition thanks to the huge hits "Jammin," "Waiting in Vain" and "One Love/People Get Ready."

Track Listing:

1. Natural Mystic
2. So Much Things To Say
3. Guiltiness
4. The Heathen
5. Exodus
6. Jammin'
7. Waiting In Vain
8. Turn Your Lights Down Low
9. Three Little Birds
10. One Love/People Get Ready

The classic Bob Marley Best Of album, Legend collects the reggae pioneer's greatest genre-defining songs, running the gamut from "I Shot the Sheriff" to the meditative "Redemption Song" and the irrepressible "Three Little Birds." The beauty and simplicity of Bob Marley's music was as important as his message and Legend is the ideal all-encompassing look at his excellence, warmth and humanity.

Track Listing:

1. Is This Love
2. No Woman, No Cry
3. Could You Be Loved
4. Three Little Birds
5. Buffalo Soldier
6. Get Up, Stand Up
7. Stir It Up
8. Easy Skanking
9. One Love/People Get Ready
10. I Shot the Sheriff
11. Waiting in Vain
12. Redemption Song
13. Satisfy My Soul
14. Exodus
15. Jammin'
16. Punky Reggae Party

Not only did Bob Marley And The Wailers' 1973 album signal reggae’s international breakthrough and the emergence of its patron saint but it remains one of the genre’s finest. Catch A Fire would be Marley’s major label debut and reggae’s first true album, rather than a collection of singles. Passionate, often politically charged, the album includes such classics as “Stir It Up,” “Concrete Jungle” and “Slave Driver.”

Track Listing:

1. Concrete Jungle
2. Slave Driver
3. 400 Years
4. Stop That Train
5. Baby We've Got A Date (Rock It Baby)
6. Stir It Up
7. Kinky Reggae
8. No More Trouble
9. Midnight Ravers
10. High Tide Or Low Tide
11. All Day All Nigh

On September 13, 1969, John Lennon stepped up onto a Toronto stage in front of 20,000 grateful fans. This was John’s first large-scale performance in over 4 years. This was to be the world’s first look at John and Yoko’s Plastic Ono Band. To make this show even more spectacular, John brought along Eric Clapton and his blistering guitar for the show! The band starts off with three incredible rock ‘n roll covers: “Blue Suede Shoes,” “Money,” and “Dizzy Miss Lizzy.” John is in great voice throughout the show and hearing him trade licks with Clapton is quite spectacular. Next up is a killer performance of “Yer Blues” from “The White Album” and John’s new original, “Cold Turkey.” John comes up to the mike and announces, “This is what we came for…really,” and launches into “Give Peace a Chance.” Then John announces, “Now Yoko is gonna do her thing…ALL OVER YOU!” That’s when things get a little interesting! Two cuts of Yoko’s improvisational “singing” filled with screams, chants and cries for peace. A little insight into the world’s perspective on John and Yoko’s relationship. Mobile Fidelity has done an incredible job re-mastering this album; the sound is a serious upgrade from the original release. Live Peace comes with the original calendar is updated for the year 2007. We strongly encourage everyone to check this one out!

Track Listing:

1. Blue Suede Shoes
2. Money
3. Dizzy Miss Lizzie
4. Yer Blues
5. Cold Turkey
6. Give Peace a Chance
7. Don't Worry Kyoko (Mummy's Only Looking for Her Hand in the Snow)
8. John, John (Let's Hope for Peace)

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Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!

The Cars’ Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple

"My Best Friend's Girl," "Just What I Needed," "You're All I've Got Tonight" Among the Tunes on the Hit Parade

One of the most successful and enjoyable debuts in history, The Cars’ self-titled album doubles as a greatest-hits collection. That’s because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America’s most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: “You’re All I’ve Got Tonight.” “Good Times Roll.” “Just What I Needed.” “Moving in Stereo.” “My Best Friend’s Girl.” “Don’t Cha Stop.” If you’re a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr’s low, understated singing and Ocasek’s cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents—country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It’s impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker’s stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker’s trademark touches with harmony vocals abound.

And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition LP allows the music’s oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners’ senses and hold them at bay. Mobile Fidelity’s unparalleled pressing epitomizes the sensation of “moving in stereo!”

Track Listing:

1. Good Times Roll
2. My Best Friend's Girl
3. Just What I Needed
4. I'm in Touch With Your World
5. Don't Cha Stop
6. You're All I've Got Tonight
7. Bye Bye Love
8. Moving in Stereo
9. All Mixed Up

You Won't Believe Your Ears: Half-Speed Mastered Sound from Original Master Tapes is Remarkably Lifelike

Brecker's Last Work: Saxophone Legend's Grammy-Winning 2007 Album is an Acknowledged Masterpiece

Jazz Doesn't Get Better Than This: Limited Edition Pressing Will Test the Limits of Your System

Pilgrimage is the last album saxophone colossus Michael Brecker ever recorded. Released just months after he succumbed to leukemia in January 2007, it’s also the late instrumentalist’s hands-down best work—and truly, one of the finest jazz records made during the past 30 years. Winner of two Grammy Awards (Best Jazz Instrumental Album and Best Jazz Instrumental Solo for “Anagram”), Pilgrimage ranked #2 on the DownBeat critic’s poll and topped many year-end lists. And for good reason.

Nothing short of transcendent, the music soars on the resplendent playing of an astonishing quintet of jazz’s heaviest hitters: pianists Herbie Hancock and Brad Mehldau, drummer Jack DeJohnette, guitarist Pat Metheny, and bassist John Patitucci. No, it doesn’t get better than this. Mobile Fidelity is honored to offer this glorious statement on a sonically spectacular half-speed mastered 180-gram 2-LP set that, like Brecker’s swan song, is without equal. You will not believe your ears.

Devoid of melancholic emotion and self-pitying moods, Pilgrimage is a joyous affirmation of life—an invitation to embrace possibilities rather than a sad farewell. The performances are mesmerizing. None of the musicians here can do wrong, particularly the leader, whose solos both weave melodic yarns (“The Mean Time”) and create harmonic contrasts (“Five Months From Midnight”).

Realizing that these sessions would be his last, Brecker's mates match his passion and soul. Absolutely essential listening, Pilgrimage is the energetic sound of John Coltrane’s legacy, the culmination of a visionary talent high on the upbeat rhythms of life. You will feel better about everything in your world after hearing this album.

“On its own terms, Pilgrimage is a stunning achievement: 77 minutes of compelling original music that never loses its edge, solos that soar, dynamic group interplay that communicates wonderfully in the universal language.” –Steve Greenlee, Boston Globe, May 2007

Half-speed mastered from the original tapes and lovingly pressed onto supremely quiet 180-gram vinyl, Mobile Fidelity’s numbered limited-edition 2-LP set of Pilgrimage presents the entire tonal spectrum of the music amidst a wide, deep, natural soundstage. This is one of the best-sounding albums you'll ever hear. High and low frequencies are free of limiting ceilings. Instrumental separation and imaging are stunningly lifelike. Natural dynamics and details abound. Waiting for a truly great and great-sounding modern jazz album? This is it. Pilgrimage gets our highest recommendation.

DO NOT WAIT ON THESE. Once these numbered limited-edition copies are gone, they are gone forever.

Track Listing:

1. The Mean Time
2. Five Months from Midnight
3. Anagram
4. Tumbleweed
5. When Can I Kiss You Again?
6. Cardinal Rule
7. Half Moon Lane
8. Loose Threads
9. Pilgrimage

Make Haste! Grab the Limited-Edition 180g LP of this Classic Now!

Did any musician have more talent at their beckon call during the 70s than Linda Ronstadt? Absolutely not. Part of her impeccable string of mid-1970s albums that defined California’s soft-rock scene, the Grammy-winning Hasten Down the Wind is Ronstadt at her best—and that’s saying something. Consider the watertight repertoire: The Warren Zevon title track. Patsy Cline’s (by way of Willie Nelson) “Crazy.” Buddy Holly’s “That’ll Be the Day.” Nelson’s “Down So Low.” Karla Bonoff’s “If He’s Ever Near.” Ry Cooder’s “The Tattler.”

And then, there’s the supporting cast, which includes Eagles legend Don Henley on drums and harmony vocals, folk-rock legend Peter Asher on guitar, session drumming master Russ Kunkel, and multi-instrumentalist sensation Andrew Gold playing just about everything with strings or skins. Couple this with the thematically revealing cover—in a nod to the escapism of fantasy romance novels, the singer stands on a beach before an ocean and a running horse, her exposing dress a sign of the lovesick vulnerability that colors the songs—and Hasten Down the Wind is the complete package of sensuality, passion, and poignancy.

Now, due to Mobile Fidelity’s trademark sonic restoration, the album finally has the exquisite sound it has always deserved. Listeners can now literally feel Ronstadt’s deep-seeded emotions. Even better, her covers of affecting ballads and midtempo country-rock numbers intentionally revolve around vocal-heavy arrangements. It’s no wonder that the album, which topped the country charts, also yielded two Top 20 hits and resulted in the artist’s first platinum-record award.

But make haste! Quantities are limited, and, unlike Ronstadt’s timeless interpretations, this will not be around forever.

Track Listing:

1. Lose Again
2. The Tattler
3. If He's Ever Near
4. That'll Be The Day
5. Lo Siento Mi Vida
6. Hasten Down the Wind
7. Rivers of Babylon
8. Give One Heart
9. Try Me Again
10. Crazy
11. Down So Low
12. Someone To Lay Down Beside Me

The Plymouth Rock on which alternative rock was founded, the Pixies’ Surfer Rosa forever altered the music environment—even if it did take most of the world a few years to catch up with its brilliance. Internationally acknowledged as a pioneering record, its rollercoaster blend of harsh and soft tempos, male and female singing, intense punk and bubblegum pop tones, dark and light quips, and off-kilter sensibilities is the influential equivalent of the Velvet Underground’s oft-cited 1967 debut.

The 1987 debut established the Pixies as otherworldly visionaries whose songs such as the insistent “Bone Machine,” badgering “Something Against You,” and sensual “Cactus” remain ahead of the curve. Having analog fanatic and noise aficionado Steve Albini working production ensured that the music would retain a requisite rawness and in-your-face sonic signature that paralleled the fundamentally chaotic, compulsive characteristics of the Pixies’ songs.

And now, thanks to the painstaking efforts of Mobile Fidelity engineers, you will truly hear this groundbreaking record as if you were experiencing it for the first time. Vivid, immediate, massive, and detailed, this is how Surfer Rosa was meant to be heard when Albini completed it and turned it into the label.

Why pay $175 for the Pixies’ Minotaur limited-edition box that features the band’s four original records with dated (read: bland, compressed, and flat) sound when you can spend far less and, in addition to this superior 180-gram LP copy, get hybrid SACDs of Surfer Rosa, Doolittle, and Bossanova that play in all CD players and feature remastered sound sourced from the original master tapes? Jeff Anderson, who oversaw the release of Minotaur, says there is no remastering on the box because he didn’t want to touch the original master tapes. We did, and having finally hunted the true masters down, know you’ll agree with our results.

“The heaviness and hugeness of the room-reverberating drumbeat that begins the album-opening “Bone Machine” epitomizes the record’s forward impact, visceral punch, grinding crunch, and dynamic headroom. Rather than cluttering the mix with an avalanche of effects, Albini left space without sacrificing live detail or volatile oomph, shown to great effect on “Broken Face,” “Gigantic (there’s a piano—who knew?), and haunting “Where Is My Mind?,” which opens unto a sonic canyon that swallows the listener whole.” –Bob Gendron, The Absolute Sound, September 2007

Track Listing:

1. Bone Machine
2. Break My Body
3. Something Against You
4. Broken Face
5. Gigantic
6. River Euphrates
7. Where Is My Mind?
8. Cactus
9. Tony's Theme
10. Oh My Golly
11. Vamos
12. I'm Amazed
13. Brick Is Red

Remastered 180-Gram Pressing Cut from Original Master Tapes by Bernie Grundman and Pressed at RTI. This is THE Definitive Version of the Life-Altering 1991 Blockbuster Album!

Pressed on Dead-Quiet Blue-Colored Virgin Vinyl and Limited to Only 4000 Copies Worldwide!

Few records changed the world. Nirvana's Nevermind is one of them. Released in September 1991, the well-produced yet emotionally raw album catapulted grunge into the mainstream and forever altered the popular musical landscape, turning Nirvana into household names and singer Kurt Cobain into the reluctant spokesperson of his generation. By year’s end, Seattle-based music, fashion, and attitude consumed popular consciousness. Nevermind had restored the gritty passion, rebellious mentality, and cathartic power long missing from mainstream rock. Call it the mighty sword that in one swoop fell the excess, plasticity, and emptiness of 80s music.

The record’s impact is also be measured by the success of its singles. Named by Rolling Stone as the #9 Best Song of All Time, the anthemic “Smells Like Teen Spirit” became an institution on radio stations and MTV. Subsequent singles “Come As You Are,” “Lithium,” and “In Bloom” also testified to the genius of the soft-loud arrangements and whip-smart commentary on Nevermind, which at its core was a blockbuster pop album in punk clothing.

More than ten million copies later, the record has only picked up more accolades, having been included at or near the top of nearly every major publication’s Greatest Albums list. Nevermind is listed as:

#1 in Spin’s 90 Greatest Albums of the 90s #1 Album of the Year in Village Voice’s Pazz & Jop Poll #6 in Pitchfork’s Top 100 Albums of the 1990s #17 in Rolling Stone’s 500 Greatest Albums of All-Time #1 in Entertainment Weekly’s Best Albums of the 90s

In addition to the groundbreaking music, sound quality has always been among the album’s finest aspects. Cleanly produced by Butch Vig and mixed by Andy Wallace, Nevermind features explosive dynamics, bursting tones, and a wide-open midrange. While Cobain later disparaged the sound as being too polished, the truth was that the room-filling sound allowed the record to grab the attention of anyone within earshot. Much imitated but never equaled, the sound became the template that nearly every band requested be put on their albums.

And it has never sounded better. Cut for ORG from the original master tapes by Bernie Grundman and pressed on blue-colored 180-gram virgin vinyl at RTI, ORG’s Limited Edition Collector’s Version is THE definitive edition of this masterpiece. WE GUARANTEE THIS BEATS EVERY PREVIOUS PRESSING. Dave Grohl’s titantic drumming, Cobain’s gut-wrenching screams and distortion-packed guitar riffs, and Krist Novoselic’s loopy bass lines all feature life-size imaging and incredible presence. Do not pass this up!

Track Listing:

1. Smells Like Teen Spirit
2. In Bloom
3. Come As You Are
4. Breed
5. Lithium
6. Polly
7. Territorial Pissings
8. Drain You
9. Lounge Act
10. Stay Away
11. On A Plain
12. Something In The Way

A reactionary statement to the phenomenal commercial success of Nevermind, In Utero remains Nirvana’s most noisy, caustic, uncompromised, and aggressive album. It’s also the band’s best, a brilliant combination of contagious hooks, feedback-drenched squalls, bruised beauty, and biting lyrical wit intended to blindside causal listeners with raw emotion, difficult listening, and painful honesty. Rife with medical imagery and references to disease, sickness, decay, and dismay, In Utero is the distraught sound of personal catharsis and unyielding trauma. More revealingly, the record doubles as a haunting foreshadowing of singer Kurt Cobain’s suicide that took place just months after its release.

Unhappy with the high-gloss production and pop-based arrangements on Nevermind, Nirvana set out to make a harsher album that would literally alienate millions. While the trio succeeded in its goal of getting intimate with blistering dissonance and acerbic tones, In Utero resonated with the public, debuting at #1 on the Billboard charts and ultimately selling more than four million copies. Echoing John Lennon, Cobain’s piercing songwriting spoke to the disaffected masses that shared his anguish and set new standards for ironic depth that still stand. For every unsettling screed (“Serve the Servants,” “Milk It,” “Radio Friendly Unit Shifter,” “Tourettes”) there are introspective moments of folk-inspired elegance (“All Apologies,” “Pennyroyal Tea,” “Dumb”) that hint at the direction in which Nirvana was headed.

In Utero is equally legendary for the controversies involving its production. Originally helmed by Steve Albini, an engineer known for capturing live ambience and natural tones, the album was eventually remixed by Scott Litt after the group complained about the vocal sound. While the exact specifics of what party demanded the redo remain blurry, the finished results are staggering, with the added harmonies, better bass definition, and vocal volume boosts achieving an ideal balance that satisfied the band’s wishes. Now, you can hear it like never before.

Cut for ORG from the original master tapes by Bernie Grundman and pressed on colored 180-gram virgin vinyl at RTI, ORG’s Limited Edition Collector’s Version is the definitive edition of this masterpiece. WE GUARANTEE THIS BEATS EVERY PREVIOUS PRESSING. Do not pass up this rare chance to own the Nirvana classic that NPR “Sound Opinions” radio co-host Jim DeRogatis named the best alternative rock album of the 90s!

Nirvana In Utero Track Listing:

1. Serve the Servants
2. Scentless Apprentice
3. Heart Shaped Box
4. Rape Me
5. Frances Farmer Will Have Her Revenge on Seattle
6. Dumb
7. Very Ape
8. Milk It
9. Pennyroyal Tea
10. Radio Friendly Unit Shifter
11. Tourette's
12. All Apologies

The Beastie Boys' 1998 release Hello Nasty remastered for the first time on double 180g gatefold vinyl. The original release is certified triple (3x) platinum by the RIAA, peaking at #1 on the Top 200 Album Chart. The album also received a pair of 1998 Grammys for Best Alternative Music Performance and Best Rap Performance By A Duo Or Group. Features the hit songs “Intergalactic” and “Body Movin’.”

Track Listing:

1. Super Disco Breakin'
2. The Move
3. Remote Control
4. Song for the Man
5. Just a Test
6. Body Movin'
7. Intergalactic
8. Sneakin' Out the Hospital
9. Putting Shame in Your Game
10. Flowin' Prose
11. And Me
12. Three MC's And One DJ
13. The Grasshopper Unit (Keep Movin')
14. Song for Junior
15. I Don't Know
16. The Negotiation Limerick File
17. Electrify
18. Picture This
19. Unite
20. Dedication
21. Dr. Lee, PhD
22. Instant Death

The Black Crowes' new album Before the Frost...features 11 new unreleased Black Crowes' studio songs. The accompanying free album...Until The Freeze has 8 new original studio songs plus a cover version of the Stephen Stills classic "So Many Times."

Before The Frost... and ...Until the Freeze were recorded over a series of five nights at Levon Helm Studios. Although both are studio albums, all the new material was performed and recorded in front of an intimate audience of the band's fans.

Chris Robinson conceived the innovative concept: "I think we fulfilled a musical commitment to continue on the golden road of artistic independence. Approaching 20 years into our careers, we still are ambitious enough to push ourselves to create something unique that we have never done before."

Track Listing:

Before The Frost...

1. Good Morning Captain
2. Been A Long Time (Waiting On Love)
3. Appaloosa
4. A Train Still Makes A Lonely Sound
5. I Ain't Hiding
6. Kept My Soul
7. What Is Home
8. Houston Don't Dream About Me
9. Make Glad
10. And The Band Played On
11. Last Place That Love Lives

...Until The Freeze

1. Aimless Peacock
2. Shady Grove
3. Garden Gate
4. Greenhorn
5. Shine Along
6. Roll Old Jeremiah
7. Lady Of Avenue A
8. So Many Times
9. Fork In The River

With their previous releases, 2003’s Get Born and 2006’s Shine On, JET broke out of their native Australia and established themselves as a multi-platinum, international success story, merging the charisma and energy of classic rock and roll with just enough punk swagger and contemporary flair to create something uniquely theirs. 2009’s Shaka Rock reveals new dimensions of JET while never losing the raw roots of Get Born or the grace and melody of Shine On.

This 180g LP version contains a vinyl only bonus track “One Hipster One Bullit.” Package also includes a full length CD.

Track Listing:

1. K.I.A. (Killed In Action)
2. Beat On Repeat
3. She’s A Genius
4. Black Hearts (On Fire)
5. Seventeen
6. La Di Da
7. Goodbye Hollywood
8. Walk
9. Times Like This
10. Let Me Out
11. Start The Show
12. She Holds A Grudge

In 1951, at the peak of his storied career, Hank Williams had a daily fifteen-minute show sponsored by Mother’s Best flour and farm feeds. WSM Radio brought him into the studio to prerecord shows that would air when he was out of town. Hank sang with his regular studio band and performed his hits as well as songs he never recorded commercially anywhere else, like old hymns and family favorites.

He recorded onto sixteen-inch acetate discs meant to be played only once or twice. Improbably, some of those discs have survived. These recordings give us a deeper insight into Hank’s life and music, showing a personality that had never been revealed previously. They showcase his humor as he jokes with his band and the emcee, his love of music as he talks unguardedly about his favorite songs, and captures him in his prime. They are three-dimensional portraits of one of the giants of American music.

Following their critically-acclaimed 3-CD box set release of Hank Williams: The Unreleased Recordings in October 2008, Time Life is now proud to release this collectible vinyl edition featuring the best of some of these shows. One listen and you’re in another place and time, hearing the history of country music up until 1951 filtered through the music’s all-time greatest artist.

A historic album drawn from the very best of the Mother’s Best recordings, it includes two complete shows unavailable elsewhere at retail. It's a time capsule, taking listeners back to early morning country radio in 1951.

It’s a rare, informal glimpse into the heart and soul of country music’s greatest star who died in 1953, at age 29.

Follows on the heals of Time Life's critically-acclaimed 2008 release of the 3-CD Hank Williams box set that got dozens of national reviews and huge press support.

This Hank Williams series is fully endorsed by the Williams Estate: children Hank Williams Jr. and Jett Williams.

Superb audio quality is better than Hank’s studio recordings! The restoration and mastering efforts were led by Grammy Award-winning studio engineers Alan Stoker at the Country Music Hall of Fame and renowned expert and Grammy-winner Joe Palmaccio.

Collectible, special vinyl release pressed at a premium facility using 180g virgin vinyl with Stan Ridgway. The warmth of vinyl pressings is an ideal counterbalance to the trebly sound of 1950s recordings, and Time Life is confident that Hank has never sounded better than on this LP.

Track Listing:

1. Lovesick Blues
2. Cousin Louie Buck introduces Hank Williams
3. On Top of Old Smoky
4. Hank Williams & Cousin Louie sell Mothers Best Corn Meal
5. Columbus Stockade Blues
6. The Prodigal Son
7. The Mothers Best Song
8. Cousin Louie & Hank Williams: Closing Pitch
9. Theme
10. Blue Eyes Crying in the Rain
11. Lovesick Blues
12. Cousin Louie Buck introduces Hank Williams and the Drifting Cowboys
13. Have I Told You Lately That I Love You
14. Hank Williams & Cousin Louie sell Mothers Best Flour
15. The Mothers Best Song
16. Sally Goodin
17. When the Saints Go Marchin In
18. Cousin Louie & Hank Williams: Closing Pitch
19. Theme
20. Dust on the Bible

How did the Cars move beyond their smash 1978 debut (also available on Mobile Fidelity 180-gram LP) and secure their status as one of music’s leading bands for years to come? Look no further than the quadruple-platinum Candy-O. Continuing along the streamlined pop paths of its predecessor, the sophomore effort is preoccupied with desirable women that are as mysterious, sexy, and cool as the group’s music—and the record’s pin-up cover.

With rare exception, few new-wave artists enjoyed much of a career outside of a one-hit wonder. Candy-O proves the Cars were anything but. It’s loaded with minimalist atmospherics, pulsing bass lines, catchy refrains, and labyrinthine synthesizers that stick in your mind for days. And while retaining a simplicity that’s a Cars hallmark, the album also takes myriad stylistic detours: the glam-rock accents of “Dangerous Type,” a song whose title references the record’s mysterious and lusty matter; the percolating riffs of the contagious title track; the dizzying garage-rock nature of the upbeat “Got a Lot on My Mind,” complete with a tooting Farfisa organ. Nothing drags or feels out of place.

Through it all, vocalists Benjamin Orr and Ric Ocasek keep their heads about themselves, singing in direct albeit detached tones that convey the tension, excitement, and risky promise inherent in the lyrics. Hook-laced choruses abound. Yet all is not what it seems.

“Hooks are mechanical by nature, but the affectlessness of these deserves special mention; only listeners who consider "alienation is the craze" a great insight will find much meaning here. On the other hand, only listeners who demand meaning in all things will find this useless. Cold and thin, shiny and hypnotic, it's what [the Cars] do best--rock and roll that is definitely pop without a hint of cuteness.” –Robert Christgau, The Consumer Guide

Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition LP brings the Cars’ distinctive melodies and exotic arrangements to the fore in ways that have never been heard outside of the recording studio. For the first time, Roy Thomas Baker’s vocal production shines, with each member’s contributions rescued from a cold sonic murk that detracted from the music’s impact on both vinyl and the extremely compressed CD. Once you hear the newly uncovered dynamics and rich textures, you’ll be wondering where they were all of these years. Chalk this up as an essential addition to your pop collection.

Track Listing:

1. "Let's Go"
2. "Since I Held You"
3. "It's All I Can Do"
4. "Double Life"
5. "Shoo Be Doo"
6. "Candy-O"
7. "Nightspots"
8. "You Can't Hold On Too Long"
9. "Lust for Kicks"
10. "Got A Lot On My Head"
11. "Dangerous Type"

One of the most acclaimed albums of his career, Sinatra & Strings is a brilliant collection of standards sung with spectacular passion and feeling by Frank Sinatra, who at the time of the November 1961 recording, was in peak condition. The 1962 set is Sinatra’s first with arranger Don Costa, and stands as their finest collaboration.

Every song here is a classic ballad, every performance an elegant masterstroke. Sinatra achieves sublime perfection, and several tracks here became the definitive versions with which he’s now forever associated. For instance, the rendition of “Night and Day” is the singer’s third on record, but it’s the best. So, too, is Sinatra’s run through “All or Nothing At All,” preceding the swinging version by five years. And the bold interpretation of “Stardust,” on which Ol’ Blue Eyes only croons the verses, stands as a testament to the natural chemistry between Sinatra and Costa.

Most importantly, Sinatra infuses the material with the rarified kind of genuine emotion, evocative phrasing, universal pathos, and gorgeous tones that made him legend. His deepening baritone provides a keen match with Costa’s lush string arrangements and methodical pace. Anyone who believes that Sinatra’s best work was during his time with Capitol needs to hear this grand, magnificent album, which is as good as anything he ever recorded. Love songs don’t come any more sincere, romantic, dramatic, or intense.

Half-speed mastered from the original analog tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP presents Sinatra & Strings with a premium sonic fidelity that no other edition, including the original vinyl, has ever had. Aware of the high quality demanded by discerning Sinatra fans, MoFi engineers took their time in extracting every possible detail and nuance from this gem, resulting a pressing that makes Sinatra and the orchestra come alive in your room. Nothing is artificially exaggerated or boosted; what you hear is what the artists intended, and the rich sound on this vocal album will satisfy your every need and desire. For Sinatraphiles, this is the ultimate.

Track Listing:

1. "I Hadn't Anyone Till You"
2. "Night and Day"
3. "Misty"
4. "Stardust"
5. "Come Rain or Come Shine"
6. "It Might as Well Be Spring"
7. "Prisoner of Love"
8. "That's All"
9. "All or Nothing at All"
10. "Yesterdays"

Live In Paris is Frank Sinatra’s definitive concert album. Yes, there are many good ones—Sinatra at the Sands is also among the finest—but none better captures the essence of the singer’s voice, showmanship, and command than this 1962 session, which remained unreleased until 1994. Backed only by a sextet, the main focus here is on Sinatra’s peerless singing, phrasing, and style. Needless to say, the iconic crooner doesn’t disappoint.

It’s impossible to overstate the magnificence of the interpretations on this set. Looking for the ultimate renditions of “My Funny Valentine,” “In the Still of the Night,” “One for My Baby,” “Night and Day,” and “Ol’ Man River”? Search no more. Sinatra’s readings of these classics exceed his superb studio versions, as well as those that appear on other live albums. And consider the setlist: “The Lady is a Tramp,” “Come Fly With Me,” “Chicago,” “I Could Have Danced All Night.” Superb. And Sinatra is simply “on,” bringing a combination of swinging enthusiasm, reverent charm, and dignified emotion to standards. He triumphs with a powerful voice yet affected by the ravages of time and cigarettes.

Fans of Sinatra at the Sands should take note. Sinatra in Paris is much more intimate, with the scaled-down arrangements and small band allowing songs to bask in the glory of Ol’ Blue Eyes’ voice. Yes, Sinatra’s period onstage comments can seem crude. But they take nothing away from the sheer superiority of this recording.

Ever since its release, the lone drawback to Sinatra in Paris has been that of the inferior sound quality. Lament the shortcoming no more. Half-speed mastered from the original tapes and pressed onto two slabs of quiet 180-gram vinyl, Mobile Fidelity’s numbered limited-edition 2-LP set lifts the veil on the music and allows it to soar with a richness, texture, openness, and presence that have until now gone missing. You will swoon over the improvements.

Track Listing:

1. Introduction - Charles Aznavour
2. Goody Goody
3. Imagination
4. At Long Last Love
5. Moonlight in Vermont
6. Without a Song
7. Day In - Day Out
8. I've Got You Under My Skin
9. I Get a Kick Out of You
10. Second Time Around
11. Too Marvelous for Words
12. My Funny Valentine
13. In the Still of the Night
14. April in Paris
15. You're Nobody 'Til Somebody Loves You
16. They Can't Take That Away from Me
17. Chicago
18. Night and Day
19. I Could Have Danced All Night
20. One for My Baby
21. Foggy Day
22. Ol' Man River
23. Lady Is a Tramp
24. I Love Paris
25. Nancy (With the Laughing Face)
26. Come Fly With Me

When you think about great live albums, several immediately come to mind. The Who’s Live at Leeds. James Brown’s Live at the Apollo. The Allman Brothers Band’s Live at Fillmore East. Kiss’ Alive! Nirvana’s Unplugged. And, while it is sometimes unjustifiably forgotten, Little Feat’s Waiting for Columbus. The last essential album the rootsy California band made, it stands as the group’s peak accomplishment—a staggering confluence of energetic performances, skilled improvisations, and thematic expansion.

Joined onstage by the Tower of Power horn section, Little Feat accentuates and remakes familiar arrangements, using the stage as a laboratory for unbridled creativity, New Orleans-spiced fun, and spontaneous interaction. Bursting with enthusiasm and excitement, Waiting for Columbus is truly a live album for the ages—and one of a certain distinctive era.

“The abundance of great music, the culture of drugs, and the politics of Richard Nixon, which had everyone polarized and created more of a sense of community, all contributed to this incredible feeling that somehow we were on a collective journey. Waiting for Columbus is one of the last parts of that journey, and among the last vestiges of that scene.” –Little Feat keyboardist Bill Payne, as told to Bud Scoppa

Amazingly, the set came together under less-than-ideal conditions. In the months leading up to the seven 1977 Washington D.C. and London concerts that were taped for the record, leader Lowell George had removed himself from the band’s affairs. The chemistry was fractured, but the shows functioned as a molding agent. And did Little Feat ever respond. With every member of the sextet playing like their life depended on it, and a guest appearance by ex-Rolling Stone Mick Taylor, this is a must-have set.

Track Listing:

1. Join The Band
2. Fat Man In The Bathtub
3. All That You Dream
4. Oh, Atlanta
5. Old Folks Boogie
6. Time Loves A Hero
7. Day Or Night
8. Mercenary Territory
9. Spanish Moon
10. Dixie Chicken
11. Tripe Face Boogie
12. Rocket In My Pocket
13. Willin'
14. Sailin' Shoes
15. Feats Don't Fail Me

Largely written on tour in hotel rooms and on the bus, Elvis Costello’s Armed Forces takes personal politics to a new level. A supremely melodic and hook-laden record, the 1979 set is a showcase of scintillating keyboard lines, sharp guitar work, and the most cohesive arrangements of Costello and the Attractions’ career. In every way, this is a pop masterpiece, defined by hits such as “Accidents Will Happen,” “Oliver’s Army,” and the anthemic “What’s So Funny ‘Bout Peace Love and Understanding?” You need this record.

While less musically intense than the preceding This Year’s Model, Armed Forces doesn’t let up in the lyric department. Costello’s narratives are loaded with paranoia, irony, bitterness, and scathing humor. Originally titled Emotional Fascism, the singer’s third consecutive masterpiece is inspired by billboard sign slogans, insular observations, and social behavior that Costello found applicable to his own situation. “Oliver’s Army,” “Green Shirt,” and “Senior Service” address systemic governmental control. “Big Boys,” “Two Little Hitlers,” and “Accidents Will Happen” also concern control and betrayal—but that of the interpersonal nature.

Given the luxury of six weeks in the studio, Costello and the Attractions responded with spacious arrangements and a few extra touches and instrumental colors that add to the songs’ charm. Steve Nieve employs a monophonic Minimoog keyboard and pianos patterned after Abba’s sweet pop; whispers are exaggerated into black comedy shouts on “Goon Squad”; layered and echoed vocals provide the illusion of several Costello voices on multiple tracks. The band is of a piece, constantly in harmony and on the same page.

Half-speed mastered from the original tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP presents the vibrant dynamics of Armed Forces’ timeless pop songs in the highest possible fidelity. This album has never sounded so full, rich, airy, spacious, detailed, or necessary. The textures and voicings of Nieve’s keyboards are alone worth the investment. This pressing will have you dancing in the aisles and analyzing Costello’s brilliant turns of phrase for years to come.

Track Listing:

1. Accidents Will Happen
2. Senior Service
3. Oliver's Army
4. Big Boys
5. Green Shirt
6. Party Girl
7. Goon Squad
8. Busy Bodies
9. Sunday's Best
10. Moods For Moderns
11. Chemistry Class
12. Two Little Hitlers
13. (What's So Funny 'Bout) Peace, Love And Understanding?

The first record he made with his legendary backing band the Attractions, This Year’s Model is Elvis Costello’s most explosive and urgent album. Picking up where his fine My Aim Is True left off, the British singer/guitarist blasts through 13 excellent tracks with the fervent purpose and headlong pace of someone who has a cab waiting for him outside.

Stylistically versatile, deeply varied, and melodically catchy, this where Costello came into his own—and where the chemistry between virtuosic keyboardist Steve Nieve, bassist Bruce Thomas, and drummer Pete Thomas produced one of rock’s best groups. A dynamic maelstrom of emotional spite, bitter frustration, sexual angst, and caustic political commentary, the 1978 set boosted Costello’s star and yielded innumerable standards: the undying MOR protest “Radio Radio,” fervent “Pump It Up,” smart “(I Don’t Want to Go to) Chelsea,” and spunky “No Action” are all here.

While often cited as Costello’s “angry” record, This Year’s Model has more to do with disappointments and denials. The album bursts forth with a savage energy not possible without the Attractions, which are responsible for the songs being built from the ground up. Where Costello’s voice and twangy guitar dominate My Aim Is True, here, sizzling rhythms and Nieve’s colorful organ runs anchor the foundations. This is a group effort, with Costello’s biting lyrics taking chances and forcing the listener to mull double meanings all the while the music zooms by at a fast clip.

More than 30 years after its original release, This Year’s Model will still leave you breathless. Railing against unachievable desires, Costello and company delight in the anguish, and spit such torment back out in the form of hook-ridden music that functions as a brilliant form of situational confirmation and emotional catharsis.

Half-speed mastered from the original tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP brings This Year’s Model’s vicious songs to the forefront like never before. Punchier, gutsier, and livelier than any of the myriad CD remasters, this analog edition offers a transparent window onto the Attractions' loose interplay, Nieve's carnivalesque organ work, and rabid pounce of the Thomas-Thomas rhythm section. Here, for the first time, are previously buried tones, textures, and details. It took years to happen, but this is how This Year’s Model was always supposed to sound.

Track Listing:

1. No Action
2. This Year's Girl
3. The Beat
4. Pump It Up
5. Little Triggers
6. You Belong to Me
7. Hand in Hand
8. (I Don't Want to Go To) Chelsea
9. Lip Service
10. Living in Paradise
11. Lipstick Vogue
12. Night Rally
13. Radio, Radio

Elvis Costello’s remarkable My Aim Is True announces the arrival of a singular talent. Having long ago secured its status as one of the greatest debut albums ever recorded, the 1977 set hasn’t lost any of the vibrant urgency, lyrical edge, or biting wit that made Costello the pin-up model for new-wave music.

Blending punk-fueled motivation with pub-rock, reggae, and classic American rock n’ roll strains, the landmark effort includes many of the singer’s best-known and most beloved tunes: the poisoned ballad “Alison,” voyeuristic “Watching the Detectives,” slinky “(The Angels Want to Wear My) Red Shoes,” and rave-up “Mystery Dance” included. There isn’t a bad note here.

The history behind My Aim Is True is as rich as the songs. Before landing at then-fledgling English indie label Stiff Records, Costello had been laboring as a computer operator housed next door to a lipstick factory. The conditions couldn’t be riper for the cynical blue-collar observations and fierce humor that pierce tracks like “Welcome to the Working Week” and “Less Than Zero.” Costello took inspiration from London subway rides, venomous politics, and surrounding vanity. Having been rejected by what he estimated amounted to every other label in the city, Costello began calling in sick to his day job in order to record material for what become My Aim Is True.

Made for just 1000 pounds and over the course of four six-hour sessions, the experience found Costello recording his parts in a room the size of a telephone booth. His backing band—Clover, not the Attractions (save for on “Watching the Detectives,” left off the original UK release)—rounded out the slinky, melodic songs with spare details such as fuzztone pedal steel guitar and organ. The minimal budget ensured that nothing extra or fancy was employed. Overdubs weren’t really an option; what was played is basically what you hear.

Notorious for being reissued umpteen times, Mobile Fidelity is thrilled to present the one edition of My Aim Is True that every fan needs to own. Half-speed mastered from the original master tapes—not from copies as so many other versions are—and pressed on 180-gram vinyl, this numbered limited-edition LP is the definitive My Aim Is True. No compromises, no tricks. Just the music delivered with peerless clarity, purity, and transparency. The rawness of Costello’s voice, jangle of the rhythms, hum of the organs, and even the impact of the drumsticks have never been experienced with such realism. This is what organic-sounding albums are supposed to sound like. You will hear this again for the first time. And of course, there's the iconic cover art, presented in full-scale perspective.

Track Listing:

1. "Welcome To The Working Week"
2. "Miracle Man"
3. "No Dancing"
4. "Blame It On Cain"
5. "Alison"
6. "Sneaky Feelings"
7. "(The Angels Wanna Wear My) Red Shoes"
8. "Less Than Zero"
9. "Mystery Dance"
10. "Pay It Back"
11. "I'm Not Angry"
12. "Waiting For The End Of The World"
13. "Watching The Detectives

The Chicago Tapes are the very first recordings by the Smashing Pumpkins, that were sold at shows on cassette in the early days, and were never re-recorded nor re-released in their entirety. The demos on disc 2 are all of the acoustic sessions from Billy Corgan's home studio, which ended up being used on the Mellon Collie album, most with alternate lyrics and compositions.

Track Listing:

1. Jennifer Ever
2. East
3. Nothing And Everything
4. Sun
5. Spiteface
6. She
7. I Am One
8. Bury Me
9. Daydream
10. Bullet With Butterfly Wings
11. Jupiter's Lament
12. Lily
13. Stumbleine
14. To Forgive
15. Blank
16. Galapagos
17. Here Is No Way
18. Ugly
19. Rotten Apples
20. Thirty-Three
21. Wishing You Were

Track Listing:

1. Something's Coming
2. Everydays
3. Dear Father
4. Every Little Thing
5. Sweetness
6. Sweet Dreams
7. Something's Coming
8. Looking Around
9. No Opportunity Necessary, No Experience Needed
10. Astral Traveller
11. Then
12. Every Little Thing
13. Everydays
14. For Everyone
15. Beyond And Before
16. Sweet Dreams
17. Then
18. (Intro) Sweetness

The J. Gels Band fused blues, funk, soul and rock into a high energy mix and made many fine studio albums but where they really captured their full, thrilling potential was on the concert stage. "Live" Full House was the J. Geils Band's first live album, recorded in 1972 at Detroit's Cinderella Ballroom. The performance features songs from their first two albums including the rockers "First I Look at the Purse," Otis Rush's "Homework," as well as John Lee Hooker's "Serves You Right To Suffer" and one of the group's classic originals, "Hard Drivin Man." Mastered for this new Limited Numbered 180g virgin vinyl LP release by Steve Hoffman.

Track Listing:

1. First I Look at the Purse
2. Homework
3. Pack Fair and Square
4. Whammer Jammer
5. Hard Drivin' Man
6. Serves You Right To Suffer
7. Cruisin' For Love
8. Looking for a Love

Cosmo’s Factory - the name drummer Doug "Cosmo" Clifford gave CCR’s rehearsal studio because so many hits were created there - lived up to its namesake in spades. Released in July 1970, the album contained more hit singles (six) than any other CCR LP, achieved multi-platinum status and became the band’s all-time best-selling album both in the U.S. and worldwide (69 weeks on the Billboard charts). In addition, the trailblazing extended version of "I Heard It Through The Grapevine" (which Rolling Stone pronounced "more intense than any six minutes of Grateful Dead music on record") was never released as a single during the group’s heyday but received enormous AM and FM airplay, boosting both the song and the LP to No. 1 on all three trade music charts.

Track Listing:

1. Ramble Tamble
2. Before You Accuse Me
3. Travelin' Band
4. Ooby Dooby
5. Lookin' Out My Back Door
6. Run Through The Jungle
7. Up Around The Bend
8. My Baby Left Me
9. Who'll Stop The Rain
10. I Heard It Through The Grapevine
11. Long As I Can See The Light

New music from Pearl Jam!

Gatefold double pocket jacket, die cut front cover, 24 page booklet, Full color LP inner sleeve, 180 gram vinyl, Original Art by Tom Tomorrow.

Track Listing:

1. Gonna See My Friend
2. Got Some
3. The Fixer
4. Johnny Guitar
5. Just Breathe
6. Amongst The Waves
7. Unthought Known
8. Supersonic
9. Speed of Sound
10. Force Of Nature
11. The End

Lost Highway covers more than a decade’s worth of music from over twelve albums including three previously unreleased gems. Encompassing a broad spectrum of musical styles, Lost Highway features an amazing roster of collaborating artists while showcasing Willie’s incomparable songwriting as well as his uncanny ability to take classic country & western songs and truly make them his own.

Track Listing:

1. Maria feat. Rob Thomas (The Great Divide)
2. Mendocino County Line feat. Lee Ann Womack (The Great Divide)
3. Back To Earth (Songbird)
4. The Harder They Come (Countryman)
5. Over You Again feat. Ray Price (Moment Of Forever)
6. You Don’t know Me (You Don’t Know Me: The Songs of Cindy Walker)
7. Lost Highway feat, Willie, Merle Haggard & Ray Price (Last of the Breed)
8. Beer For My Horses feat. Toby Keith
9. Blues Eyes Crying In The Rain feat. Shania Twain (Live & Kickin’)
10. Overtime feat. Lucinda Williams (It Always Will Be)
11. I’m Still Not Over You feat. Ray Price (Run That By Me One More Time)
12. Superman (Previously Unreleased)
13. Bubbles In My Beer (You Don’t Know Me:The Songs of Cindy Walker)
14. Crazy feat. Diana Krall & Elvis Costello (Live & Kickin’)
15. Both Sides of Goodbye (Previously Unreleased)
16. Cowboys Are Frequently Secretly Fond of Each Other (Itunes Sessions)
17. Ain’t Going Down On Brokeback Mountain (Previously Unreleased)

Stuffed with first-rate songwriting, humorous lyrics, and laidback funk, Dixie Chicken is Little Feat’s pinnacle studio album. The easygoing 1973 classic benefits from the departure of bassist Roy Estrada in that his exit meant the arrival of three new musicians: guitarist Paul Barrere, percussionist Sam Clayton, and bassist Kenny Gradney. The new additions fill out the band’s sound and expand the stylistic palette, resulting in a more diversified rhythmic foundation and improved instrumental support. Little Feat also turn to New Orleans-rooted R&B for inspiration. It's this infatuation with the Big Easy, and supreme execution of the cajun-spiced style, that makes Dixie Chicken eminently enjoyable and soulful.

Leader and songwriter extraordinaire Lowell George is also at the top of his game. Standards such as the acoustic “Roll Um Easy,” keyboard-drenched “Kiss It Off,” and adroit title track hook the listener from the start, as does the timeless “Fat Man in the Bathtub,” a tune that continues George’s knack for twisted storytelling. Legendary New Orleans arranger Allen Toussaint contributes the intoxicating “On Your Way Down,” which the sextet turns into a slow dark blues that ripples with rock overtones. Thick grooves and sultry riffs abound throughout this brilliant set.

And ensemble playing doesn’t get any better. Splitting the line between taut studio perfection and loose jamming, Little Feat lays down some of the most exhilarating slide-guitar and colorful percussive work heard on record. Several distinguished guests contribute to the party: Bonnie Raitt, Bonnie Bramlett, ex-Rolling Stone Mick Taylor, and multi-instrumentalist Fred Tackett among them. In every sense, Dixie Chicken is the epitome of early 70s American rock and roll—funny, smart, relaxing, cohesive, melodic, smooth, stylish, engaging.

Mastered from the original master tapes, Mobile Fidelity’s numbered limited-edition 180-gram LP allows Dixie Chicken to be experienced like never before. The first available domestic remastering, and only edition restored from the original source tapes, this is the only version to own. The sonic improvements will have you jumping for joy.

Track Listing:

1. Dixie Chicken
2. Two Trains
3. Roll Um Easy
4. On Your Way Down
5. Kiss It Off
6. Fool Yourself
7. Walkin' All Night
8. Fat Man In the Bathtub
9. Juliette
10. Lafayette Railroad

The second album from Seattle's Cave Singers is a gorgeous, rich folky stew hitting musical touchstones from Led Zeppelin III to Iron and Wine, CCR, Fleet Foxes, Bon Iver, Will Oldham and Fleetwood Mac circa the mid-'70s. Produced by Colin Stewart (Black Mountain, Destroyer, Ladyhawk), Welcome Joy is far richer and more interesting sounding than their debut and the band performs their dramatic, forlorn and occasionally triumphant music here in a wonderfully autumnal haze.

Track Listing:

1. Summer Light
2. Leap
3. At The Cut
4. Shrine
5. Hen Of The Woods
6. Beach House
7. VV
8. I Don't Mind
9. Townships
10. Bramble

Yonder Mountain String Band has always played music by its own set of rules. Bending bluegrass, rock and countless other influences, Yonder has pioneered a sound all their own. With their traditional lineup of instruments, the band may look like a traditional bluegrass band at first glance but they've created their own music that transcends any genre. Yonder's sound cannot be classified purely as bluegrass or string music but rather it's an original sound created from looking at music from their own experiences and doing the best job possible.

The band continues to play by their own rules on their new record The Show. The album is the second album with rock producer Tom Rothrock (Beck, Elliot Smith, Foo Fighters). The result is the band's most varied and versatile album to date, and the summation of the journey that this group has been on together.

Track Listing:

1. Out of the Blue
2. Complicated
3. Fingerprint
4. Dreams
5. Honestly
6. Steep Grade, Sharp Curves
7. Isolate
8. In the Seam
9. Belle Parker
10. Criminal
11. Rain Still Falls
12. Fine Excuses
13. Casualty

A long time ago I used to hear spiritual singers singing beautiful songs and I wanted to be a singer too. I first started my musical career by singing in small local groups in my hometown of Memphis, TN. In the year 1968, I came to Seattle, Washington and started singing with local groups but failed to find the one that stable enough to record so I decided to cut an album by myself. The music was written and produced by myself who, except for the drum parts, done the entire record." - Famous L. Renfroe

Track Listing:

1. Introduction
2. Children
3. Believe
4. Feed
5. Reaching
6. It's So
7. Why Not I
8. And Man
9. His Love
10. Circle
11. War
12. Tell

America is one of the most enduring and more popular '70s rock acts and their 1972 platinum plus smash Homecoming is often regarded as one of their finest works. It is with great enthusiasm that Friday Music continues their America 180g Audiophile Vinyl series with this exceptional second effort. Homecoming had three huge chart singles with "Ventura Highway," "Don’t Cross The River" and "Only In Your Heart," as well as significant rock radio staples like John Martyn’s "Head And Heart" and the classic rocker "California Revisited."

This 180g Audiophile Vinyl reissue was mastered from the original Warner Music tapes by Joe Reagoso at Friday Music Studios and at Capitol Studios in Hollywood, CA. The LP graphics are attractively packaged in a gatefold cover featuring the photography of the legendary Henry Diltz.

Track Listing:

1. Ventura Highway
2. To Each His Own
3. Don't Cross
4. The River
5. Moon Song
6. Only In Your Heart
7. Till The Sun
8. Comes Up Again
9. Cornwall Blank
10. Head And Heart
11. California Revisited
12. Saturn Nights

In 1962, Duke Ellington's greatest creative achievements lay outside the realm of his orchestra in stunning small-group collaborations with Coleman Hawkins, John Coltrane, Charles Mingus and Max Roach. But 1963 would prove a different story from the first week of the year when he completed work on Afro-Bossa, which according to the late pianist and Ellington scholar Mark Tucker "ranks among the best albums he ever made." The title is a bit of a misnomer as there is not a bossa nova or samba rhythm anywhere on the album. Instead it is a head-on fusion of Afro-Caribbean rhythms and pure blue-hued Duke.

Despite the inclusion of three older pieces ("Absinthe," "Pyramid" and "Eighth Veil"), the album is a cohesive and startling vivid original 12-part suite. Johnny Hodges, Jimmy Hamilton, Paul Gonsalves, Ray Nance, Cootie Williams and Lawrence Brown are the principal soloists and each are in superb form here. The title tune, "Caline (Silk Lace)" and "Pyramid" found their way into the band's regular performance book and perhaps the greatest composition in the suite, "Purple Gazelle" became a favorite among other musicians. This is Ellington at his best when the compositions, the orchestra and the soloists fuse into a single element that brings rich, colorful music to life.

Track Listing:

1. Afro-Bossa
2. Purple Gazelle
3. Absinthe
4. Moonbow
5. Sempre Amore
6. Caline (Silk Lace)
7. Tigress
8. Angu
9. Volupte
10. Bonga
11. Pyramid
12. Eight Veil

Jimmie Lee Robinson doesn't dance for the approval of others nor does he thin his music to seduce a wider audience. The self-proclaimed Lonely Traveller's work is an artistic achievement that illustrates why enduring reputations are earned slowly, over time, not swiftly via shrewdly orchestrated media blitzes. His music, honest and unspoiled, comes as a welcome and refreshing alternative in an age of crowd-mesmerizing pyrotechnics, outlandish tempos, and incendiary solos. Remember Me, Robinson's first effort for the APO label and the first album recorded at Blue Heaven Studios, is an adventure deep into the blues of Mr. Robinson's Maxwell Street neighborhood, a neighborhood that has included residencies with musicians such as Little Walter, Howlin Wolf, Freddie King, Elmore James, Luther Tucker, Eddie Taylor, Magic Sam, Jimmy Reed, Shakey Jake, St. Louis Jimmy, Eddy Clearwater, Sunnyland Slim and more.

On Remember Me, Robinson accompanies himself on acoustic guitar to create The Lonely Traveller's distinctive brand of blues, which he says represents a lifetime of work, the trials and tribulations of growing up on and experiencing Maxwell Street. If you listen closely, you'll also hear Jimmy D. Lane (son of the late blues legend Jimmy Rogers) accompanying on one tune.

Robinson sings in the powerful and sometimes piercing voice that inspired the Lonesome Lee sobriquet when he began recording for Bandera Records in the 1950s. Boot-stomping, spur-jangling highlights include a rousing performance of "Wait For Me", Jimmy Reed-inspired "Boss Man" and a spirited rendition of "Wagon Wheels".

Track Listings:

1. My Name Is Jimmie Lee
2. Boss Man
3. Wagon Wheels
4. See See Baby
5. Wait For Me
6. Keys To The Highway
7. Rosa Lee
8. The Boll Weevil
9. Angry Lover
10. Rollin' and Tumblin'
11. Remember Me

Pull up a porch chair, lean it back on two legs and enjoy the music of Kansas City blues legend Little Hatch on Goin Back. They love the little man in Kansas City - where the traditional blues harmonica player's birthday has been proclaimed Little Hatch Day in honor of his broad fan support - and you'll love the sound that has been lighting up the KC nightclub sky and other venues for years.

APO owner Chad Kassem first heard the harmonica player in the early 1980s at the Grand Emporium in Kansas City - when Kassem was still flipping burgers and not even thinking about the music business - and was amazed at how few recordings Little Hatch had made (one at the time, The Little Hatchet LP in 1972).

Little Hatch (who was once nicknamed Little Walter Jr. but changed it becuase his music deserved a name of its own), made this unplanned and unrehearsed recording for Kassem's APO label at Blue Heaven Studios when Hatch found himself as a spectator during another recording session. He couldn't help himself and cut loose while the tape rolled along with the masterful guitar accompaniment of longtime associate Bill Dye.

In about three hours, Little Hatch completed 15 cuts, most on the first take. The result was traditional, raw, dirty blues at its finest with hamonica and slide guitar. The acoustics of the grand old church make it sound like Little Hatch is, indeed, playing just for you on your back porch or in your living room.

So go on back to the porch. Pull up that chair and take a listen.

Track Listings:

1. Rock Me baby 2. Woke Up This Morning 3. She's Nineteen Years Old 4. Fannie Mae 5. Baby, Scratch My Back 6. Buzz On 7. Your Friends 8. I Got A Woman 9. Glory Glory

This is Chicagoan, Eomot Rasun's recording debut. Listening to it, however, one would never know. Three Days Walkin shows the musical maturity of a man who has been recording for decades. His clean soulful voice echoes many blues traditions and his harp playing harkens back to his Delta roots and his South Side Chicago boyhood, yet has a modern edge. Listening to this disc, you will know he has an appreciation for Little Walter's music. He is true to Walter's Chicago blues sound but brings his own voice to it, infusing it with a freshness that is a joy to listen to. The same can be said of the rest of the disc. His reverence for tradition is apparent but his own musical vision shines through. If there is any doubt Eomot feels a spiritual connection to the blues, this album proves it. He summons up the spirit of 1950s Chicago as if he just got back from the 708 Club gigging with Walter or Wolf. This may be his debut, but there is a lot of history on this disc.

Eomot is walking in the footsteps of his elders, but he is also wearing his own shoes.

Track Listing:

1. Going to Chicago 2. Walkin' These Blues Away 3. Last Night 4. Let's Jump 5. Poor Boy 6. Sons Too Young 7. Blues With A Feeling 8. So Tired 9. Biscuits & Gravy 10. Try Your Best

79-year-old Weepin' Willie (Robinson) may very well be the best classic R&B singer you've never heard of, unless of course, you happen to live in the Boston area. There, Weepin' Willie is something of a local legend, thrilling audiences with his deep blues vocal style. None of this is lost on other stalwarts of the Boston blues scene, such as Mighty Sam McClain, Susan Tedeschi, Ronnie Earl and Bruce Katz. "You've got to hear Willie" is repeated almost like a mantra by them. Now, with the release of At Last On Time everyone can, at last, hear Willie.

Lending strong support for Willie's recording debut is one of the brightest new blues lights to emerge in recent years, Susan Tedeschi, whose Just Won't Burn album has spent an unprecedented 41 weeks on the Billboard Blues Chart! The man behind Willie's emergence is none other than the great Mighty Sam McClain, a living R&B legend if there ever was one. Sam co-produced the album (along with Joe Harley) and also contributes his patented brand of soul singing and songwriting. Along with Jimmy D. Lane, who joins in on one track with his blazing guitar, At Last On Time proves the wisdom of the phrase "better late than never!"

Track Listing:

1. Love Call
2. Fever
3. Can't Go Wrong Woman
4. Big Mary's House
5. They Call Me Weepin' Willie / Mighty Mighty
6. Glory Train
7. At Last, On Time
8. Dirty Old Man
9. Weepin Willie Boogie
10. Love Me If You Want To
11. Let The Good Times Roll

Enesco is very light and lively and is also very familiar and accessible. This particular recording, has a lots of ambience and is very fun to listen to. Upon its original release, the Stravinsky has gotten many praises. This album is a treasure for today's audiophiles.

Track Listing:

1. Rumanian Rhapsody No. 1 in A major (Enesco)
2. Rumanian Rhapsody No. 2 in D. major (Enesco)
3. The Soldier's March (Stravinsky)
4. Soldier At The Brook (Stravinsky)
5. Pastorale (Stravinsky)
6. The Royal March (Stravinsky)
7. The Little Concert (Stravinsky)
8. Three Dances: Tango, Waltz, Ragtime (Stravinsky)
9. The Devil's Dance (Stravinsky)
10. The Great Chorale (Stravinsky)
11. The Devil's Triumphal March (Stravinsky)

Country/ folk legend Doc and son Merle Watson's homage to the scratchy blues 78's that made an impression on the elder Watson during his boyhood in North Carolina. With Doc on flat-top and vocals, Merle chimes in on slide guitar to deliver a collection of true country blues. Accompanied by longtime bassist T. Michael Coleman and the brilliant multi-instrumentalist Sam Bush, this 1985 recording, originally released by Flying Fish, transfers all the rich, deep wooden tones of the acoustic instruments. Highlights include: Mississippi Heavy-Water Blues, St. Louis Blues, Warm and Windy, a fine and most unique treatment of Stormy Weather, plus eight others. Flying Fish 352.

Track Listing:

1. Mississippi Heavy Water Blues
2. Sittin' Here Pickin' the Blues
3. Stormy Weather
4. Windy and Warm
5. St. Louis Blues
6. Jailhouse Blues
7. Freight Train Blues
8. Hobo Bill's Last Ride
9. Carroll Country Blues
10. Blue Ridge Mountain Blues
11. I'm A Stranger Here
12. Honey Babe Blues

A direct link to the styles of Fats Waller and James P. Johnson, veteran stride pianist Ralph Sutton is featured here, at 61 years young, in an elegant showcase of traditional jazz music. After early training with Jack Teagarden and Eddie Condon, Sutton continues to carry the flame, here partnered with a legend in his own right, Milt Hinton on bass. The quartet is completed with Australian brothers Bob and Len Bernard on trumpet and drums respectively. This 1983 session, with it's great live feel, will catapult the listener to a table "down front" at The Famous Door, 52nd Street circa 1941. A strong blend of Louis, Hoagy, Loesser, Waller & Razaf and McHugh and Fields.

Track Listing:

1. Swing That Music
2. One Morning in May
3. Old Folks
4. Rain
5. I Never Knew
6. On A Slow Boat to China
7. It's Wonderful
8. How Can You Face Me?
9. West End Avenue Blues
10. Diga Diga Doo

A truly sensitive reading of standards by stalwart saxman Chico Freeman, originally released in 1979. Featuring both tenor and soprano horns, the leader lends his unique blend of passion and taste to compositions by Duke Ellington, Sonny Rollins, Richard Rodgers and Vernon Duke. Strong rhythmic support from bassist Cecil McBee, drummer Billy Hart and John Hicks at the piano. An outstanding analog recording that both audio and jazzphiles will treasure.

Track Listing:

1. Autumn In New York
2. Peace
3. A Child Is Born
4. It Never Entered My Mind
5. Close To You Alone
6. Don't Get Around Much Anymore
7. Lonnie's Lament
8. You Don't Have To Say You're Sorry
9. Wise One
10. Carnival

The critics who had been slow in recognizing what fellow jazzmen already knew-that here was a young giant in our midst-could not help see the light. Tenor Madness, in which Sonny Rollins was joined by the rhythm section from the Miles Davis Quintet, further substantiated his rapidly rising stature. The material is an effective mixture of Rollins' playing attitudes with an intriguing original, "Paul's Pal," and the mining of unusual material such as "My Reverie" and "The Most Beautiful Girl in the World." The celebrated title track features John Coltrane. Mastered by Steve Hoffman and Kevin Gray.

Track Listing:

1. My Reverie
2. Paul's Pal
3. The Most Beautiful Girl In the World
4. When Your Lover Has Gone
5. Tenor Madness

Few albums in the history of contemporary American music can be more deserving than this one of the designation Original Jazz Classic. It is the first of two Riverside albums derived from the legendary final appearance of the first Bill Evans trio - taped during the last day of a Village Vanguard engagement, barely ten days before the tragic death of bassist Scott LaFaro. The recordings have long been recognized as capturing the essence of the unique three-way interaction that characterized the trio. This album is further distinguished by its emphasis on the solo work and compositions of the innovative LaFaro.

Track Listing:

1. Gloria's Step
2. My Man's Gone Now
3. Solar
4. Alice in Wonderland
5. All Of You
6. Jade Visions

This LP captures Leroy Jodie Pierson's performance perfectly in terms of immediacy, dynamics, transparency, and purity. While sitting in my dedicated listening room, I can close my eyes and easily imagine that I am back in that church in Salina watching a consummate master at work. When you put this record on your own turntable and close your eyes, you can easily imagine yourself being transported to the vicinity of a back porch in the late thirties, listening to a spirited, heartfelt, and expressive performance by one of the top bluesmen of the era. Except you're not. You're listening to a spirited, heartfelt and expressive performance by one of the top bluesmen of our era, who simply sounds like he's been transported directly from ages past...I can't recommend this release from Analogue Productions Original highly enough. Please buy this record and help to support Chad Kassem and his efforts to make lesser recognized but eminently worthy blues artists known to the world." Sound = 10/10; Performance = 10/10; Music = 10/10 - Dave Glackin, Positive Feedback Online, Issue 20 Read Dave Glackin's complete Positive Feedback review

There was magic in the sanctuary of Blue Heaven Studios that October 2004 Saturday afternoon. On the altar sat Leroy, cross-legged and cradling his National ResoLectric steel guitar with a glass slide encasing his left pinky finger and caressing the strings, while his right fingers aggressively plucked and strummed. The result is a dramatic yet buttery-smooth take of five killer blues numbers and one gospel tune.

Track Listing:

Side One

1. Guitar Rag
2. Highway 61
3. Closer Walk With Thee

Side Two 1. Love In Vain
2. Drunkin’ Spree
3. No Feelings For Other Folks

Harmonica master Arthur Williams and his acoustic guitar-playing partner Jesse Hoggard interpret six classic 12-bar blues – four sung by Arthur and two by Jesse. This duo really nails the front-porch feeling that the best acoustic blues was born from. Jesse’s guitar is perfectly steady with simple, tasteful fills. Arthur’s acoustic harp work is the showstopper.

Arthur Williams was born in Tunica, Mississippi in 1937, was raised in Chicago and made his recording debut backing Frank Frost on Jewel Records in 1966. In 1972, he moved to his current home of St. Louis. He still performed but his recording career was dormant as he concentrated on a day job. In the 1990s, he appeared on a few records and put out a few of his own. But no release before this one has captured such an in-person feeling. The dynamics on this direct-to-disc recording are almost frightening.

Track Listing:

1. I’m A King Bee
2. Since I Met You Baby
3. Go On To School
4. I’m Gonna Get My Baby
5. Cummins Prison Farm
6. Hug And Squeeze You

This album finds Janis' voice in its purest, most vital form ever. The tracks were recorded as live as possible without sounding retro. This 1992 all-analogue recording, praised as much for the artist's too infrequently heard talents as for it's recorded dynamics, is now available on the medium that is a natural: 180-gram vinyl!

Both audiophile LP and CD versions reflect what the two top bibles of high-end audio decree as an impeccable production that has come to be regarded as a high-fidelity reference. Matched with Ian's very personal songs, delivered in a voice that draws you in close in confidence, Breaking Silence is one of the very few recordings of recent years that by reproducing a pure analogue sound, has attained true audiophile status.

Tracks were recorded at Nightingale Studio on a Studer 820, 24-track machine, 30 IPS, non-dolby, at the elevation of +6/250 nu using Ampex 499 tape.

Included among the mics used on the recording dates were: Nuemann M-49, AKG C-12, Telefunken 251, Sheffield C-9 and a custom built tube direct box on the bass. Janis' vocal was recorded using a Telefunken U-47 and a Mastering Lab mic preamp, linked with series-one Monster Cable direct to the back of the multi-track machine with no EQ or Limiting.

The album was mixed at Bill Schnee Studio to an Ampex ATR 1/2" machine, at 30 IPS, non-dolby, at the elevation of +3/250 nu on Ampex 499 tape. The reverb on the album was an EMT tube plate used along with natural room sounds captured in the recording. During the mixing of the album, "Some People's Lives" was recorded direct to two-track using the same vocal chain as above and Telefunken 251's on the piano. Take number two was used as the album cut. The album was mixed using Mastering Lab modified Tannoy SGM-10's powered by Sherwood-Sax mono-block tube amps.

Produced, engineered and mixed by Jeff Balding. Mastered by Doug Sax.

Track Listing:

1. All Roads To The River
2. Ride Me Like A Wave
3. Tatoo
4. What About The Love
5. His Hands
6. Walking On Sacred Ground
7. This Train Still Runs
8. Through The Years
9. This House
10. Some People's Lives
11. Breaking Silence

After four years of nearly nonstop performing, CCR sounds as polished and tight as ever on this album. Of the two hit singles from the LP, "Hey Tonight" and "Have You Ever Seen The Rain," the latter's slower ballad format clearly suggests that band was exploring new areas of its music, including a developing emphasis on instrumentals. With this swing of the pendulum the creative tasks would in the future be shared by all members of the group. A fine and tasty offering, Pendulum is still universally acknowledged as among the greatest in the annals of rock. After four years of nearly nonstop performing, CCR sounds as polished and tight as ever on this album. Of the two hit singles from the LP, "Hey Tonight" and "Have You Ever Seen The Rain," the latter's slower ballad format clearly suggests that band was exploring new areas of its music, including a developing emphasis on instrumentals. With this swing of the pendulum the creative tasks would in the future be shared by all members of the group. A fine and tasty offering, Pendulum is still universally acknowledged as among the greatest in the annals of rock.

Track Listing:

1. Pagan Baby
2. Sailor's Lament
3. Chameleon
4. Have You Ever Seen the Rain?
5. (Wish I Could) Hideaway
6. Born to Move
7. Hey Tonight
8. It's Just a Thought
9. Molina 10. Rude Awakening #2

Originally released on CD in 1995, Methodrone is now being reissued on vinyl for the first time via 'a records,' Anton Newcombe's own record label. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus and Mary Chain. Methodrone is clearly the sum of its influences and it's a stunningly beautiful and powerful collection of psychedelic rock. Pressed on 180g blue vinyl.

Track Listing:

1. Evergreen
2. Wisdom
3. Crushed
4. That Girl Suicide
5. Wasted
6. Everyone Says
7. Short Wave
8. She Made Me
9. Hyperventilation
10. Records
11. I Love You
12. End Of The Day
13. Outback
14. She's Gone

M. Ward's Transfiguration of Vincent is nothing less than spectacular. From the buoyant, late-Beatlesque "Vincent O'Brien" to the dank, shuffling, south of the border groove on "Sad, Sad Song," the troubadour manages to capture a timeless folkiness and match it with a surreal and sparkling sense of nostalgia that clearly echoes Tom Waits. Recorded with the Old Joe Clarks as the backup band, Transfiguration is rooted firmly in old-time Americana, yet M. Ward's take on country and particularly his vocals somehow fit perfectly with Giant Sand, Sparklehorse, and California's surreal, pastoral psych-pop outfit Grandaddy (whose Jason Lytle contributed some field recordings). Just check M. Ward's stunning transformation of Bowie's "Let's Dance," which proves there's some deeply buried pop beneath these honest folk tunes. Transfiguration is a quiet record and might lose some listeners in it's sleepy summer melancholy, but M. Ward is the real deal -- and he's surely worthy of heaps of attention and acclaim. ~ Charles Spano, All Music Guide

Track Listing:

1. Transfiguration, No. 1
2. Vincent O'brien
3. Sad, Sad Song
4. Undertaker
5. Duet For Guitars, No. 3
6. Outta My Head
7. Involuntary
8. Helicopter
9. Poor Boy, Minor Key
10. Fool Says
11. Get To The Table On Time
12. Voice At The End Of The Line
13. Dead Man
14. Let's Dance
15. Transfiguration, No. 2

Produced by Steve Albini, Journal For Plague Lovers is an incredible and arresting album, sure to floor both long-standing Manic Street Preachers' fans as well as the uninitiated. Journal For Plague Lovers, already a huge critical and commercial hit in the UK and Europe, is the first Manic Street Preachers album since 1994’s The Holy Bible to feature lyrics written entirely by their former guitarist and lyricist Richey Edwards, who disappeared in early 1995, just hours before the band were due to fly to America to begin touring.

Track Listing:

1. Peeled Apples
2. Jackie Collins Existential Question Time
3. Me And Stephen Hawking
4. This Joke Sport Severed
5. Journal For Plague Lovers
6. She Bathed Herself In A Bath Of Bleach
7. Facing Page: Top Left
8. Marlon J.D.
9. Doors Closing Slowly
10. All Is Vanity
11. Pretension/Repulsion
12. Virginia Sate Epileptic Colony
13. William's Last Words

Recorded at his award-winning British Grove Studios in West London and co-produced with long-time cohorts Chuck Ainlay and Guy Fletcher, Mark Knopfler's fifth studio album, Get Lucky is a beautifully crafted exploration of a lifetime of musical roots. Knopfler fluently combines folk and blues elements here with original songwriting, personalized British ingredients and vivid observational lyricism. The 11-track set is pressed on two heavyweight 180g vinyl LPs.

Track Listing:

1. Border Reiver
2. Hard Shoulder
3. You Can't Beat The House
4. Before Gas And TV
5. Monteleone
6. Cleaning My Gun
7. The Car Was The One
8. Remembrance Day
9. Get Lucky
10. So Far From The Clyde
11. Piper To The End

Southern Lord proudly announces the reissue of the vinyl version of the only recordings by Thorrs’ Hammer, Dommedagsnatt. This beautiful release was pressed on 180g clear vinyl and packaged in a heavy gatefold sleeve with metallic silver embossing and printed innersleeve. Thorr's Hammer was formed in Ballard, Washington by Greg Anderson and Stephen O'Malley during winter of 1994-1995. Soon after, Runhild Gammelsæter, then 17-year-old Norwegian exchange student, joined the band as vocalist/lyricist. The band reached its final form when Jamie Sykes and James Hale joined. The band was active only for six weeks during which it played two gigs and recorded a demo and an EP entitled Dommedagsnatt. The band disbanded after Runhild's return to Oslo, Norway. It was not only the very first album released on Southern Lord it was the catalyst for the majority of the output from both Stephen O'Malley and Greg Anderson (sunn 0))), Teeth of Lions Rule the Divine, etc.).

Track Listing:

1. Norge
2. Troll
3. Dommedagsnatt
4. Mellow Galgene (Live)

As you begin to listen to Dawes' debut album and especially songs like the bittersweet "That Western Skyline" and the patient "Love Is All I Am," you start to realize that this band isn't interested in the bells and whistles. The Los Angeles quartet, Taylor Goldsmith (vocals, guitar), Griffin Goldsmith (drums, vocals), Wylie Gelber (bass) and Tay Strathairn (piano, vocals) seem to get all their musicianship and expression across through the inherent nature of the instruments. They seem to have their utmost respect for the song itself, only stepping out when a song calls for it, relying on the other to keep the holes filled and the ship sailing smoothly, letting the music reflect their own personal relationships to the listener.

Recorded live to tape (all analog) at Canyonsound Studio in Laurel Canyon, CA. Produced by Jonathan Wilson (Elvis Costello, Johnathan Rice, Jenny Lewis) and mastered by Rob Fraboni (Bob Dylan, The Rolling Stones, Eric Clapton) at Effortless Mastering in Weston, CT.

Track Listing:

1. That Western Skyline
2. Love Is All I Am
3. When You Call My Name
4. Give Me Time
5. When My Time Comes
6. God Rest My Soul
7. Bedside Manner
8. My Girl To Me
9. Take Me Out Of The City
10. If You Let Me Be Your Anchor
11. Peace In The Valley

The long-awaited, much anticipated, highly acclaimed, brand new album from the man, the myth, the Godfather: Robert Earl Keen. The Rose Hotel features 11 songs, including covers of fellow Texan Townes Van Zandt’s “Flying Shoes” and Greg Brown’s “Laughing River” (the latter a duet with Brown). The Keen original, “The Man Behind The Drums,” is a tribute to former Band drummer Levon Helm.

Produced by the iconic Lloyd Maines (father of Dixie Chicks lead singer Natalie Maines) and featuring Billy Bob Thornton, Greg Brown, Danny Barnes, Buck Allen, Drew Womack, Deani Flemings and the legendary Robert Earl Keen Band.

Vinyl configuration includes 2-discs with etching in a deluxe gatefold package.

Track Listing:

1. Rose Hotel
2. Flyin’ Shoes
3. Throwin’ Rocks
4. 10,000 Chinese Walk Into A Bar
5. Something I Do
6. The Man Behind The Drums
7. Goodbye Cleveland
8. Laughing River
9. On And On
10. Village Inn
11. Wireless In Heaven

Port O'Brien began as the bedroom recording project of Van Pierszalowski and Cambria Goodwin. As the songs grew legs and spread among friends, live performances became inevitable. Sprouting from the isolated coastal village of Cambria, CA, the band collected kindred spirits along the way and blossomed into a full band. The band released All We Could Do Was Sing in the summer of 2008 which captured the life Van and Cambria lived throughout their never-ending summers in Alaska. Van is a commercial fisherman, spending every summer on his father's fishing boat off the coast of Kodiak Island. Cambria is the head baker at the cannery in Larson Bay, supplying pastries, breads, and deserts for the entire seasonal fishing community. They're seasonal lives changed with the release of their first album however and their inspirations shifted from the desolation of Alaska to the experience of seeing the world.

As 2009 began, the band started to prepare songs for what was to become Threadbare. What started as a light-hearted and loose effort quickly turned into a dense, introspective work following the tragic loss of Cambria's younger brother. Recording in friend Jason Quever's living room studio in San Francisco, the songs were given a certain warmth and intimacy that couldn't be achieved in a larger space. The sense of comfort they found gave them the ability to fully realize the weight of the songs. "In the Meantime" explores the desire for contentment in tumultuous times. "High Without Hope" bookends the album, illuminating the emotion and sense of loss that was felt throughout the recording process.

"Port O'Brien crafts beautiful, melodic tuens that utilize string instruments to their fullest. And the group is not afraid to rock out." - Billboard

Track Listing:

1. High Without The Hope 3
2. My Will Is Good
3. Oslo Campfire
4. In The Meantime
5. Tree Bones
6. Sour Milk/Salt Water
7. Threadbare
8. Calm Me Down
9. Leap Year
10. Next season
11. (((Darkness Visible)))
12. Love Me Through
13. High Without The Hope 72

The 1965 album Today! was the Beach Boys' eighth studio album and the first of three to be released that year. The album marked a major turning point for the band, and especially the exhausted Brian Wilson. It was around this time where Wilson gave up touring, and many consider this the beginning of his artistic maturation. The album features a fine mix of upbeat numbers like "Do You Wanna Dance" and "Help Me Rhonda" and ballads such as "Please Let Me Wonder" and "Kiss Me, Baby." Aside from their opus Pet Sounds, Today! is the Beach Boys' most highly acclaimed release.

All 'From The Capitol Vaults' titles feature carefully replicated artwork and packaging true to their original single or gatefold jacket LP releases.

Track Listing:

1. Do You Wanna Dance?
2. Good To My Baby
3. Don't Hurt My Little Sister
4. When I Grow Up (To Be A Man)
5. Help Me, Rhonda
6. Dance, Dance, Dance
7. Please Let Me Wonder
8. I'm So Young
9. Kiss Me, Baby
10. She Knows Me Too Well
11. In the Back of My Mind
12. Bull Session With the 'Big Daddy'