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American WomanMastered impeccably by Joe Reagoso at Friday Music Studios and at RTI with Kevin Gray from the original 1970 RCA Records tapes.
Friday Music is no stranger to The Guess Who catalog, so it is with great honor to continue the Guess Who 180 Gram Audiophile Vinyl Series with the release of the mega platinum "American Woman." Mastered impeccably by Joe Reagoso at Friday Music Studios and at RTI with Kevin Gray from the original 1970 RCA Records tapes, this monumental masterpiece truly resonates the true rock & soulful performances of The Guess Who at their creative peak. Includes all of their smash number one's like "American Woman," "No Sugar Tonight," "No Time," "When Friends Fall Out" and 5 other smashes.
This monumental masterpiece truly resonates the true rock and soulful performances of The Guess Who at their creative peak. After a string of non-stop hit singles and chart albums, The Guess Who finally achieved their biggest album yet with the mega classic American Woman. The band was inducted into The Canadian Music Hall of Fame in 1987.1. American woman
2. No time
4. No sugar tonight - New mother nature
5. 969 -The oldest man
6. When friends fall out
8. Proper stranger
9. Humpty-s Blues - American woman epilogue$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Wonder Woman SoundtrackPressed On Double 180-Gram Audiophile Vinyl
PVC Protective Sleeve
Score By Rupert Gregson-Williams
Featuring The Song To Be Human By Sia (feat. Labyrinth)
Wonder Woman is a 2017 American superhero film based on the DC Comics character of the same name. After Man of Steel, Batman v Superman: Dawn of Justice and Suicide Squad, it is the fourth installment in the DC Extended Universe.
Before she was Wonder Woman she was Diana, Princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.
Rupert Gregson-Williams, a member of Hans Zimmer's Remote Control Productions team of composers, wrote and composed the film's music. He was joined by Tom Howe, Paul Mounsey and Andrew Kawczynski who provided additional music.
Australian singer Sia wrote a song for the film, titled To Be Human, featuring English musician Labyrinth, which is also featured on the soundtrack.LP 1
1. Amazons Of Themyscira
2. History Lesson
3. Angel On The Wing
4. Pain, Loss & Love
5. Ludendorff, Enough!
6. No Man's Land
1. Wonder Woman's Wrath
2. The God Of War
3. We Are All To Blame
4. Hell Hath No Fury
5. Lightning Strikes
6. Trafalgar Celebration
7. Action Reaction
8. To Be Human (Performed By Sia [feat. Labrinth])$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Pretty Woman SoundtrackSoundtrack to the 1990 American romantic comedy film set in Los Angeles that dominated the box office. The movie revitalized Richard Gere's career, and made a superstar of Julia Roberts. The soundtrack is a snapshot of up-and-coming acts at the beginning of the 90s, including Go West's massive hit, King Of Wishful Thinking and Roxette's chart smash It Must Have Been Love.1. Wild Women Do - Natalie Cole
2. Fame 90 - David Bowie
3. The King of Wishful Thinking - Go West
4. Tangled - Jane Wiedlin
5. It Must Have Been Love - Roxette
6. Life In Detail - Robert Palmer
1. No Explanation - Peter Cetera
2. Real Wild Child (Wild One) - Christopher Otcasek
3. Fallen - Lauren Wood
4. Oh, Pretty Woman - Roy Orbison
5. Show Me Your Soul - Anthony Kiedis$19.99Vinyl LP - Sealed Buy Now
American Epic: The Best of Lead BellyLouisiana delta native Huddie "Lead Belly" Ledbetter is the master of twelve-string blues guitar. His story is one of high-highs and low-lows, from serving stints in prison after killing a man in a fight for a woman's heart, but then eventually earning early release by entertaining his fellow prison-mates and penning a song for the governor, thus cementing his reputation of singing his way out of prison. Folklorists John and Alan Lomax were early supporters that brought Lead Belly to the attention of Ivy Leaguers as well as a European audience. His songs have been widely covered by artists such as Elvis, Nirvana, Johnny Cash, and the Grateful Dead.
Single LP with single pocket tip-on jacket with soft touch finish.1. Mr. Tom Hughes' Town
2. C. C. Rider
3. You Can't Lose Me, Charlie
4. Kansas City Papa
5. Death Letter Blues, Part 1
6. Death Letter Blues, Part 2
7. Fort Worth and Dallas Blues
8. Bull Cow
9. Ox Drivin' Blues
10. Shorty George
11. You Don't Know My Mind
12. Matchbox Blues
13. My Baby Quit Me
14. Baby Don't You Love Me No More$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Reads Kaddish - A 20th Century American Ecstatic Narrative PoemPressed On Red Colored Vinyl
Along with Howl, Kaddish stands as one of Allen Ginsberg's most illustrious creations. Always a follower of popular trends in music, Ginsberg had spent parts of 1958 digging into Ray Charles' "I Got A Woman" - occasionally doing so while on morphine and methamphetamine. One evening, in this drug-induced state while cranking some Ray, Ginsberg began discussing his mother Naomi with his pal Zev Putterman. Putterman in turn, began reciting the traditional Hebrew "Kaddish" prayer for mourning the dead. Soon after, fueled by Dexedrine, LSD, and caffeine, Allen penned the majority of Kaddish. In early 1959, Kaddish received its debut performance at a poetry reading at Columbia University - in which Allen shared the bill with his lover Peter Orlovsky and fellow beat poet Gregory Corso. Over time, the manuscript was tweaked and adjusted until publication in April 1961 by City Lights. Then, in November 1964, with Orlovsky and Corso in tow, the trio performed several gigs at Harvard and Brandeis Universities, and it was at Brandeis where this recording was made. Released in 1966, Kaddish turned out to be the only record in Atlantic's spoken-word Verbum series; but if label head Jerry Wexler changed his mind about the imprint, he remained a big fan of the work, later telling Los Angeles historian Harvey Kubernik that Kaddish had stirred "the Yiddish currents in my own blood" and inspired "joy and anguish the exaltation that great poetry will bring on." Indeed, Kaddish is an intensely personal and moving work, capturing the complex relationship between Ginsberg, his mother, and his faith, and concluding with a heartrending description of her death. Real Gone Music is very proud to present the first-ever vinyl reissue of this landmark performance, in its original gatefold packaging with an added inner sleeve featuring new liner notes by Pat Thomas and memorabilia provided by the Allen Ginsberg estate over an hour of one of the towering figures in American poetry reading one of his greatest works.1. Kaddish Part 1
2. Kaddish Part 2$20.99Colored Vinyl LP - Sealed Buy Now
Slow West SoundtrackThe western Slow West is written and directed by John Maclean and stars Michael Fassbender, Kodi Smit-McPhee, Ben Mendelsohn, and Caren Pistorius. The movie is set the end of the 19th century and follows a 16-year-old who journeys across the American frontier in search of the woman he loves. The western premiered at 2015's Sundance Film festival where it earned the Grand Jury Prize in the World Cinema Dramatic category.
The album features the film's original music composed by Jed Kurzel (The Babadook, Son of a Gun, Macbeth, The Snowtown Murders). Also included are the songs from the movie by Werner, Bryan Michael Mills, Django Django & more.LP 1: Soundtrack
1. Everyone Hides - Tweedy
2. Try Loving Me - The Webs
3. Somebody to Love - Jefferson Airplane
4. Why Why Why - Tweedy
5. You Da One - Ca$hizz Klay featuring Fingazz
6. Stripper Pole - Nyzzy Nyce
7. One Toke over the Line - Brewer & Shipley
8. Further On Bronze Radio Return
9. Hard to Find - JD & The Straight Shot
10. Start a War - The National
11. Molodaya Luna - Vechyaslav Samarin
12. Shelter from the Storm -Bob Dylan
LP 2: Score
1. Orion's Belt (Jay Cavendish)
2. Jay's Theme (Jed Kurzel & London Contemporary Orchestra)
3. Let's Drift (Silas Selleck)
4. Let's Drift Theme (Jed Kurzel & London Contemporary Orchestra)
5. Mbanza Congo (Passi Jo, Sam Manzanza And Tawanda Manyimo)
6. The Trading Post (Jed Kurzel & London Contemporary Orchestra)
7. The Swedes (London Contemporary Orchestra)
8. In Where? (Jay Cavendish & Silas Selleck)
9. Rupert's Death (Jed Kurzel & London Contemporary Orchestra)
10. Am Bata Uaine (Ali Beag' Macleod)
11. Jay Alone Theme (London Contemporary Orchestra)
12. A New World (For Them) (Werner)
13. After Werner (Jed Kurzel & London Contemporary Orchestra)
14. Fly To Rose (Silas Selleck)
15. Aeolian Arietta (Lone Pigeon)
16. Rose Ross Is Her Name (Jay Cavendish)
17. Absinthe Theme (Jed Kurzel & London Contemporary Orchestra)
18. A Falling Angel (Payne)
19. The Minstrel's Song (Bryan Michael Mills)
20. Jupiter And Mars (Instrumental) (Lone Pigeon And The Kittens)$30.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Music Is Painting In The Air 1974-1977Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.
The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.
Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.
Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.
The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.
Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.
Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.
For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.
Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.LP1
1. Barnhause Effect
2. Cold Nose Part 3, 4th Movement
3. Leave My Chemistry
5. Grow On You
6. Scraping Delay
7. Warped Notions Of A Practical Joke (Instrumental)
8. Dark Side of Religion
9. Cosmic Saudade
10. Cold Nose Part 3, Movement 2
11. Fragments of Light
12. Into The Memory
1. Cold Nose Part 3, Movement 5
2. C'e Nessuno
4. Moving Particles
5. Cold Nose Part 3, Movement 3
6. Music Is Painting
7. Left Side Of Green
8. Chelsea Hotel (Room 625)
9. Fix A Water Fountain (Instrumental)
10. Leave My Chemistry
11. Overflowing Ashtrays
13. Cold Nose Story
14. Slow Motion Movie
15. Fortune Teller
16. Fortune Teller Coda$34.99Vinyl LP - 2 LPs Sealed Buy Now
Coin Coin Chapter Three: River Run Thee"Roberts is carving out her own aesthetic space, startling in its originality and gripping in its historic and social power." - Peter Margasak
"Primarily interrogating her own sense of identity as an African American woman, Roberts calls upon numerous other voices - from her family's history, her culture's mythology - to create living artifacts of collective cultural memory: simultaneously disorienting and exhilarating in their chaotic multiplicity." - The Quietus
"Roberts is a major talent." - The Wire
Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid composers, band leaders, horn players and experimental sound practitioners of the past decade. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011, has placed her at the forefront of stylistic
innovation and radicalization, transcending jazz - or any other genre boundaries - while confirming the deep substance and soul that guides her compositional agenda. Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining
recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Doris Duke Impact Award in 2014.
Roberts has long employed the phrase "panoramic sound quilting" to describe the
process surrounding her Coin Coin work. The third chapter in her Coin Coin series
finds Roberts implementing this metaphor most explicitly, constructing a sound art
tapestry from field recordings, loop and effects pedals, and spoken word recitations,
alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee
could arguably be considered first and foremost a vocal work, and notwithstanding
its experimental and esoteric structure, a deeply narrative work as well. Not unlike
2013's Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an
uninterrupted album-length flow, this time in what Roberts calls "a fever dream" of
sonic material, woven in surrealist fashion. Fragments of traditional song act as the
main touchstones on the album, with Roberts' singing voice riding atop waves of
radiophonic texture, layered spoken word and an often dislocated, wandering horn
Working once again with engineer Radwan Ghazi Moumneh, and returning again to
Montreal's Hotel2Tango studio (the location for her Chapter One recording in 2010),
Roberts ran the river run thee tape back multiple times, adding new layers in real
time, from start to finish (as opposed to calculated, isolated overdubs). The result is
a visceral audio document that combines structure and improvisation in the fullest
sense: not just in the playing and performing, but in the very marrow of the work's
compositional DNA. It is also, for the first time in the Coin Coin cycle, a solo work,
emerging from a lengthy solitary road trip Roberts took through the American South
in early 2014, amassing historical and documentary information through interviews,
site visits and field recordings.
Coin Coin Chapter Three: river run thee signals yet another highly adventurous and
socially engaged definition of what Jazz can mean in this day and age, and a
fascinating extension of the Coin Coin cycle, where rather than surfacing and
reactivating through the group dynamics of a musical ensemble, history is inhaled
and exhaled through a solitary practice seeking to evoke and echo its tangled
thicket of febrile strands.1. All Is Written
2. The Good Book Says
3. Clothed To The Land, Worn By The Sea
4. Dreamer Of Dreams
5. Always Say Your Name
6. Nema, Nema, Nema
7. A Single Man O' War
8. As Years Roll By
9. This Land Is Yours
10. Come Away
11. With Me Seek
12. J.P.$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Woodshock SoundtrackWoodshock is an American drama film written and directed by Kate and Laura Mulleavy, in their directorial debut. Starring Kirsten Dunst as a woman in the wake of a profound loss, the film follows her as she is torn between her devastated emotional state and the reality-altering effects of a potent drug. Dreamlike and surreal, the film is a unique exploration of grief and despair. Peter Raeburn composed the haunting, delicate score to Woodshock.1. Redwood
4. Redwood Wander
5. Redwood Dream
6. Open Reach
7. Sign To Lights
8. Nothing In The Fridge
9. Something's Wrong With This
10. Johnny's Dead
14. Washing The Scars
15. Mother's Dress To Lights
18. I Don't Want To Hurt You
19. Murder To Death And Beyond
20. Nature Symphony$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mastered From The Original Analogue Source At 96 kHz / 24-Bit
Mastered For Vinyl And Lacquers Created Using Half Speed Mastering By Stan Ricker
Housed In A Glossy Standard Jacket And Includes An 11 X 11 Glossy Insert
Voices Carry is the first studio album by the American band 'Til Tuesday, released in 1985. 'Til Tuesday's debut single was the album's title track, which went to #8 on the Billboard singles chart and remains the band's best-known song. The title song was originally sung by a woman to a woman, but due to record company pressure for less controversial lyrics it was changed to be sung to a man. The Voices Carry video won the MTV Video Music Award for Best New Artist and was played heavily on MTV. It depicts a boyfriend trying to convert Aimee Mann to his upper-class lifestyle; she finally lashes out at him during a concert at Carnegie Hall, standing up from her seat in the audience and belting the lyrics (He said, shut up! He said, shut up! Oh God, can't you keep it down?...) as she removes her cap to reveal her signature spiky, rat-tailed hair. The album's second and third singles were Love in a Vacuum and Looking over My Shoulder; the latter peaked at No. 61 on the Billboard Hot 100.1. Love In A Vacuum
2. Looking Over My Shoulder
3. I Could Get Used To This
4. No More Crying
5. Voices Carry
6. Winning The War
7. You Know The Rest
8. Maybe Monday
9. Are You Serious?
10. Don't Watch Me Bleed
11. Sleep$25.99180 Gram Audiophile Virgin Vinyl LP Buy Now
A Date With ElvisOn Sevilla Orange Vinyl
A Date with Elvis is the third full-length studio album by the American garage punk band The Cramps. It was released on Big Beat Records. It was recorded in the fall of 1985 and engineered by Steve McMillan and Mark Ettel at Ocean Way Studios Hollywood, CA. The Cramps reissued the album on their own Vengeance Records in 2001 with the bonus tracks Blue Moon Baby, Georgia Lee Brown, Give Me a Woman and Get Off the Road. The album was dedicated to Ricky Nelson, who had a hit with the song Lonesome Town, which was also covered by The Cramps and is available on their first EP Gravest Hits and compilation album ...Off the Bone.1. How Far Can Too Far Go?
2. The Hot Pearl Snatch
3. People Ain't No Good
4. What's Inside a Girl?
5. Can Your Pussy Do the Dog?
7. Cornfed Dames
9. (Hot Pool Of) Womanneed
10. Aloha from Hell
11. It's Just That Song$35.99Colored Vinyl LP - Sealed Buy Now
Off The Beaten Path (Deluxe)Justin Moore s always had a thing about doing it his way. Call it stubborn redneck mettle, a well-developed case of who I am or just the fierce commitment to blaze a trail inherent to people from his home of Poyen, Arkansas. It doesn t mat ter why, just that the blazing sense of off the beaten path drives his album of the same name.
There s a strong vein of tenderness and decency holding Moore s kind of country together. Look no further than Rhett Atkins/Ben Hayslip/Ross Copperman-written Point At You, the lead single, that acknowledges every wild hair Moore has, but hits the bottom line of his goodness via the woman who became his bride.
Get loud, get rowdy, but get home and emerge solid family men dedicated to some basic ideals that have defined this country. One need look no further than The Warren Brothers/Lance Miller/Austin Cunningham-penned opener Old Back In The New School to understand Moore is all about the things that last, the wild times and the enduring values making for a way of life worth living.
It s that kind of edge that draws a singer like Miranda Lambert to duet on the somber heartbreaker Old Habits. A little bit rowdy, a little bit sentimental, a whole lotta roughneck, Moore has dented the country radio charts with three #1s in the anything but big city Small Town USA, the sentimental family embracing If Heaven Weren t So Far Away and the fidelity pledge Til My Last Day, in addition to the Top 10 mission declaration Backwoods.
But the hits don t really tell the whole story. This is the man whose first single a digital only release was I Could Kick Your Ass, who flexed his sense of humor with the new guy mocking Bait A Hook and unapologetically throw down How I Got To Be This Way. And long before booty country became a touchstone, Moore dropped the swaggering Back That Thing Up.
Indeed, Booty Country is full force on OFF THE BEATEN PATH. He has the Kim Kardashian and J-Lo invoking I d Want It To Be Yours co-written with Stover and Brandon Kinney and the slip into the night guitar grinder Off The Beaten Path that slithers through the Patron and the moonlight.Good ole boys doing what they re good at. Moore has built a career eschewing the path most taken, building a fanbase of people just like him.
Take a certain amount of swagger, add some hard-rocking guitars and add Country Radio, a howler that celebrates the ultimate lube for escaping the boredom and expectations. There s the same kind of bulked up, bearing down picture of pride of Lettin the Night Roll, pure freedom and the will to be alive.
Two strong hands, a back that can shoulder anything, this is working man s post-modern American and that respect is what binds him to his woman in That s How I Know You Love Me. Ultimately, she refuses to make him change, and takes what s there for what it is, loving him for all its busted glory.
To believe in values that last, to embrace what is enough and know it s more than plenty, that is the greatest truth for a man like Moore, who sees no reason to leave the place he grew up. Beyond the hits, the gold-certified albums and the momentum of a career hitting its stride, OFF THE BEATEN PATH is a collection of classic postcards that make up the ascending This Kind of Town and the driving chugger One Dirt Road.
You don t have to take it from Moore, though. No less than the great Charlie Daniels, a man who s hung tough for hardcore old school values is featured on For Some Ol Redneck Reason, a pledge of allegiance to living true to principles and never giving into convention. This is one of the truest event moments as Moore dials it back, unfurling the map of his heart and soul.1. Old Back In The New School
3. Lettin' The Night Roll
4. Old Habits
5. Point At You
7. I'd Want It To Be Yours
8. This Kind Of Town
9. Dirt Road Kid
10. Country Radio
11. That's How I Know You Love Me
12. One Dirt Road
13. Off The Beaten Path
14. Field Fulla Hillbillies
15. Big Ass Headache
16. For Some Ol' Redneck Reason$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Porgy & Bess (Speakers Corner)
The dream of creating an American opera such as Scott Joplin's Treemonisha, written in 1911, inspired George Gershwin a good twenty years later to amazing compositional feats. While Gershwin had brought his musical and musical comedies with great Éclat to Broadway, he wanted his through-composed stage work Porgy And Bess to be regarded as a legitimate opera.
No matter whether one regards this exceptional work as »American folk opera« (The New York Times) or as a veristic portrayal of African-American life, central to the work is the expressionistic orchestral music that includes (work) songs, spirituals and elements of jazz, and the cast of singers, which, at the insistence of Gershwin, featured African-American singers.
This stipulation will certainly have suited Verve boss Norman Granz who engaged not only a fresh and lively big band but also a classical string orchestra to support his successful duo of Ella and Louis. Thanks to this superb line-up, the catchy song I Got Plenty O' Nuttin' rolls along sleekly with swing and drive, while Summertime and Bess, You Is My Woman Now wafts away to the sound of heavenly violins. Listening to this music, you couldn't care less about the genre or category, just as long as these two genial musicians perform wonderfully arranged material from the American Song Book. The incomparable nasal twang of Armstrong's solo trumpet seeks out unerringly jazz elements where you would least expect them.
- Ella Fitzgerald (vocal)
- Louis Armstrong (trumpet, vocal)
Recording: August 1957 in Los Angeles and October 1957 in Chicago
Production: Norman Granz
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.LP1
3. I Wants To Stay Here
4. My Man's Gone Now
5. I Got Plenty O' Nuttin
6. Buzzard Song
7. Bess, You Is My Woman Now
1. It Ain't Necessarily So
2. What You Want Wid Bess
3. A Woman Is A Somtime Thing
4. Oh, Doctor Jesus
5. Medley: Here Come De Honey Man / Crab Man / Oh, Dey's So Fresh & Fine
6. There's A Boat Dat's Leavin' Soon For New York
7. Bess, Oh Where Is My Bess?
8. Oh Lawd. I, On My Way!$69.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Beyond The BloodhoundsAdia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.
Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.
In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.
Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.
The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.
Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.
Publications like American Songwriter, Rookie, and NPR are taking notice.
Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$19.99Vinyl LP - Sealed Buy Now
40th Anniversary Limited Edition
First-Time North American Release on Vinyl
Stunning 3 LP 180 Gram Audiophile Vinyl, Original Japanese Tri-Fold LP Cover
First Time Psychedelic Artwork Insert Enclosed
Pressed at R.T.I.
On July 3rd and 4th, 1973, Carlos Santana and The Santana Band played two very incredible
shows for thousands of their delighted fans in Osaka, Japan. Cleverly capturing this
historic event for a soon to be released live album Lotus , the executives at Sony Music Japan,
known for their masterful audiophile skills, ran tape and the rest is now classic rock history.
Initially released in Japan , the monumental 3 LP set Lotus would become one of the most
celebrated live albums of the band's career. With the extensive two hour performance of nonstop
hits and deep album track masterpieces, Lotus was also known for its extensive tri-fold LP
cover and beautifully detailed artwork elements all the way down to each personalized record
label. This album would soon become one of the most expensive imported albums at the time,
as collectors and Santana fans in the states would pay serious dollars to get this incredible
Featuring a cross section of Santana hits like Black Magic Woman , Oye Como Va,
Waiting, and Every Step Of The Way, plus the exotic rhythms and jams on workouts like
Batuka , Mantra and the beautifully orchestrated instrumental Samba Pa Ti, Carlos Santana's
guitar was explosive as ever as witnessed by the cheers and shouts from the jubilant audience.
The original vinyl version of this masterpiece has been out of circulation for decades
- that is until now ..Friday Music continues our exclusive Santana 180 Gram Audiophile
Vinyl Series with the groundbreaking first time North American release of the deluxe 3 LP 180
Gram LP 1974 smash Lotus. Mastered impeccably by Joe Reagoso at Friday Music Studios
and pressed at R.T.I., this super limited first time North American 180 Gram masterwork is
truly one of the finest live albums to ever be released, and we are very excited to offer you this
authorized 180 Gram LP today.
Along with the legendary Carlos Santana on guitar and vocal, he is joined with original
Santana band mates Michel Shrieve on his dynamic drums, Doug Rauch on his prolific
bass, Jose Areas on hard hitting percussion, plus the brilliant jazz and funk superstar Leon
Thomas on vocals, the celebrated Latin percussionist Armando Perez, and the stellar keyboard
work of long time Santana associate Tom Coster.
As an added bonus, the original trifold cover art and the special psychedelic insert artwork
are now restored to their full glory which will further enhance your listening experience
with deep tracks from hit albums like Abraxas, Welcome, Caravanserai and Santana 1 and 3.
Let's all celebrate the 40th Anniversary of the classic mega rocker Lotus by Santana.
Authentic, Authorized, and Absolutely Live Santana as only you would expect from your
friends at Friday Music!LP 1
1. Going Home
2. A -1 Funk
3. E Very Step Of The Way
4. Bla Ck Magic Woman
5. Gypsy Queen
6. Oye Como Va
7. Your S Is The Light
8. Batu Ka
9. Xibaba (she-ba-ba)
1. Stone Flower (Introduction)
2. Waitin G
3. A Stillos De Arena Part 1 (Sand Castle)
4. Free Angela (Bayete)
5. Samba De Sausalito
7. Kyoto (Drum Solo)
8. Castillos De Arena Part 2 (Sand Castle)
9. Se A Cabo
1. Samba Pa Ti
2. Mr Udo
3. Tou Ssaint L'Overture
4. In Cident At Neshabur$56.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Buy Now
ADAD-BRA-9413xThis Is The Kit
Bashed OutThis Is The Kit is the much beloved musical project of Kate Stables, born in England and based in Paris. Bashed Out is her band's third album, the result of an extended period collaboration with the record's producer Aaron Dessner (Sharon Van Etten, Local Natives). Dessner--the co-founder of the Brassland label--is best known for his work in The National. Indeed, the backing band he gathered for Bashed Out combines the talents of This Is The Kit's touring members (Rozi Plain, Jesse Vernon, Jamie Whitby-Coles), alongside a number of session players drawn from the Brooklyn music scene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) and Ben Lanz (Beirut, The National) all made key instrumental contributions. This music is honest, human and humane-a folky-lovely slow-rumble. It's rock but of the hangover-friendly, stoner variety; it's folk but at a groovy speed. As notable as the music, however, is front woman Kate Stables, whose voice hearkens back to the classic singer-songwriter era--her distinctive, cutting vocals up front in the mix. It's a self-confidence gained since her previous album, 2011's Wriggle Out the Restless, which made her band a minor institution in the United Kingdom, especially on the radio which has embraced the group. This Is The Kit has received across the board support from BBC 6 DJs Lauren Laverne, Radcliffe & Maconie, Marc Riley, Cerys Matthews, and Mary Anne Hobbs--receiving further play from BBC Radio 1's Huw Stephens, Jen & Ally, and Phil Taggart. Wonderful wonderful stuff, said DJ and Elbow frontman Guy Garvey, before arguing their last album should have made the Mercury Prize shortlist. The Line of Best Fit has already called This Is The Kit an essential fixture of British folk music for the past 10 years one of a handful of truly innovate songwriters working with the British folk template today. In America, however, the band is just building up to their breakout moment. Bruce Warren, program director at influential American AAA station WXPN has praised Stables' "warm and gorgeous voice" and we expect similar notices to come across on this new LP. From Kate's earliest year growing up in the UK town of Winchester, she learned that great art takes time. In some ways the place I grew up is defined by being a Roman Saxon medieval cathedral city, she explains. They started building the Winchester Cathedral a thousand years ago and they've been working on it ever since. It's an exciting moment to join This Is The Kit's continuing musical evolution into a synesthetic, shape-shifting entity-rooted in folk but encompassing elements of psychedelia, alternative rock, and electronic textures and sensibilities.1. Misunderstanding
2. Silver John
3. Spores All Settling
4. Magic Spell
5. Bashed Out
6. All In Cahoots
9. We Are In
10. Cold and Got Colder$18.99Vinyl LP - Sealed Buy Now
First Pressing Of 750 Numbered Copies On 180 Gram Chocolate Brown Vinyl, Black Vinyl Thereafter
First Time On Vinyl
Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The movie was adapted from the novel written by Joan Harris, and is about a woman and her daughter opening a chocolate shop - with Sunday hours - across the street from the local church in a small French village.
The music is composed by Rachel Portman and the soundtrack also includes Minor Swing from Django Reinhardt/StÉphane Grappelli and the 1936 jazz standard Caravan from Duke Ellington and Juan Tizol.
Rachel Portman has written over 100 music scores for film, television and theatre. She was also the first female composer to win an Academy Award in the category of Best Musical or Comedy Score for Emma in 1996 and in 2015 she received the Primetime Emmy Award for Outstanding Music Composition for the HBO TV series Bessie.1. Minor Swing (Django Reinhardt/StÉphane Grappelli)
2. Chocolat: Main Titles
3. The Story Of Grandmere
4. Vianne Sets Up Shop
5. Three Women
6. Vianne Confronts The Comte
7. Other Possibilities
8. Guillaume's Confession
9. Passage Of Time
10. Boycott Immorality
11. Party Preparations
12. Chocolate Sauce
14. Vianne Gazes At The River
15. Mayan Bowl Breaks
16. Taste Of Chocolate
17. Ashes To The Wind / Roux Returns
18. Caravan (Duke Ellington/Juan Tizol)$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Full CircleLegacy Recordings will release FULL CIRCLE, the first new studio album in over ten years from American music icon Loretta Lynn. Produced by Patsy Lynn Russell and John Carter Cash, and recorded at the Cash Cabin Studio in Hendersonville, Tennessee, FULL CIRCLE takes listeners on a journey through Loretta's musical story, from the Appalachian folk songs and gospel music she learned as a child, to new interpretations of her classic hits and country standards, to songs newly-written for the project.
Drawing inspiration from personal memories and deep connections to American music, Lynn's 13 new recordings capture the essence of these songs in intimate new performances. FULL CIRCLE is Loretta's first album of new recordings since Van Lear Rose, her 2004 collaboration with Jack White, which took home a pair of Grammys including Best Country Album of the Year. It is also volume one of the Cash Cabin Recordings, a series of new album projects imagined and created at the Cash Cabin Studio in Hendersonville, Tennessee.
Highlights from FULL CIRCLE include "Lay Me Down," a duet with Willie Nelson; "Everything It Takes," featuring guest vocals from Elvis Costello; "Whispering Sea," a new version of the first song Loretta ever wrote; and soulful new renditions of some of Lynn's classic tunes, including rousing renditions of "Everybody Wants to Go to Heaven" and "Fist City." The album also includes traditional Appalachian songs from Loretta's childhood such as "Black Jack David" and "I Never Will Marry." At 83 years old, Lynn's voice sounds as powerful as ever, and this new material only adds to her legend as a performer.
Lynn struggled to balance family and her music career and is still going strong over 50 years later. Loretta Lynn has long been established as the undisputed Queen of Country Music, with more than 50 years of recording and touring to her name. A self-taught guitarist and songwriter, Lynn was one of the most distinctive performers in Nashville in the 1960s and 1970s. She shook up Nashville by writing her own songs, many of which tackled boundary-pushing topics drawn from her own life experiences as a wife and mother. "Coal Miner's Daughter," "Fist City" and "Don't Come Home A' Drinkin' (With Lovin' on Your Mind)" are just three of 16 country No. 1 singles.
Lynn is also one of the most awarded musicians of all time. She has been inducted into more music Halls of Fame than any female recording artist, including The Country Music Hall of Fame and the Songwriters Hall of Fame, and was the first woman to be named the Country Music Association's Entertainer of the Year in 1972. Lynn received Kennedy Center Honors in 2003 and a Presidential Medal of Freedom in 2013. She has won four Grammy Awards (including a Grammy Lifetime Achievement Award in 2010) and sold more than 45 million records worldwide.1. Whispering Sea Introduction
2. Whispering Sea
3. Secret Love
4. Who's Gonna Miss Me?
5. Black Jack David
6. Everybody Wants To Go To Heaven
7. Always On My Mind
8. Wine Into Water
9. In the Pines
10. Band of Gold
11. First City
12. I Never Will Marry
13. Everything It Takes
14. Lay Me Down$23.99Vinyl LP - Sealed Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now
WomanchildWhen CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.
"She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."
Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.
In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."
On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.
The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.
McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.
However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.
In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.
"I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."
On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.1. St. Louis Gal
2. I Didn't Know What Time It Was
5. Prelude/There's A Lull In My Life
6. You Bring Out The Savage In Me
7. Baby Have Pity On Me
8. John Henry
9. Jitterbug Waltz
10. What A Little Moonlight Can Do
11. Deep Dark Blue$35.99Vinyl LP - Sealed Buy Now
Like A RoseAshley Monroe, a member of the critically acclaimed trio Pistol Annies, presents her first Warner Nashville solo album, Like A Rose. Most folks, as soon as they hear Ashley Monroe, instantly recognize one thing: she's the real deal. Her songs resonate so profoundly because they reflect the experiences of an artist who, although she is just 26, has already seen both the best and worst that life has to offer.
Like a Rose has been a long time coming. Monroe has been creating music for more than half of her life-attracting along the way kudos from such music world giants as Dolly Parton, Guy Clark, Vince Gill and Jack White. Her new, full-length album release serves both to fill in the back-story and impart to us who she is today. At times her songs are dead serious, at others utterly hilarious, but always Monroe is an original with a compelling story to share.
Monroe spent her childhood in Knoxville, Tennessee, where she immersed herself in all varieties of music ranging from country-she's not-too-distantly related to members of the legendary Carter Family-to rock, pop, rap and even opera. When she was 11, Monroe won a talent contest singing "I Want To Be a Cowboy's Sweetheart" and two years later her father gave Ashley her first guitar. She developed a passion for writing songs, discovering that she could easily communicate her thoughts and sentiments through a six-string and her dynamic, exceptional voice.
One of the most rewarding artistic adventures for Ashley to date has been the Pistol Annies, a trio she co-formed in 2011 with her friend Miranda Lambert, whose chart-topping hit "Heart Like Mine" Ashley co-penned, and newcomer Angaleena Presley. Pistol Annies have provided Monroe with yet another outlet for her music. Their album, Hell on Heels, garnered rave reviews. The All Music Guide called the trio "a remarkably democratic supergroup" while veteran music critic Robert Christgau gave the album an A grade, citing its "expertly executed tunes."
Despite her list of previous accomplishments, everything she's done so far feels like it's been pointing the way toward Like a Rose. With songs that run the gamut from feel-good to controversial to contemplative, the album, produced by country music titan Vince Gill, offers the full range of Ashley Monroe's songwriting and performing skills. To maintain the honesty of Ashley's songs, Gill and the singer chose to record the album the way most of the greatest albums ever were made: sans gimmickry. "We just got the band in a circle and started playing the songs," Ashley says, "and once we felt like we had a feel for it, I'd do my vocal live-I never went back in to do a second vocal. Everyone put everything we had into the songs. There was a buzz in the room. We all had fun-it felt like a big old family, the way records used to be made."
Some of the songs were newly written for the album; others date back several years and felt right to revisit. The semi-autobiographical title track, one of the uncontestable highlights of the set, was co-written about six years ago with another totem of the American song-crafting community, Texan legend Guy Clark.
One song that is bound to raise some eyebrows refers to the same favored flower of the title tune, but in a much different sense: "Weed Instead of Roses" tells of a woman's desire to get a gift she actually desires from her beau, not just something that smells good.
"You Got Me" was co-written by Monroe and Karen Fairchild. Says Ashley, "It's about an addiction to something-one thing or another, whether you're stuck in a bad relationship or alcohol or whatever it is-and you try to hide it and fight it but you're kind of saying, 'Alright, you got me.'
On a more light-hearted note is "Monroe Suede," based on "a slick character that tries to get away all the time." Another is the self-explanatory "You Ain't Dolly (And You Ain't Porter)," a duet featuring Lambert's husband, CMA Entertainer of the Year Blake Shelton. "Morning After" confronts that uneasy feeling that often follows a too-good time and "She's Driving Me Out Of Your Mind," written with Jon Randall Stewart, comes straight from one of Ashley's many journals. "Two Weeks Late" was suggested by singer-songwriter Shane McAnally, who co-wrote it with Monroe. "He came in and said, 'I heard this phrase at the ATM: I'm a dollar short and two weeks late.' That was another one that just fell out. I grabbed the guitar and we started writing it up.
"Used," another standout, is an update of a song that appeared on Monroe's Satisfied album. "It came to me when I was about 17 and my manager at the time had just bought me this old 1950s Gibson guitar," she says. It came into my mind that things are worth more used, and I thought about my mom, who had lost my dad when she was 38. I was thinking, she had two kids, she's been through a lot, and, bless her heart, it's all gonna be worth it. Vince and I worked up this new version, which made it fresh for me."
And fresh it all is. Like a Rose avoids the trappings of too much contemporary music by sticking to the basics: memorable songs, incredible musicians, a superb voice, all of it captured honestly and without frills. As the saying goes, sometimes we need to stop and smell the roses. Take a whiff of Like a Rose and you'll find it smells pretty darn sweet.1. Like A Rose
2. Two Weeks Late
4. Weed Instead of Roses
5. You Got Me
6. The Morning After
7. Monroe Suede
8. She's Driving Me Out Of Your Mind
9. You Ain't Dolly (And You Ain't Porter) ft. Blake Shelton$15.99Vinyl LP - Sealed Buy Now
World Spirituality Classics 1: The Ecstatic Music of Turiya Alice ColtraneAlice Coltrane remains a singular figure on the fringe of American music but her appeal is growing. While Coltrane's music is gaining wider acceptance there is an entire era of her recorded output that remains obscure, almost as if by design.
Her four self-published, devotional albums of the eighties and nineties were recorded during a period in which she had withdrawn from secular life. They were manufactured and distributed in limited quantities amongst her spiritual community. Operating outside of the constraints of the commercial recording industry Coltrane was free of external pressures whether monetary or deadline. She recorded this music totally on her own terms. The resulting compositions synthesized her spiritual and musical outlook into a highly original work that is unique unto herself.
Available commercially for the first time. Remastered, bucket loads of notes, available in all formats but 8-track. A loving tribute to an amazing woman. 2xLP comes with two booklets of liner notes.LP 1
1. Om Rama
2. Om Shanti
3. Rama Rama
4. Rama Guru
5. Hari Narayan
1. Journey To Satchidananda
2. Er Ra
3. Keshava Murahara
4. Krishna Japaye (vinyl only)
5. Ram Katha (alternate version, solo demo, unreleased, vinyl only)$28.99Vinyl LP - 2 LPs Sealed Buy Now
A Permeable LifeSinger-songwriter Carrie Newcomer is releasing her twelfth
studio recording this spring, A Permeable Life, produced and
engineered by Paul Mahern (John Mellencamp, Over the
Rhine, Willy Nelson, Lily & Madeleine). Newcomer is simultaneously
releasing a companion book, A Permeable Life: Poems and
Essays. Newcomer has attracted a devoted following with
her warm voice, exquisite melodies, and an irreverent yet
spiritual view of the world. As in the work of poets Mary
Oliver and Wendell Berry, Newcomer's songs are based in
the ordinary, and infused with images from the natural world.
"A Permeable Life is about what presses out from the heart,
what comes in at a slant and what shimmers below the
surface of things," Newcomer says. "To live permeably is to
be open-hearted and audacious, to risk showing up as our
truest self, and embracing a willingness to be astonished."
On this album, Newcomer's signature deep voice-which the Austin American-Statesman called "as rich
as Godiva chocolate"-takes on a quiet conversational tone, close and intimate. Open and elegant arrangements
showcase lyrics that balance introspection and interior monologue with love and fascination for the shared
human story. The concept of this album was creating a musical framework as intimate and elegant as the songs
themselves. Each individual part have clarity and beauty, tting perfectly together like the gears of a ne clock,
and yet uid and never ridged or contained but remaining open and seemingly effortless. Newcomer states, "We
wanted this album to be very intimate. We wanted the listener to feel very close as if in conversation with me.
The vocals on this album were sung as if I were sitting at the kitchen table with the listener."
In "Every Little Bit of It," Newcomer delights in the small experiences that give our life meaning, and the
importance of embracing these moments while we can "drain the glass drink it down, every moment of this,
every little bit of it." In "A Light in the Window," she reects on the feeling of seeing a light in the window at a
distance. We don't know what the next threshold will bring, and yet there is always a whisper, a light in the
distance giving us hope and encouragement. In "Writing You a Letter," Newcomer describes the process of
traveling with an open heart, and how it will inevitably change us: "Every place I go leaves it's own tattoo." But
she also knows that we make impressions when we leave: "That's how it is laying stone on stone, building little
altars by the side of the road." "The Ten O'clock Line" and "Abide" (co-written with author Parker J. Palmer),
explore themes of loss and new thresholds, musing on the possibility that what may look like a hole in one's
life, may be only a space. In "Visitation," Newcomer describes the experience of how memories do not arrive in
a linear fashion, but wash over us throughout the day. In the haunting "Thank You Good Night" she describes
the evolution of a prayer of gratitude. "A Room at the Table" is an anthem for a new diverse world where she
writes "This is how it all begins, let us sing the new world in," calling us to allow this troubled world to
transform us and move us to action. In "An Empty Chair" she explores one woman's story in the wake of
unexpected gun violence. And "Forever Ray" and "Don't Put Me On Hold" reect Newcomer's mischievous
humor.1. Every Little Bit of It
2. The Ten O'clock Line Featuring Lily & Madeleine
3. Writing You a Letter
4. A Light in the Window
5. The Work of Our Hands
7. Room at the Table
8. Thank You Good Night
9. Forever Ray
10. An Empty Chair
12. Please Don't Put Me on Hold$18.99Vinyl LP - Sealed Buy Now
Is That All There Is?Peggy Lee was 49 years old when Capitol Records released Is That All There Is? in 1969. It was her 42nd album, and it had been over 10 years since the singer born Norma Deloris Egstrom, in 1920, had last graced the US Top 40 with her presence; her sultry take on Little Willie John's 'Fever' scaled the upper echelons of the American hit parade in 1958.
But Lee, a country girl with Scandinavian ancestry who hailed from the plains of North Dakota, had more in the tank. The haunting and idiosyncratic 'Is That All There Is?' (inspired by a short story called Disillusionment from German writer Thomas Mann) captured the public imagination when it was released as a single in the States and started climbing the pop charts, where it peaked at No.11. Such was the song's impact that it won Lee a Grammy Award in the category of Best Contemporary Female Vocal Performance in 1970. Its success was a surprise to Capitol, who thought the song was too odd and esoteric to be a hit.
The song opens Lee's album of the same name and, even today, remains a profoundly potent piece of music. It has the ability to simultaneously provoke conflicting emotions, eliciting both laughter and pathos. Combining a spoken narrative with a plaintive refrain sung over a jaunty rhythm, it evokes the Berlin cabaret scene of the 1920s and the spirit of German composer Kurt Weill. The song was penned and produced by noted hitmakers Jerry Leiber and Mike Stoller, and it's unlike anything else they wrote: a philosophical rumination that questions the meaning of things.
Arranged and conducted by a young Randy Newman, 'Is That All There Is?' is beautifully delivered by Lee in plangent tones, mixing a droll, ironic humour with a poignant reflection on the absurdity and, indeed, disappointments of life. Despite the song's somber mood and theme of disillusionment, the chorus is gloriously carefree: "Let's keep dancing/Let's break out the booze and have a ball," Lee sings, and she sounds like she means it. (Understandably, the song - which was originally written for, and turned down by, Marlene Dietrich - has inspired many covers over the years, including notable versions by Tony Bennett and PJ Harvey with John Parish.)
Though it was the undoubted cornerstone of Lee's 1969 album, there was much more to enjoy besides the title song. Another Leiber and Stoller composition, 'Whistle For Happiness', is stylistically similar to 'Is That All There Is?' while their 'I'm A Woman' is a swaggering, sassy blues that was first cut by Lee on her 1963 album of the same name and was a minor US chart hit at the time.
Peggy Lee Is Love Story Single Label - 300Elsewhere, Lee deconstructs the Al Jolson-associated 'Me And My Shadow' and imbues it with a languorous sensuality, while the Nancy and Frank Sinatra duet 'Something Stupid' is reconfigured into a breezy bossa nova. Another highlight is her take on Randy Newman's 'Love Story (You And Me)', the opening cut on the singer-songwriter's 1968 debut album for Reprise, which is arranged and conducted by the composer himself. Newman's 'Johnny (Linda)' is also included and has an arrangement that recalls the vaudevillian quirkiness of the album's title track.
Lee also embraced the rock music zeitgeist by tackling The Beatles' George Harrison-penned 'Something' and Neil Diamond's gospel-flavoured 'Brother Love's Travelling Salvation Show', though she does them in her own inimitable way.
Is That All There Is? dared to be different and showed that, though Peggy Lee was often typecast as a stereotypical jazz chanteuse, she was a much more versatile performer than had hitherto been revealed. Though its title song is an ode to coping with disappointment, that particular emotion is the last thing that you feel when listening to this classic album, which is a life-affirming delight from beginning to end.1. Is That All There Is?
2. Love Story
3. Me And My Shadow
4. My Old Flame
5. I'm A Woman
6. Brother Love's Travelling Salvation Show
8. Whistle For Happiness
9. Johnny (Linda)
10. Don't Smoke In Bed$24.99Vinyl LP - Sealed Buy Now