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As Time Goes By

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  • As Time Goes By: The Very Best Of Little Feat As Time Goes By: The Very Best Of Little Feat Quick View

    $19.99
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    As Time Goes By: The Very Best Of Little Feat

    As Time Goes By: The Very Best of Little Feat is an extraordinary collection that contains almost every essential Little Feat song from their 70s heyday with Lowell George, plus the two hits (Let It Roll, Hate to Lose Your Lovin') from their late-80s comeback. Most of the band's albums are worth hearing, but this is a great introduction for the curious and -- since it features Dixie Chicken, Willin', Two Trains, Fat Man in the Bathtub, Sailin' Shoes, Oh Atlanta and All That You Dream in one place -- it's a great summation of the group's achievements, and George's songwriting talent in particular.


    -Stephen Thomas Erlewine (allmusic.com)

    1. Dixie Chicken
    2. Willin'
    3. Rock 'N' Roll Doctor

    4. Trouble

    5. Sailin' Shoes

    6. Spanish Moon

    7. Feats Don't Fail Me Now

    8. All That You Dream

    9. Long Distance Love
    10. Mercenary Territory

    11. Old Folks Boogie
    12. 20 Million Things
    Little Feat
    $19.99
    Vinyl LP - Sealed Buy Now
  • There Goes Rhymin' Simon There Goes Rhymin' Simon Quick View

    $24.99
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    There Goes Rhymin' Simon

    Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On Love Me Like a Rock and Tenderness (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on Take Me to the Mardi Gras, Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of Love Me Like a Rock to the Dixieland of Mardi Gras. Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: American Tune was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of the age's most uncertain hour, otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby (St. Judy's Comet) and a declaration of maternal love (Loves Me Like a Rock) -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986.

    - William Ruhlmann (All Music Guide)

    1. Kodachrome (Album Version)
    2. Tenderness
    3. Take Me to the Mardi Gras
    4. Something So Right
    5. One Man's Ceiling Is Another Man's Floor
    6. American Tune
    7. Was a Sunny Day
    8. Learn How to Fall
    9. St. Judy's Comet
    10. Loves Me Like a Rock
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Freddy King Goes Surfin' Freddy King Goes Surfin' Quick View

    $24.99
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    Freddy King Goes Surfin'

    Pressed on 180 Gram Vinyl at Record Technology, Inc. (RTI) and Sourced From the Original King/Federal Analog Tapes


    Syd Nathan, impresario of Cincinnati's King Records, was the epitome of the old-school indie record label owner. Always hustling, Nathan regularly beat the odds to release hit after hit in multiple genres. He'd try anything if he thought it might work, or more precisely, if he thought it would make money. After issuing the hit album Let's Hide Away and Dance Away with Freddy King, Syd sensed untapped potential in the LP. Inspired by the West Coast surf scene, he conjured a little marketing magic...GET A NEW COVER WITH SOME SURF KIDS! THROW SOME CROWD NOISE OVER TRACKS SO IT SOUNDS "LIVE"! CALL IT...ERR...FREDDY KING GOES SURFIN'! PRESS IT AND HAVE IT ON THE SHELVES BY NEXT WEEK!!!!!!!


    While it may not have happened EXACTLY like that, King Records did release the album containing the very same songs (in precisely the same running order) as Let's Hide Away...with crowd noise dubbed over the music. And it WORKED! Fellow Lone Star blues maven Billy F. Gibbons later picked it as one of his Top Ten Favorite Blues Albums of All Time. Sundazed is proud to present Freddy King Goes Surfin' in magnificent mono fidelity. Cowabunga!

    1. Hide Away
    2. Butterscotch
    3. Sen-Sa-Shun
    4. Side Tracked
    5. The Stumble
    6. Wash Out
    7. San-Ho-Zay
    8. Just Pickin'
    9. Heads Up
    10. In The Open
    11. Out Front
    12. Swooshy
    Freddy King
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • By The Time It Gets Dark (Pure Pleasure) By The Time It Gets Dark (Pure Pleasure) Quick View

    $34.99
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    By The Time It Gets Dark (Pure Pleasure)

    Hi Folks,

    Hard to believe it's been 30 years since the release of "By The Time It Gets Dark" in 1987. There's been a lot of water under the bridge since then and how time flies when you're busy and having a good time! As it's always been one of my favorite albums I felt that it deserved to be revisited to celebrate its 30th anniversary. With that in mind, we sent the old 24 track tapes to be baked (a process to preserve them) allowing us to do a complete remix and remaster the album. We enlisted the services of my great friend and sound engineer Billy Robinson to do the job and I'm delighted with the outcome - it sounds great, even if I say so myself! We added a few bits where needed and I'm happy to see it being released on vinyl again.

    It's been a nice journey revisiting that time and remembering the sights and sounds of life back then.

    As we listened closely to some of the tracks, the beautiful voice of Mandy Murphy came through and I felt so sad that she passed away, so young, last year. I wish to dedicate this release to her memory.

    Mary Black - January 2017

    Musicians:

    • Mary Black (vocal)
    • Pat Crowley (synthesizer, piano, accordian, vocal)
    • Declan Sinnott (synthesizer, guitar, vocal)
    • Carl Geraghty (soprano saxophone)
    • Garvan Gallagher (bass)
    • Noel Bridgeman (congo, percussion)

    About Pure Pleasure

    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.

    1. By The Time It Gets Dark

    2. Schooldays Over

    3. Once In A Very Blue Moon

    4. Farewell Farewell

    5. Sparks Might Fly

    6. Katie

    7. Leaving The Land

    8. There Is A Time

    9. Jamie
    10. Leaboys Lassie

    11. Trying To Get The Balance Right
    12. Moon River
    Mary Black
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lost Time Lost Time Quick View

    $17.99
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    Lost Time

    It's been 12 years since the initial release of what would be the very last album by the late Minneapolis based
    12 Rods.


    Aptly titled, Lost Time, this last epic perfectly defines and captures how great this band was and how
    truly ahead of their time its members were. Not only that but for its city, a city fueled on such great
    music, both 12 Rods and this record have gone down as one of Minneapolis' finest.


    When musicians that I know gather, sit and talk about the greats, Ryan Olcott always comes up. It's
    very hard to try and calculate how deep Olcott's genius goes, when at the time, it felt as if the music
    12 Rods was making was in fact from the future. There is the 'Pop' music that is defined by paid-toplay
    radio, and the corporate avenues of selling music as a product instead of a
    natural commodity. But then there is the 'Pop' music that seems handed down, majestically, true,
    whole and unifying. There's little music and even fewer complete albums that live up to such 'Pop'
    majesty. Lost Time is one.


    At the time of its release, 12 Rods was in its final form, which included Ryan Olcott and his brilliant
    brother/engineer/producer Ev Olcott, sought after bassist Bill Shaw, and one of the best living
    drummers in the world today, Dave King. Lost Time was 12 Rods fifth studio album but their first
    after being dropped from the deathly heights of mainstream music's claws.


    The band was signed by V2 records in the late '90s and were poised to be the next big 'Rock'
    band. And so when you think back to 2002, the year Lost Time was released, or even two years prior
    when 12 Rods released its fourth studio album, the Todd Rungren-produced, V2-
    botched Separation Anxieties, you must consider the landscape of 'Rock' music. Like, the popular
    bands that were on MTV. Lit was one of those hugely popular rock bands that wrote catchy
    songs about putting hearts in zip-lock bags and had a logo identical to Miller Lite with just the e
    taken off. Though, regardless of aesthetic choices, this goes to show the disparity between what 12
    Rods actually was and what the industry wanted them to be. It's not that they openly defied their
    calling. No, it's just that the music was simply too advanced to be contained in the industries 'Rock
    'n Roll' zip-lock.


    Lost Time is one of my most listened to albums of all time. It's one of the only records I know of that
    is so full of hooks, yet never feels recycled or fake; it's just so fucking enjoyable from stem to
    stern. And now with its first ever vinyl pressing, I hope that this album can be as much a companion
    to you as it has for me. Solo listen, party listen, how can it be both? It just is.


    With this reissue, it means that Lost Time won't be lost at all - that great things always make their way
    through, even if it takes a decade.


    - Justin Vernon

    1. Universal Time
    2. Fake Magic 8-Ball
    3. Twenty Four Hours Ago
    4. One Thing Does Not Belong
    5. Boy In The Woods
    6. Summertime Vertigo
    7. Accidents Waiting To Happen
    8. Terrible Hands
    9. The Time Is Right (To Be Wrong)
    10. Lost/Found
    11. Telephone Holiday
    12 Rods
    $17.99
    Vinyl LP - Sealed Buy Now
  • Part Time Love Part Time Love Quick View

    $17.99
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    x

    Part Time Love

    There were so many competent records coming out of Memphis that any burgeoning greatness can only be detected by a careful listening. Ann Peebles deserves that kind of extra care.
    Her style is so subtle and economical that the fi ner qualities of her talents might be passed
    over as being merely competent. This would be a crime because little Ann has so very much
    to offer.


    Ann stresses the melody (rather than rhythm for its own sake). This is not to say she can't
    sing funky; she can and does very effectively. It just means Ann shines extra brightly on the
    slower bluesy numbers. For example "Give Me Some Credit" is such a moving lament, filtering faint traces of early Smokey Robinson and the album's two most tender cuts, "I Still Love
    You" and "Steal Away" are the places where Ann Peebles makes such a great impression.
    These are the kinds of song that become "personal" classics.


    Ann sings seven up-tempo numbers on which she illustrates her tight, full-bodied voice and
    shows why she's presently way up on R & B charts all over the country. Her renditions of "It's
    Your Thing," "Part Time Love," and "Make Me Yours" are unfettered delights.


    Ann Peebles goes past the apparent and into the sublime. She stands beyond the predictably
    competent. And you know that's where it's at.

    1. Part Time Love
    2. I'll Get Along
    3. I Still Love You
    4. Make Me Yours
    5. It's Your Thing
    6. Generation Gap Between Us
    7. Crazy About You Baby
    8. Give Me Some Credit
    9. Steal Away
    10. Solid Foundation
    Ann Peebles
    $17.99
    Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
    Buy Now
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    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    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.



    1. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Right Time (Pure Pleasure) The Right Time (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Right Time (Pure Pleasure)

    I first heard Etta James as a young teenager when she had a hit with Tell Mama, a tune that has easily stood the test of time. She recorded this album a quarter-century later and sounded even better.

    For The Right Time she returns to the Muscle Shoals studio where she recorded Tell Mama, this time with producer Jerry Wexler, and it's an outstanding match. She hits nary a forced or false note and is backed with a stellar band that includes saxophonist Hank Crawford, guitarist Steve Cropper and bassist Willie Weeks. They plow ahead like a great offensive line blocking for an all-star running back -- one who isn't afraid to lower the shoulder and knock somebody over.

    There's plenty of manufactured emotion on records, but you won't find any of it here. Etta just rocks naturally. It's like sitting next to a seasoned story teller in full command of the narrative. Nothing for you to do but sit back, close your eyes and listen.

    A sign of great singers for me is how they put a stamp on songs that have been done many times. In that regard, Etta makes Love and Happiness and Ninety And A Half Won't Do her own. She tears up The Night Time Is the Right Time with the help of Crawford's sax. Of course she has the blues well covered, my personal favorite being Down Home Blues, and flashes her humorous side with the trash-talking Wet Match. She hits any note she wants without straining and with total conviction.

    But all the songs are top-notch. The best advice for anyone reading this is to just pick up the album and discover the old-school glory of Etta James. - Tyler Smith

    Musicians:

    • Etta James (vocal)
    • Lucky Peterson (organ, guitar)
    • Steve Cropper, Doug Bartenfeld (guitar)
    • Hank Crawford (alto saxophone)
    • Jim Horn (bassoon)
    • Gary Armstrong (trumpet)
    • Kirk 'Jelly Roll' Johnson (harmonica)
    • Clayton Ivey (piano)
    • Frank Crawford (synthesizer)
    • David Hood(bass)
    • Steve Ferrone, Roger Hawkins (drums)

    About Pure Pleasure

    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.


    1. I Sing The Blues
    2. Love And Happiness
    3. Evening Of Love
    4. Wet Match
    5. You're Taking Up Another Man's Place
    6. Give It Up (Duet With Steve Winwood)
    7. Let It Rock
    8. Ninety Nine And A Half (Won't Do)
    9. You've Got Me
    10. Nighttime Is The Right Time
    11. Down Home Blues
    Etta James
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Right Place Wrong Time (Pure Pleasure) Right Place Wrong Time (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Right Place Wrong Time (Pure Pleasure)

    This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had »no charisma«. This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of Rainy Night in Georgia by Tony Joe White.


    Musicians:



    • Otis Rush (vocal, guitar)

    • Doug Killmer, John Kahn (bass)

    • Hart McNee (alto saxophone)

    • John Wilmeth (trumpet)

    • Ron Stallings (tenor saxophone)

    • Fred Burton (guitar)

    • Mark Naftalin (piano)

    • Ira Kamin (organ)

    • Bob Jones (drums)




    Recording: February 1971 at Wally Heider's Studio, San Francisco

    Production: Nick Gravenites and Otis Rush



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. Tore Up
    2. Right Place, Wrong Time
    3. Easy Go
    4. Three Times A Fool
    5. Rainy Night In Georgia
    6. Natural Ball
    7. I Wonder Why
    8. Your Turn To Cry
    9. Lonely Man
    10. Take A Look Behind
    Otis Rush
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ceres & Calypso In The Deep Time (Awaiting Repress) Ceres & Calypso In The Deep Time (Awaiting Repress) Quick View

    $16.99
    Buy Now
    x

    Ceres & Calypso In The Deep Time (Awaiting Repress)

    On their fourth full-length album - third for Twosyllable - Ceres & Calypso In The Deep Time, Fort Collins creative collective Candy Claws delve deep into new territory. The subject for the concept of this album goes beyond place and time and takes the listener on a Journey Through the Mesozoic Era. The album is divided into three parts highlighting major periods of the extinct reptiles' history, Triassic, Jurassic and Cretaceous. Experience it in one sitting and the story will unfold before you like a theatrical play, grandiose at times and playful at others.


    The songs span wildly diverse genres from sprawling cinematic overtures to Spaghetti Western sing-a-longs, tumultuous Tangos to classic Canterbury Scene psychedelia which somehow all feel so singularly Candy Claws. Certainly in part due to what we've come to expect... Beneath the sometimes-hazy shoegazed pastiche is a foundation of clever, catchy and expert songwriting.


    As usual, relying heavily on collaboration, co-bandleaders Ryan Hover, Kay Bertholf--and relative newcomer--Karen McCormick relied on the poems of Chicagoan Jen Morea for each of the song's lyrics. The titles of each track start with the poem title and are followed by the title of the piece of music scored to it. In addition, New York City composer Bryan Senti provided an orchestral accompaniment for every other song on the record comprised entirely of samples from Philip Glass' sample library.


    Whether you love the incredible attention to detail of Candy Claws' inventive conceptual art, or you just love the music, Ceres & The Calypso In The Deep Time is an impressive accomplishment to be relished.

    1. Into The Deep Time (One Sun)
    2. White Seal (Shell & Spine)
    3. Fell In Love (At the Water)
    4. Pangaea Girls (Magic Feeling)
    5. New Forest (Five Heads of the Sun)
    6. Transitional Bird (Clever Girl)
    7. Charade (Fern Prairie)
    8. Fallen Tree Bridge (Brave Rainbow Rider)
    9. Birth Of The Flower (Seagreen)
    10. Illusion (Fern Lake)
    11. Night Ela (Mystic Thing)
    12. Where I Found You (One Star)
    Candy Claws
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Jazz Age (Awaiting Repress) The Jazz Age (Awaiting Repress) Quick View

    $24.99
    Buy Now
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    The Jazz Age (Awaiting Repress)

    If there was ever a musical icon and a decade destined to come together it is Bryan Ferry and the Roaring Twenties. The artist as creative powerhouse with a dazzling career of endless surprise, delight and innovation, and the decade - a time of modernity, decadence and bright young things - all driven on by the thrill of it all.


    So what better way to celebrate and mark the 40th year anniversary of Ferry's incredible career as a singer and songwriter, than by rearranging his own compositions and have them performed in a 1920's style by his very own Jazz Orchestra? It began as an idea, fueled by Ferry's fascination of that time between the wars known as The Jazz Age. He decided the songs were to be all completely instrumental reinterpretations. A lot of the music I listen to nowadays is instrumental, he explains and I wanted to let my songs have a different life, a life without words.


    He put together his very own jazz orchestra comprised of many of the great British jazz players from his past tribute to the 1930's, the album As Time Goes By - including his long-term musical director Colin Good, with whom Ferry worked closely on these new arrangements. The 13 songs have been chosen from 11 albums, from his very first release Roxy Music (1972) to his recent solo record Olympia (2010)

    1. Do The Strand
    2. Love Is The Drug
    3. Don't Stop The Dance
    4. Just Like You
    5. Avalon
    6. The Bogus Man
    7. Slave To Love
    8. This Is Tomorrow
    9. The Only Face
    10. I Thought
    11. Reason Or Rhyme
    12. Virginia Plain
    13. This Island Earth
    The Bryan Ferry Orchestra
    $24.99
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  • The Ivory Hunters The Ivory Hunters Quick View

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    The Ivory Hunters

    Import


    When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener Honeysuckle Rose gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. The Way You Look Tonight is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of It Could Happen to You and I Got Rhythm, jam-packed with fun plus risk-taking. There's a different give and take during The Man I Love, and they turn the lamp down low on a delicate version of As Time Goes By as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.

    -All Music Guide

    1. Honeysuckle Rose
    2. As Time Goes By
    3. The Way You Look Tonight
    4. It Could Happen to You
    5. The Man I Love
    6. I Got Rhythm
    Bill Evans
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Triplicate Triplicate Quick View

    $49.99
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    Triplicate

    Triplicate, is the new three-disc studio album from Bob Dylan. The collection features 30 brand-new recordings of classic American tunes and marking the first triple-length set of the artist's illustrious career. With each disc individually titled and presented in a thematically-arranged 10-song sequence, Triplicate showcases Dylan's unique and much-lauded talents as a vocalist, arranger and bandleader on 30 compositions by some of music's most lauded and influential songwriters. The Jack Frost-produced album is the 38th studio set from Bob Dylan and marks the first new music from the artist since Fallen Angels, which was released in early 2016.


    For Triplicate, Dylan assembled his touring band in Hollywood's Capitol studios to record hand-chosen songs from an array of American songwriters such as Charles Strouse and Lee Adams (Once Upon A Time), Harold Arlen and Ted Koehler (Stormy Weather), Harold Hupfield (As Time Goes By) and Cy Coleman and Carolyn Leigh (The Best Is Yet To Come). The titles of the individual discs are 'Til The Sun Goes Down, Devil Dolls and Comin' Home Late. According to Bob Dylan, I am finding these great songs to be a tremendous source of inspiration that has led me to one of my most satisfying periods in the studio. I've hit upon new ways to uncover and interpret these songs that are right in line with the best recordings of my own songs, and my band and I really seemed to hit our stride on every level with Triplicate.


    Dylan's two previous album of classic American songs, 2016's Fallen Angels and 2015's Shadows in the Night, were both worldwide hits and garnered Grammy Award nominations in the category of Best Traditional Pop Vocal Album. Both albums received worldwide critical acclaim, with Randy Lewis writing of Fallen Angels in The Los Angeles Times, [Dylan] immediately liberates songs from the big band/big orchestra world from which they emerged, and in which they are most frequently revisited . [He] reaches to the blues at the core of many of these songs. Thus, they elicit the ache of romantic yearning and loss that often gets subsumed by swelling orchestral forces, background choirs or by singers who are more focused on crafting elegant vocals than finding emotional resonance. The Telegraph's Neil McCormick awarded Shadows in the Night five out of five stars and described the work as spooky, bittersweet, mesmerizingly moving [with] the best singing from Dylan in 25 years. Jon Pareles wrote of that album in the New York Times, Mr. Dylan presents yet another changed voice a subdued, sustained tone .Shadows in the Night maintains its singular mood: lovesick, haunted, suspended between an inconsolable present and all the regrets of the past.


    Bob Dylan has sold more than 125 million records around the world.

    LP 1: 'Til The Sun Goes Down
    1. I Guess I'll Have to Change My Plans
    2. September Of My Years
    3. I Could Have Told You
    4. Once Upon A Time
    5. Stormy Weather
    6. This Nearly Was Mine
    7. That Old Feeling
    8. It Gets Lonely Early
    9. My One and Only Love
    10. Trade Winds


    LP 2: Devil Dolls
    1. Braggin'
    2. As Time Goes By
    3. Imagination
    4. How Deep Is The Ocean
    5. P. S. I Love You
    6. The Best Is Yet To Come
    7. But Beautiful
    8. Here's That Rainy Day
    9. Where Is The One
    10. There's A Flaw In My Flue


    LP 3: Comin' Home Late
    1. Day In, Day Out
    2. I Couldn't Sleep A Wink Last Night
    3. Sentimental Journey
    4. Somewhere Along The Way
    5. When The World Was Young
    6. These Foolish Things
    7. You Go To My Head
    8. Stardust
    9. It's Funny To Everyone But Me
    10. Why Was I Born

    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • IV IV Quick View

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    IV

    LETTER CONCERNING THE RECORD 'IV' AND A POST SCRIPT TO FANS


    A lot can happen in twelve years. It is beyond probable (if not brutally unavoidable) that such a period of time could render a man nearly unrecognizable to his older self. I would not categorize the young man who made three records under the pen name 'Darling' (incidentally, me) as unrecognizable, but I can say perhaps that we are vaguely disassociated. Those 3 albums, written between 1999 and 2005 and recorded anywhere except a recording studio (the bulk being tracked in my bedroom and parents' garage) follow the exceedingly lonesome course of a kid barely out of high school through a shaky introduction to manhood. They were recorded alone (with cheap microphones) composed alone (with expensive sentimentality), defined by loving befuddlement, and darkened by an all-consuming breakup. I look at them now with an appreciation for where I was, with no small measure of gratitude that I am no longer there. What has not changed however, is that there are still songs that come along which make sense in my mind as fitting only on a 'Darling' record. Truthfully, in the decade-plus that has passed since I last released a solo piece, there have been many songs of this nature. Consequently I have written, designed, edited, and put this record out many times in my mind. Inevitably, however, life would change and the conceptual direction would change with it. It is changing now as I write this. But after twelve birthdays, twelve New Year's Eve's, and twelve winters, I have a portrait I am compelled to commit to the canon of self-portraits.


    I am no longer the kid with all that worry, that blaring hurt and rum-fueled uncertainty. I am somewhere else now. But I still sit in my bedroom, quietly following songs where they take me, using them to process what is happening in my life. I have often declared to myself, that I would not leave the 'Darling' moniker forever tied to what I now regard as a time of young (albeit sincere) melancholy. And while this fourth installment is by no means an offering of pure and bright optimism, it is a statement less heavy with heartache, and hopefully a bit more even-keeled in its manner - whatever the emotional narrative. More importantly, it is a honest glimpse into my story alone and a faithful rendition of what I believe to be a notable chapter.


    For those interested in the Darling project:


    To say that activity of one form or another relating to my solo work is infrequent would be a bit of an understatement. In truth, as time goes, I am thankfully occupied primarily by the joys of my family and the pleasure of making music with my brother and some of my dearest friends. When, however, there are endeavors of the Darling variety on the horizon, I would be honored to let anyone interested know about it. If you count yourself among this set, please feel free to share your email address below. I can say, as someone who religiously declines giving my email out when a cashier asks for it, and as someone who somehow spends more time unsubscribing from email lists than answering emails, I will ONLY pass the word along when there is a word to pass meaning something significant like an upcoming album or confirmed performance(s). Once again, I realize that giving any part of your contact information out is a significant action, and I believe it should be seen as such. In other words, I won't be arranging for emails to go out about anything but relevant 'Darling' news. As always, thank you for your time and care.


    Sincerely,


    Timothy Seth Avett

    1. Disappointing You
    2. Should We Move
    3. Samuel And The Baler
    4. Songbird
    5. Weakness And A Strength
    6. Faith Undefined
    7. Your World
    8. Are You Thinking Of Me
    9. In These Boots
    10. My True Story/A Life To Live
    11. Waiting For Something To Die
    Timothy Seth Avett As Darling
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues & Roots Blues & Roots Quick View

    $27.99
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    Blues & Roots

    Import


    The 1998 reissue of BLUES & ROOTS contains all the original tracks and liner notes, plus additional tracks and rare photos. Personnel: Charles Mingus (bass); Jackie McLean, John Handy (alto saxophone); Booker Ervin (tenor saxophone); Pepper Adams (baritone saxophone); Jimmy Knepper, Willie Dennis (trombone); Horace Parlan, Mal Waldron (piano); Dannie Richmond (drums). Recorded at Atlantic Studios, New York, New York on February 4, 1959. Originally released on Atlantic (1305). Includes liner notes by Charles Mingus. All tracks have been digitally remastered.Mingus goes to church. A thrilling album of blues and spirituals Mingus style. This 1959 Atlantic recording certainly ranks among his very best. Memorable performances of some of the bassist's most soulful tunes such as Wednesday Night Prayer Meeting and E's Flat Ah's Flat Too. Mingus is joined by an exuberant ensemble including a stellar saxophone section of Jackie McLean, John Handy, Booker Ervin, and Pepper Adams.

    1. Wednesday Night Prayer Meeting
    2. Cryin' Blues
    3. Moanin'
    4. Tensions
    5. My Jelly Roll Soul
    6. E's Flat Ah's Flat Too
    7. We Got Blue*


    * Bonus Track

    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Only Life (Awaiting Repress) Only Life (Awaiting Repress) Quick View

    $18.99
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    Only Life (Awaiting Repress)

    Originally released in 1988, Only Life is the third album by the Feelies and their first with major label support. The album includes classic originals like "Deep Fascination" and "The Undertow". A cover of the Velvet Underground's "What Goes On" made Lou Reed take notice at the time. Choosing them as an opening act, sometimes performing with them for encores. Liner notes by Rick Moody (The Ice Storm, Garden State).
    1. It's Only Life
    2. Too Much
    3. Deep Fascination
    4. Higher Ground
    5. The Undertow
    6. For Awhile
    7. The Final Word
    8. Too Far Gone
    9. Away
    10. What Goes On
    The Feelies
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Headbangers In Ecstasy Headbangers In Ecstasy Quick View

    $13.99
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    Headbangers In Ecstasy

    Last year, we here at Mexican Summer came under the spell of the starry Kaplan sisters: Piper and Skylar, and their band Pearl Harbor, who graced the land with their beautific Something About the Chapparrals EP. Funny how time flies for the beyond their year siblings, as it's suddenly 2011 and Pearl Harbor now goes by the name of Puro Instinct. Now Piper and Sky find themselves bolstered by four other bandmates: Cody Porter, Jessie Clavin, Mike Baum, and Crazy Murray to make their hazy, swirling pop even more realized and sumptuous.
    1.Kdod 1
    2.Everybody's Sick
    3.Lost At Sea
    4.Kdod 2
    5.Silky Eyes
    6.Slivers of You
    7.Kdod 3
    8.Stilyagi
    9.Escape Forever
    10.Kdod 4
    11.No Mames
    12.Vapor Girls
    13.Kdod 5
    14.California Shakedown
    15.Luv Goon
    Puro Instinct
    $13.99
    Vinyl LP - Sealed Buy Now
  • Live At A Flamingo Hotel Live At A Flamingo Hotel Quick View

    $21.99
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    Live At A Flamingo Hotel

    Dr. Dog releases the first ever bottling of the band's effervescent live shows, Live at
    a Flamingo Hotel out via Anti-. Culled from the band's 2014 North
    American tour, the songs here cover all of Dr. Dog's seven studio albums, ranging
    over a decade of material. Says bassist/vocalist Toby Leaman, "We're one thing on a
    record and a different thing live. We've always built our fans through the live show.
    Somebody goes to a Dr. Dog show and hopefully comes again and brings somebody
    with them. We see it build in a town by coming back several times. Our live show is
    vital to how we view ourselves as a band." The collection serves essentially as a Dr.
    Dog greatest hits, with a running time nearly equal to a live set. From hits like "Shadow People" and "Lonesome" to live staples like
    "County Line," "The Rabbit, the Bat and the Reindeer," and "Ain't It Strange," this is
    Dr. Dog as god intended.
    1. These Days
    2. That Old Black Hole
    3. Heart It Races
    4. How Long Must I Wait
    5. The Beach
    6. The Truth
    7. Too Weak To Ramble
    8. Say Ahhh
    9. Jackie Wants A Black Eye
    10. Stranger
    11. Heavy Light
    12. Worst Trip
    13. Ain't It Strange
    14. Shame, Shame
    15. County Line
    16. Shadow People
    17. Broken Heart
    18. The Rabbit, The Bat & The Reindeer
    19. Lonesome
    Dr. Dog
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Songs From Stamford Hill Songs From Stamford Hill Quick View

    $16.99
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    Songs From Stamford Hill

    Springsteen, Dylan and Americana fans will find nothing unauthentic about James Maddock's brand of singer-songwriter music from Leicester, England which goes by the brand name, Wood. The verse to the opener Stay You, is Boss-ified, while Whole Lot To Think About is a country-Neil Young moment (Maddock must've heard Only Love Can Break Your Heart a time or two).


    With his influences on the sleeve of his peasant shirt, Maddock's dreamy, gentle songs sound familiar-it's impossible not to imagine his musings as outtakes from the Jackson Browne/Eagles songbooks. And that's the problem: Wood's best songs (Straight Line has a Fleetwood Mac/Landslide-feel; Knock on the Head could be an inverted Going to California ) sound like retreads of others'-and those are only the first four! Ultimately, Maddock will have to invent something he can claim as his own, but for now he's picked a primo crop to emulate.


    -Denise Sullivan (All Music Guide)

    1. Stay You

    2. Straight Lines
    3. Whole Lot To Think About
    4. Knock It On The Head

    5. I Only Came For You

    6. Let Me Fall

    7. You Said The Words

    8. Could I Be (Radio Edit)

    9. Our Time Has Come

    10. You Make Me Feel Bad

    11. Man On Fire

    12. Never Ending

    13. Ending
    Wood
    $16.99
    Vinyl LP - Sealed Buy Now
  • Boy (Discontinued) Boy (Discontinued) Quick View

    $11.99
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    Boy (Discontinued)

    Its enough to make you stop and say, What is that? It being the gorgeous melodies and lean, spellbound guitar lines of Colin Caulfield, an English/French lit major whos about to change what it means to be a shapeshifting singer-songwriter in the YouTube age.



    Just ask Bradford Cox. He knows. Why, just a year ago, the Deerhunter frontman stumbled upon Colin Caulfields organ-grinding rendition of Rainwater Cassette Exchange and said its fantastically superior to the original. It actually sent shivers up my spine, especially during the second verse.



    Believe it or not, that chilling cover was just a warmup session. As killer as he is at capturing the very essence of everything from Animal Collective to Ariel Pink, Caulfieds true talent is in telling his own Young Man stories. The first chapter of which goes by the name Boy, a deceivingly-simple suite of songs about wanting to grow up without having the slightest idea of what being a man actually means.



    Now thats a reason to hit rewind, from the tone-setting tenderness and psych-infused harmonies of Five to the restless rhythms (Caulfield was a drummer well before he became a singer/guitarist) and room-engulfing intimacy of Up So Fast. Both of which feature some of the most hopeful/haunting choruses youll hear all year.



    And thats just the beginning, of course. Since Young Man was conceived as a concept project about the passing of time, love, and loss, Caulfield already has two loosely-linked LPs on tap, a faceless collection of fragile characters that could be any one of us, really.



    A lot of its autobiographical, explains Caulfield, but its universal at the same time, because everyone goes through these things.



    Listen closely. Itll all make sense soon enough. Trust us.

    1. Five
    2. Hands
    3. Home Alone
    4. Bedtime
    5. Playtime
    6. Just a Growin'
    7. Up So Fast
    Young Man
    $11.99
    Vinyl LP - Sealed Buy Now
  • Share The Joy Share The Joy Quick View

    $19.99
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    Share The Joy

    On their third album (and Polyvinyl debut) Share the Joy, Brooklyns Vivian Girls continue to sharpen and refine their transcendent mix of garage thrash, girl-group warmth and infectious pop hooksmanship.


    The ten-song Share the Joy finds the threesome of guitarist/vocalist Cassie Ramone, bassist/vocalist Kickball Katy and new drummer Fiona Campbell, continuing to evolve and expand, building on the D.I.Y. achievements of their 2008 debut, Vivian Girls, and its 2009 follow-up, Everything Goes Wrong, while delivering their most memorable songs and most focused performances yet.


    Share the Joy's musical and emotional depth is reflected on The Other Girls and Light In Your Eyes, each of which clocks in at over six minutes. The former tune manages to encompass hammering hardcore, Beach Boys-esque melodic bliss, Neil Young/Nirvana-inflected guitar frenzy and ethereal harmonic drone, while the latter closes the album on a triumphant note of surging sonic uplift. Elsewhere, Dance If You Wanna and Take it As It Comes rank with the band's most intoxicating pop confections, while Lake House and Vanishing of Time maintain a thoughtful, introspective tone that may come as a surprise to those who'd had Vivian Girls pegged as a lo-fi garage outfit.


    Vivian Girls recorded Share the Joy at Rear House, the home studio run by Jarvis Taveniere (of the Brooklyn combo Woods), who engineered the album.

    1. The Other Girls

    2. I Heard You Say
    3. Dance (If You Wanna)
    4. Lake House
    5. Trying to Pretend
    6. Sixteen Ways
    7. Take It As It Comes
    8. Vanishing of Time
    9. Death
    10. Light In Your Eyes

    Vivian Girls
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sleepwalker Sleepwalker Quick View

    $32.99
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    Sleepwalker

    Pressed On 180 Gram Black & White Swirl Vinyl


    Mastered Impeccably By Joe Reagoso At Friday Music & Capitol Studios, Hollywood, CA With Ron McMaster


    Manufactured At R.T.I.


    First Time Gatefold & Poster Presentation


    Includes 12 x 12 Poster


    In 1977, the superstar Kinks embarked on an incredible musical journey which surely was developing into the most successful era of their four-decade career. Thanks in part to their first Arista Records smash album Sleepwalker, Ray Davies, Dave Davies, Mick Avory and John Dalton expanded their early 70's sound into a unique brand of album oriented rock and storytelling like no other legacy band at the time.


    With nine solid new rockers like the autobiographical Life On The Road and smash singles like Juke Box Music and the stellar title track Sleepwalker, the entire LP seemed like a greatest hits album at the time due to the way rock radio was so receptive to this tremendous new masterwork from The Kinks.


    Filled with even more favorites like Mr. Big Man, Sleepless Night and Life Goes On, the Rock Hall Of Famers' The Kinks truly delivered one of the most important albums of the classic rock era with the brilliant Sleepwalker.


    Therefore it is with much pleasure to continue our lengthy reissue program with another fine installment in The Kinks/ Friday Music 180 Gram Audiophile Vinyl Series with their 1977 groundbreaking hit LP Sleepwalker. And what a better way to celebrate your holidays this year with this exclusive Friday Music release on limited edition Black & White Swirl Vinyl.


    Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood, CA, the amazing release is also manufactured at R.T.I.


    To further enhance your Kinks musical enjoyment, we are also presenting this stellar album in a first time gatefold cover, as well as including a 12 x 12 front cover LP poster insert.


    So, please join Friday Music in welcoming back The Kinks and their legendary Sleepwalker LP.

    1. Life On The Road
    2. Mr. Big Man
    3. Sleepwalker
    4. Brother
    5. Juke Box Music
    6. Sleepless Night
    7. Stormy Sky
    8. Full Moon
    9. Life Goes On
    The Kinks
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Neighb'rhood Childr'n Neighb'rhood Childr'n Quick View

    $24.99
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    Neighb'rhood Childr'n

    When Dyan Hoffman, Rick Bolz, Ron Raschdorf and W.A. Farrens drove 350 miles through the mighty redwood groves down to San Francisco to cut their first album at Leo de Gar Kulka's Golden State Recorders, they couldn't have picked a better time. It was the summer of 1967, now known as the Summer Of Love, and San Francisco was inundated with young people from all over the world, spurred on by a blossoming rock scene that included Jefferson Airplane, Big Brother and the Holding Co. and the Grateful Dead. And yet, none of those legends in the making ever cut an album as hard to find these days, extremely rare and collectible, as this LP by the Neighb'rhood Childr'n.


    Not only is their record hideously hard to find, it's amazingly groovy coming from four kids from a rural background. Dyan's voice has the earnest zeal of a young Grace Slick, and the complex arrangements run the table from acid-soaked tripsichord to fiery anthems meant to spur on a new generation of street-fighting men as well as lonely navigators of the mind. Not surprisingly, Dyan reveals that some of this amazing material was inspired by seeing Quicksilver Messenger Service for the first time. They were always my favorite group, she says. It just goes to show what you can soak up and give back to the world if your heart is in the right place.

    1. Up Down Turn Around World

    2. Long Years In Space
    3. Feeling Zero
    4. Over The Rainbow
    5. Changes Brought To Me
    6. Please Leave Me Alone
    7. Chocolate Angel
    8. Happy Child
    9. Patterns
    10. Happy World Of Captain K
    11. She's Got No Identification
    12. Hobbit's Dream

    Neighb'rhood Childr'n
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mexican Hotbox (Discontinued) Mexican Hotbox (Discontinued) Quick View

    $17.99
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    Mexican Hotbox (Discontinued)

    Listening to Danuel Tates Mexican Hotbox is like opening the door on a complex time machine of musical genres and eras. Transporting us between 1930s swing and jazz, Latino inspired guitar and 20th century electronic, Mexican Hotbox is a true experimental fusion, and it has Tates pianist fingerprints all over it.


    As Cobblestone Jazzs keyboardist, and with two solo EPs on Wagon Repair under his belt, Tate has finally blessed us with a full album under his own name. An eleven-track showcase of the qualities that set Danuel apart from the rest, Mexican Hotbox goes about showing us hes far more than just a keyboardist. His forward thinking take on modern jazz music, his signature vocoder and synth driven grooves are prominently stemmed throughout this entire album exposing different atmospheres and emotions from within each track.


    Danuels musical background is massively evident in his sound. Fascinated by anything that pushes the boundaries of classic Jazz music, Danuel uses Rhodes, organs and traditional keys to make his driving rhythms. A collective of electronic DJs and producers who Danuel collaborates with constantly provides him with inspiration for his talents and output, which stand successfully in the middle of classic and modern, taking us on a journey through his progression as a musician


    A rich and strong album, Mexican Hotbox proves that Danuel Tate is far from just Cobblestone Jazzs keyboardist. Hes a composer, a powerful solo producer and a master of morphing various styles and eras.

    1. Mexican Hotbox
    2. Big Spender
    3. If I Want To
    4. Populatio
    5. California Can Can
    6. Shootingblanks
    7. City Kids
    8. Cinnamon Sugar
    9. I'll Be Your Whatever
    Danuel Tate
    $17.99
    Vinyl LP - 2 LPs Sealed Buy Now
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