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Beatles Let It Be

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  • Let It Be Let It Be Quick View

    $22.99
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    Let It Be

    Ranked 86/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Pressed on 180 gram Vinyl



    Sourced from original master tapes


    Cut at the legendary Abbey Road Studios!


    Let It Be is the last album to be recorded and released by The Beatles. The band had broken up before the album was released and it was initially met with mixed feelings. Many tried to blame Phil Spectors involvement, but the accompanying film showed the band members friction as a leading cause to the albums incoherence. Despite friction and the groups break up, the album earned the top spot on both the American and British record charts and many still consider it a classic.


    A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.

    1. Two of Us
    2. Dig a Pony
    3. Across the Universe
    4. I Me Mine
    5. Dig It
    6. Let It Be
    7. Maggie Mae
    8. I've Got a Feeling
    9. One After 909
    10. The Long and Winding Road
    11. For You Blue
    12. Get Back
    The Beatles
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Is That All There Is? Is That All There Is? Quick View

    $24.99
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    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
    7. Something
    8. Whistle For Happiness
    9. Johnny (Linda)
    10. Don't Smoke In Bed
    Peggy Lee
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Beatles 1967-1970 The Beatles 1967-1970 Quick View

    $35.99
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    The Beatles 1967-1970


    All Analogue Master From The Original Master Tapes


    Picking up where 1962-1966 left off, the double-album compilation 1967-1970, commonly called The Blue Album, covers the Beatles' later records, from Sgt. Pepper's through Let It Be. Like The Red Album, The Blue Album was released in the wake of a pair of widely advertised quadruple-LP bootlegs, Alpha Omega, Vols. 1-2: The Story of the Beatles, which had appeared early in 1973. And like its companion volume, this set contains a mixture of hits, including singles like Lady Madonna, Hey Jude, and Revolution -- which had originally appeared only as 45s -- plus important album tracks like Lucy in the Sky with Diamonds, A Day in the Life, While My Guitar Gently Weeps, and Come Together, as well as orphaned tracks such as the single versions of Let It Be and Get Back, which had never been on any LP before. The first two sides of the original double-LP edition carry listeners through the highlights of the psychedelic era, starting with Strawberry Fields Forever and Penny Lane and up through Magical Mystery Tour, before returning to rock & roll territory on Lady Madonna, Hey Jude, and Revolution. The second LP skims three of the more popular tracks off of the sprawling White Album (aka The Beatles) and moves into the late singles (The Ballad of John and Yoko, Old Brown Shoe, Let It Be), plus single and album highlights from Abbey Road and Let It Be. As a prÉcis of the group's final 36 months, it's all mightily impressive, even if 1967-1970 misses several great songs. But like its predecessor, this set does capture the essence (if not the full range) of the Beatles' later recordings.


    - Bruce Eder (All Music Guide)

    LP 1
    1. Strawberry Fields Forever
    2. Penny Lane
    3. Sgt. Pepper's Lonely Hearts Club Band

    4. With A Little Help From My Friends
    5. Lucy In The Sky With Diamonds
    6. A Day In The Life
    7. All You Need Is Love
    8. I Am The Walrus
    9. Hello Goodbye
    10. The Fool On The Hill

    11. Magical Mystery Tour
    12. Lady Madonna
    13. Hey Jude
    14. Revolution


    LP 2
    1. Back In The U.S.S.R.
    2. While My Guitar Gently Weeps
    3. Ob-La-Di, Ob-La-Da
    4. Get Back
    5. Don't Let Me Down

    6. The Ballad Of John & Yoko

    7. Old Brown Shoe
    8. Here Comes The Sun

    9. Come Together
    10. Something
    11. Octopus's Garden
    12. Let It Be
    13. Across The Universe
    14. The Long And Winding Road

    The Beatles
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Won't Let You Down Won't Let You Down Quick View

    $17.99
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    Won't Let You Down

    In the 12 years she has toured the world as a member of the soul-pop sensation Lake Street Dive, Bridget Kearney has fine-tuned many things -- voracious collaborating, acclaimed bass playing, and harmonizing to name a few. But the skill she has honed most obsessively is songwriting. While still a student at The New England Conservatory of Music, Kearney won the grand prize in the John Lennon Songwriting Contest, a harbinger of things to come. Now, Kearney steps into the spotlight with her first solo effort, a wry, bighearted pop album entitled Won't Let You Down. The record, like its title, promises not to disappoint. Shades of The Beatles, Wilco, Fleetwood Mac and even Nick Cave can be detected, as the album swerves from '60s pop to modern indie-rock.
    1. Won't Let You Down
    2. What Happened Today
    3. Serenity
    4. Wash Up
    5. Who Are We Kidding
    6. Living in a Cave
    7. Love Doctor
    8. Nothing Does It
    9. Daniel
    10. So Long
    Bridget Kearney
    $17.99
    Vinyl LP - Sealed Buy Now
  • Poems, Prayers & Promises Poems, Prayers & Promises Quick View

    $31.99
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    Poems, Prayers & Promises


    Limited Edition 180 Gram RCA Orange Colored Vinyl


    Remastered From The Original Tapes


    Poems, Prayers & Promises is arguably the album that put John Denver on the map. Featuring Denver's first worldwide hit and signature song, "Take Me Home, Country Roads" the album includes the enduring classics "Sunshine On My Shoulders," I Guess He'd Rather Be In Colorado and the title track Poems, Prayers and Promises. This 1971 Platinum-certified release features a total of 6 self-penned tracks along with covers such as The Beatles' "Let It Be and James Taylor's Fire and Rain. Limited edition RCA Orange colored, 180 Gram vinyl.

    1. Poems, Prayers and Promises
    2. Let It Be
    3. My Sweet Lady
    4. Wooden Indian
    5. Junk
    6. Gospel Changes
    7. Take Me Home, Country Roads
    8. I Guess He'd Rather Be In Colorado
    9. Sunshine On My Shoulders
    10. Around And Around
    11. Fire and Rain
    12. The Box
    John Denver
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pyramid Pyramid Quick View

    $36.99
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    Pyramid

    Import

    The British progressive rock band Alan Parsons Project was active between 1975 and 1990. The Project consisted of Eric Woolfson and Alan Parsons surrounded by a varying number of session musicians.


    Englishman Alan Parsons met Scotsman Eric Woolfson in the canteen of Abbey Road Studios in the summer of 1974.


    Parsons had already acted as assistant engineer on The Beatles' 'Abbey Road' and 'Let It Be' and had recently engineered Pink Floyd's 'The Dark Side of the Moon'.


    Woolfson, a songwriter and composer, was working as a session pianist.


    'Pyramid' is the third album by The Alan Parsons Project and was originally released in 1978. The album contains numerous references to the Egyptian pyramids, hence the name.

    1. Voyager (2:25)
    2. What Goes Up... (3:31)
    3. The Eagle Will Rise Again (4:20)
    4. One More River (4:18)
    5. Can't Take It With You (5:07)


    1. In The Lap Of The Gods (5:29)
    2. Pyramania (2:44)
    3. Hyper-Gamma-Spaces (4:17)
    4. Shadow Of A Lonely Man (5:39)

    Alan Parsons Project
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Patches (Pure Pleasure) Patches (Pure Pleasure) Quick View

    $34.99
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    Patches (Pure Pleasure)

    Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though It's All in Your Mind was also a hit later in the year, and I Can't Leave Your Love Alone and Your Love Lifted Me could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song Let It Be, taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on Till I Can't Take It Anymore, on which Carter starts to sound a bit like Elvis Presley, while on It's All in Your Mind he seems to invoke the ghost of Sam Cooke. On his own C.C. Blues, Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring Getting the Bills (But No Merchandise).



    Musicians:



    • Clarence Carter (vocals, guitar)

    • Ronnie Eades (bassoon)

    • Aaron Varnell, Harvey Thompson (tenor saxophone)

    • Jack Peck (trumpet)

    • Albert Lowe Jr. (guitar)
    • Clayton Ivey (keyboard)

    • Bob Wray (bass)

    • Cornell McFadden (drums)

    • Charles Chalmers, Donna Rhodes (vocal)



    Recording: Sonny Limbo & Rick Hall

    Production: Rick Hall



    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. Willie And Laura Mae Jones
    2. Say Man
    3. I'm Just A Prisoner (Of Your Good Lovin')
    4. Let It Be
    5. I Can't Leave You Love Alone
    6. Your Love Lifted Me
    7. Till I Can't Take Anymore
    8. Patches
    9. It's All In Your Mind
    10. Changes
    11. C. C. Blues
    12. Getting The Bills (But No Merchandise)
    Clarence Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sgt. Peppers Lonely Hearts Club Band (Anniversary Super Deluxe Edition) (Compact Disc) Sgt. Peppers Lonely Hearts Club Band (Anniversary Super Deluxe Edition) (Compact Disc) Quick View

    $149.99
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    Sgt. Peppers Lonely Hearts Club Band (Anniversary Super Deluxe Edition) (Compact Disc)

    Please Note: This Box Set Does Not Contain Vinyl



    50th Anniversary Reissue


    'Sgt. Pepper' Presented with New Mixes in Stereo and 5.1 Surround Audio; Expanded with Previously Unreleased Session Recordings, Video Features & Special Packaging


    Previously Unreleased 1992 Documentary Film, 'The Making of Sgt. Pepper,' Restored for Anniversary Edition's Super Deluxe Boxed Set


    Ranked 1/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    It was 50 years ago this June 1st when The Beatles' John Lennon, Paul McCartney, George Harrison, and Ringo Starr astonished and delighted the world, ushering in the Summer of Love with Sgt. Pepper's Lonely Hearts Club Band, a groundbreaking masterwork that became popular music's most universally acclaimed album. To salute the occasion, The Beatles will release a lavishly presented 'Sgt. Pepper' Anniversary Super Deluxe Edition Box Set (4 CD/1 DVD/1 Blu-ray). The album is newly mixed by Giles Martin and Sam Okell in stereo and 5.1 surround audio and expanded with early takes from the studio sessions, including no fewer than 34 previously unreleased recordings.


    "It's crazy to think that 50 years later we are looking back on this project with such fondness and a little bit of amazement at how four guys, a great producer and his engineers could make such a lasting piece of art," says Paul McCartney in his newly-penned introduction for the 'Sgt. Pepper' Anniversary Edition.


    "'Sgt. Pepper' seemed to capture the mood of that year, and it also allowed a lot of other people to kick off from there and to really go for it," Ringo Starr recalls in the Anniversary Edition's book.


    The Beatles' "Strawberry Fields Forever" and "Penny Lane," were among the first songs recorded during the 'Sgt. Pepper' sessions, which began in November 1966. Rather than being held for inclusion on the album, the two songs were released as a double A-sided single in February 1967. Amidst intense media speculation about the band's next move, the single bridged what was then considered a long gap between the Revolver album, released in August 1966, and 'Sgt. Pepper,' which followed 10 months later.


    This is the first time Sgt. Pepper's Lonely Hearts Club Band has been remixed and presented with additional session recordings, and it is the first Beatles album to be remixed and expanded since the 2003 release of Let It Be Naked. To create the new stereo and 5.1 surround audio mixes for 'Sgt. Pepper,' producer Giles Martin and mix engineer Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All of the Anniversary Edition releases include Martin's new stereo mix of the album, which was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by his father, George Martin.


    Sgt. Pepper's Lonely Hearts Club Band Anniversary Super Deluxe Edition includes:


    • CD 1: New stereo album mix
    • CDs 2 & 3:

      - 33 additional recordings from the studio sessions, most previously unreleased and mixed for the first time from the four-track session tapes, sequenced in chronological order of their recording dates

      - A new stereo mix of "Penny Lane" and the 2015 stereo mix of "Strawberry Fields Forever"
    • CD 4:

      - Direct transfers of the album's original mono mix and the "Strawberry Fields Forever" and "Penny Lane" singles

      - Capitol Records' U.S. promotional mono single mix of "Penny Lane"

      - Previously unreleased early mono mixes of "She's Leaving Home," "A Day In The Life," and "Lucy In The Sky With Diamonds" (a mix thought to have been erased from a tape in 1967, but discovered during archive research for the anniversary edition)
    • Discs 5 & 6 (Blu-ray and DVD):

      - New 5.1 surround audio mixes of the album and "Penny Lane" by Giles Martin and Sam Okell, plus their 2015 5.1 surround mix of "Strawberry Fields Forever"

      - High resolution audio versions of the new stereo mixes of the album and "Penny Lane" and of the 2015 stereo mix of "Strawberry Fields Forever"

      - Video features: 4K restored original promotional films for "Strawberry Fields Forever," "Penny Lane," and "A Day In The Life;" plus The Making of Sgt. Pepper, a restored, previously unreleased documentary film (broadcast in 1992), featuring insightful interviews with McCartney, Harrison, and Starr, and in-studio footage introduced by George Martin.


    "A splendid time is guaranteed for all"


    The album's vibrant artwork, including its extravagant Pop Art cover which finds The Beatles surrounded by a crowd of heroes in a 3D collage, was created by Peter Blake and Jann Haworth in collaboration with the band. The original artwork is showcased across the suite of Anniversary Edition releases, including the album's pull-out sheet of 'Sgt. Pepper' cutouts. Housed in a 12-inch by 12-inch box with lenticular artwork and two bonus posters, the six-disc Super Deluxe set is presented with a 144-page hardcover book. The book includes new introductions by Paul McCartney and Giles Martin, and chapters covering comprehensive song-by-song details and recording information, the design of the cover, the album's musical innovations and its historical context by Beatles historian, author and radio producer Kevin Howlett; composer and musicologist Howard Goodall; music producer and writer Joe Boyd; and journalists Ed Vulliamy and Jeff Slate, illustrated with rare photographs, reproductions of handwritten lyrics, Abbey Road Studios documentation, and original 'Sgt. Pepper' print ads.


    - "We hope you will enjoy the show"


    Just as many ideas are sparked by chance, 'Sgt. Pepper' first sprang from a conversation between Paul and Beatles roadie Mal Evans on an airplane, when Mal's request to pass the salt and pepper was misheard by Paul as "Sgt. Pepper." The concept of who such a figure could be took root in Paul's mind, blooming with the imagination of The Beatles as an Edwardian era military band -- "Sgt. Pepper's Lonely Hearts Club Band." The Beatles' creative wellspring for 'Sgt. Pepper' also flowed from such myriad sources as The Beach Boys' Pet Sounds album, a Victorian circus poster ("Being For The Benefit Of Mr. Kite!"), a TV commercial for breakfast cereal ("Good Morning Good Morning"), a picture drawn by John's young son, Julian ("Lucy In The Sky With Diamonds"), a teen runaway reported in the news ("She's Leaving Home'), and Hindu teachings ("Within You Without You").


    "Lend me your ears and I'll sing you a song"


    Using the standard four-track tape recording equipment of the day, The Beatles collaborated with producer George Martin to achieve "the impossible," as they dubbed it, to go as far out as they could with arrangements and new technology to realize their collective vision for Sgt. Pepper's Lonely Hearts Club Band. As George Martin described it, "We were into another kind of art form where you were putting something down on tape that could only be done on tape." The Beatles clocked more than 400 hours in Abbey Road's Studio 2 to record the album, wrapping sessions in April 1967.


    "I read the news today oh boy"


    Upon its release on June 1, 1967, Sgt. Pepper's Lonely Hearts Club Band initially spent 148 weeks in the British chart, including a total of 27 weeks at number one. During its first U.S. chart run, the album held the number one spot for 15 of the 88 weeks it appeared in the Top 200. 'Sgt. Pepper' won four GRAMMY Awards®, including Album of the Year, and it remains one of the most influential and bestselling albums of all time. In 2003, the U.S. Library of Congress selected 'Sgt. Pepper' for the National Recording Registry, recognizing the album as "culturally, historically, or aesthetically significant." 'Sgt. Pepper' tops Rolling Stone magazine's definitive list of the "500 Greatest Albums of All Time."

    CD 1: 'Sgt. Pepper' 2017 Stereo Mix
    1. Sgt. Pepper's Lonely Hearts Club Band

    2. With A Little Help From My Friends
    3. Lucy In The Sky With Diamonds
    4. Getting Better
    5. Fixing A Hole

    6. She's Leaving Home

    7. Being For The Benefit Of Mr. Kite!
    8. Within You Without You

    9. When I'm Sixty-Four
    10. Lovely Rita
    11. Good Morning Good Morning

    12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)

    13. A Day In The Life


    CD 2: Complete early takes from the sessions, sequenced in chronological order of their first recording dates
    1. Strawberry Fields Forever [Take 1]
    2. Strawberry Fields Forever [Take 4]
    3. Strawberry Fields Forever [Take 7]
    4. Strawberry Fields Forever [Take 26]
    5. Strawberry Fields Forever [Stereo Mix - 2015]
    6. When I'm Sixty-Four [Take 2]
    7. Penny Lane [Take 6 - Instrumental]
    8. Penny Lane [Vocal Overdubs And Speech]
    9. Penny Lane [Stereo Mix - 2017]

    10. A Day In The Life [Take 1]
    11. A Day In The Life [Take 2]
    12. A Day In The Life [Orchestra Overdub]

    13. A Day In The Life (Hummed Last Chord) [Takes 8, 9, 10 and 11]

    14. A Day In The Life (The Last Chord)
    15. Sgt. Pepper's Lonely Hearts Club Band [Take 1 - Instrumental]

    16. Sgt. Pepper's Lonely Hearts Club Band [Take 9 And Speech]

    17. Good Morning Good Morning [Take 1 - Instrumental, Breakdown]

    18. Good Morning Good Morning [Take 8]


    CD 3: Complete early takes from the sessions, sequenced in chronological order of their first recording dates
    1. Fixing A Hole [Take 1]
    2. Fixing A Hole [Speech And Take 3]
    3. Being For The Benefit Of Mr. Kite! [Speech From Before Take 1; Take 4 And Speech At End]
    4. Being For The Benefit Of Mr. Kite! [Take 7]

    5. Lovely Rita [Speech And Take 9]
    6. Lucy In The Sky With Diamonds [Take 1 And Speech At The End]

    7. Lucy In The Sky With Diamonds [Speech, False Start And Take 5]

    8. Getting Better [Take 1 - Instrumental And Speech At The End]
    9. Getting Better [Take 12]
    10. Within You Without You [Take 1 - Indian Instruments Only]
    11. Within You Without You [George Coaching The Musicians]
    12. She's Leaving Home [Take 1 - Instrumental]
    13. She's Leaving Home [Take 6 - Instrumental]
    14. With A Little Help From My Friends [Take 1 - False Start And Take 2 - Instrumental]
    15. Sgt. Pepper's Lonely Hearts Club Band (Reprise) [Speech And Take 8]


    CD 4: 'Sgt. Pepper' and bonus tracks in Mono
    (Tracks 1-13: 2017 Direct Transfer of 'Sgt. Pepper' Original Mono Mix)
    14. Strawberry Fields Forever [Original Mono Mix]
    15. Penny Lane [Original Mono Mix]
    16. A Day In The Life [Unreleased First Mono Mix]
    17. Lucy In The Sky With Diamonds [Unreleased Mono Mix - No. 11]
    18. She's Leaving Home [Unreleased First Mono Mix]
    19. Penny Lane [Capitol Records U.S. Promo Single - Mono Mix]


    DISCS 5 & 6 (Blu-ray & DVD)
    Audio Features (both discs):
    - New 5.1 Surround Audio mixes of 'Sgt. Pepper' album and "Penny Lane," plus 2015 5.1 Surround mix of "Strawberry Fields Forever" (Blu-ray: DTS HD Master Audio 5.1, Dolby True HD 5.1 / DVD: DTS Dolby Digital 5.1)
    - High Resolution Audio versions of 2017 'Sgt. Pepper' stereo mix and 2017 "Penny Lane" stereo mix, plus 2015 "Strawberry Fields Forever" hi res stereo mix (Blu-ray: LPCM Stereo 96KHz/24bit / DVD: LPCM Stereo)
    Video Features (both discs):
    - The Making of Sgt. Pepper [restored 1992 documentary film, previously unreleased]
    - Promotional Films: "A Day In The Life;" "Strawberry Fields Forever;" "Penny Lane" [4K restored]

    The Beatles
    $149.99
    CD + DVD + Blu-ray Box Set - 4 CDs Sealed Buy Now
  • Volume One Volume One Quick View

    $17.99
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    Volume One

    She & Him is a story of musical serendipity: two artists, each renowned in their own creative fields, meet and recognize a certain shared nostalgia. The result is destined to be one of the musical highlights of the year.


    Zooey Deschanel and M. Ward first met to record a version of Richard and Linda Thompson's When I Get To The Border for a movie soundtrack. Immediately struck by one another's talents and finding an instant rapport Zooey let slip that she wrote her own songs which she recorded alone at home on her computer. Somewhat shy about anyone hearing these musical morsels she eventually sent the demos to Ward who was instantly impressed. They soon reconvened at his Portland studio to begin work.


    Embracing the warm sound of early analog recordings, Volume One is more than just a showcase for Zooey's rich and endearing voice; it's a distinctive and endlessly charming album. The songs themselves give a respectful nod to the likes of Dusty Springfield, Linda Ronstadt and The Zombies while Ward's production gives them just the right amount of golden era sheen. Whether Zooey's channeling Ronnie Spector as on I Was Made For You or joining Ward in turning The Beatles I Should Have Known Better into a seductive hula guitar duet, the results are always captivating.

    1. Sentimental Heart

    2. Why Do You Let Me Stay Here?

    3. This Is Not A Test

    4. Change Is Hard

    5. I Thought I Saw Your Face Today

    6. Take It Back

    7. I Was Made For You

    8. You Really Got a Hold On Me

    9. Black Hole

    10. Got Me

    11. I Should Have Known Better

    12. Sweet Darlin'

    She & Him
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Best Of Wilson Pickett Volume 2 The Best Of Wilson Pickett Volume 2 Quick View

    $31.99
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    The Best Of Wilson Pickett Volume 2


    The Anniversary Release Of His Second Stunning Greatest Hits Album


    Impeccably Mastered By Joe Reagoso At Friday Music Studios & Capitol Mastering


    First Time Audiophile Vinyl & Original LP Cover Presentation


    Wilson Pickett was truly one of the finest r&b and pop recording acts of all time. Forever associated with his sophisticated soul and rock vocal prowess, the legendary artist continues to garner both new and old fans alike with his amazing output of top charting hits and fine albums recorded over the years.


    After years of huge hit singles and amazing albums with Atlantic Records, the label awarded the superstar once again with a terrific greatest hits collection simply titled "The Best Of The Wilson Pickett Volume II." Featuring more of his later 60's and early 70's hits like the smash Gamble and Huff groover "Don't Let The Green Grass Fool You", the funk filled "Get Me Back On Time, Engine Number 9", and of course his powerful interpretation of The Beatles "Hey Jude, this Lp was worth its' weight in gold!


    The multi-platinum superstar continues this awesome collection with more classics like his soulful renditions of Steppenwolf's "Born To Be Wild", The Vanilla Fudge/ Supremes smash " You Keep Me Hangin' On" and The Archies pop classic "Sugar, Sugar", of which all became huge hit records for this sorely missed artist.


    Friday Music is no stranger to the music of the "Wicked" Wilson Pickett, that is why we are so very honored to announce our second installment in The Wilson Pickett/Friday Music 180 Gram Audiophile Vinyl Series with his masterpiece "The Best Of The Wilson Pickett Volume II."


    The long out of print original Atlantic Records classic is now mastered impeccably by Joe Reagoso (Earth, Wind & Fire/ The Spinners) and pressed for a very limited time on stellar 180 Gram Audiophile vinyl. This first time anniversary release will also be presented with the original rare Lp cover elements.


    Wilson Pickett .The Best Of The Wilson Pickett Volume II" ..Impeccable first time audiophile "funk" vinyl .From Your Friends at Friday Music!

    1. Don't Let The Green Grass Fool You
    2. Sugar Sugar
    3. Get Me Back On Time, Engine Number 9
    4. I'm A Midnight Mover
    5. A Man And A Half
    6. Born To Be Wild
    7. She's Lookin' Good
    8. I'm In Love
    9. Hey Joe
    10. Cole, Cooke & Redding
    11. Hey Jude
    12. You Keep Me Hangin' On
    13. I Found A True Love
    Wilson Pickett
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • On Stage - February 1970 On Stage - February 1970 Quick View

    $32.99
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    On Stage - February 1970

    The Elvis Presley - Friday Music 180 Gram Audiophile Vinyl Series Continues!!!


    Celebrating His Landmark Live Album - Over 10 Million Sold Worldwide


    The Wonder Of Elvis Recorded Live At The International Hotel In Las Vegas


    First Time 180 Gram Audiophile Vinyl - Black & Blue Swirl Vinyl


    First Time Gatefold Cover Art & First Time 24 x 24 Striking Poster Insert


    Mastered Impeccably By Joe Reagoso At Friday Music Studios & Capitol Mastering In Hollywood, CA


    Pressed At R.T.I.


    Features The Number One Single The Wonder Of You & More Smash Hits: Polk Salad Annie, Sweet Caroline, Runaway, Let It Be Me, Proud Mary


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly signed the legend to a long-term deal, forever etching "The King Of Rock And Roll" trademark to his name. He would eventually become the most successful solo artist of all time!


    Throughout the late 60's into the early 70's, Elvis returned triumphantly to the stage and would go on to perform his hits in front of tens of thousands of Elvis fans every year until his untimely passing in 1977. It's no secret that his shows in Las Vegas were second to none. The whole world wanted to get a glimpse of the genius superstar powerhouse performances and RCA was lucky to be rolling tape in and recorded his On Stage-February 1970 Lp during appearances at the International Hotel.


    Ever proving that he was always on top of his game, the amazing album featured his number one hit single The Wonder Of You as well as a treasure trove of his most important live renditions of Neil Diamond's Sweet Caroline, CCR's Proud Mary and the funk soul vibe of Tony Joe White's classic Polk Salad Annie.


    The blockbuster 1970 release soon went on to achieve gold and platinum status and become one of his most memorable live albums in his huge arsenal of masterful albums. Thanks to more great hits like his Release Me, his vocal prowess on the rocker See See Rider and of course the soul drenched Beatles classic Yesterday, these live performances of Elvis Presley were just what the fans were screaming for, and the entire album was built around the framework of hit singles at the time and album tracks that spanned his later career.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the first time limited 180 Gram Audiophile Vinyl release of the RCA Victor classic On Stage - February 1970 by Elvis Presley. As another installment in our exciting Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its stereophonic glory.


    Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured for a very limited time at R.T.I. on first time black and blue swirl vinyl, Elvis Presley's On Stage - February 1970 will be a much-anticipated audiophile dream release for Elvis fans everywhere!


    We are also including first-time gatefold artwork presentation including the original 1970 artwork elements and a super rare 24 x 24 poster, truly enhancing your Elvis Presley listening hours. As usual, we are also enclosing a poly bag to protect your album cover and poly sleeve to help keep your Elvis vinyl in mint shape.


    Elvis Presley's On Stage - February 1970 A history making rock album from an historic legend, an audiophile dream release from your friends at Friday Music.

    1. See See Rider
    2. Release Me (And Let Me Love Again)
    3. Sweet Caroline
    4. Runaway
    5. The Wonder Of You
    6. Polk Salad Annie
    7. Yesterday
    8. Proud Mary
    9. Walk A Mile In My Shoes
    10. Let It Be Me (Je T'Appartiens)
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Go Bo Diddley Go Bo Diddley Quick View

    $26.99
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    Go Bo Diddley


    The Bo Diddley/Friday Music 180 Gram Audiophile Series Begins!


    Bo Diddley's Masterwork Album!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Mono Tapes By Joe Reagoso


    Bo Diddley (Elias McDaniel) was truly an American original. There will never be another Bo Diddley nor anyone in the music
    industry who could influence generations upon generations of aspiring rock 'n rollers like Bo Diddley has and continues to this
    day, even years after his short time on earth.


    Celebrating six decades in the music business, this Mississippian native initially captivated millions of kids in the fifties
    with his first recordings like Bo Diddley and Say Man. He drove the rockers mad with his famous guitar riffs and boogie beat,
    filled with poetic lyrics and a thrilling presence on the stage.


    Bringing his original "Bo Diddley Beat" to Chess Records in early 1955, the Chicago based label and the pioneer rocker hit
    a goldmine immediately with his arsenal of tunes that he presented to Phil and Leonard Chess. A lot of these great songs became
    top charting singles which culminated in his masterwork album Go! Bo Diddley.


    Kicking things off with one of his finest smash hits Cracking Up, Bo roars through a treasure trove of 11 more champions
    which made this one of the most important and emulated albums of all time. The album features classic gems like his classics
    Dearest Darling, Say Man, Don't Let It Go and The Clock Struck Twelve. Noted for his stellar guitar work, pretty much introducing his Bo Diddley Beat riff to a whole new generation of guitar players, Go! Bo Diddley was truly a primer for a ton of rock and
    blues artists for years like Eric Burdon and The Animals, George Thorogood, Buddy Holly, The Rolling Stones, The Beatles and
    The Yardbirds.


    Bo Diddley opened the doors for millions of music fans around the world to enjoy rock and blues, making him along with
    Chuck Berry, Elvis Presley and Little Richard as one of the first pioneers of the popular recording business that we all enjoy to
    this day.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce our first installment in The Bo Diddley/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Go! Bo Diddley.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl
    from the Chess monophonic tapes, Bo Diddley's Go! Bo Diddley will truly become one of the most important and historical 180
    Gram Audiophile Vinyl titles in quite some time.


    To further celebrate this first time audiophile vinyl LP, we enhance this limited edition masterwork with a stunning gatefold
    cover featuring the original artwork elements as well as two classic rare inside gatefold photos of the man who helped start
    rock and roll.


    Bo Diddley Go! Bo Diddley Impeccable mono from the AUTHORIZED Chess Records tapes! Go Bo Diddley!

    1. Crackin' Up
    2. I'm Sorry
    3. Bo's Guitar
    4. Willie and Lillie
    5. You Don't Love Me (You Don't Care)
    6. Say Man
    7. The Great Grandfather
    8. Oh Yea
    9. Don't Let It Go
    10. Little Girl
    11. Dearest Darling
    12. The Clock Strikes Twelve
    Bo Diddley
    $26.99
    180 Gram Audiophile Virgin Vinyl LP Mono Buy Now
  • Spirit Electricity: Live Spirit Electricity: Live Quick View

    $15.99
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    Spirit Electricity: Live

    Seeing the legendary Bad Brains live is an incredible experience, and over four separate live albums, the band has never really been able to capture that experience perfectly on record...but Spirit Electricity comes close. Anchored by the bands best reggae song, The Youth Are Getting Restless, which clocks in at nearly eight minutes, the disc captures both sides of Bad Brains -- the punk legends and the lifelong reggae fans...with both sides heavily steeped in Rasta philosophy. A combined reggae cover of The Beatles' Day Tripper and the Rolling Stones' She's a Rainbow is the other gem here. The cover, a live favorite, is yet another example of how distinctive the Bad Brains sound...even if they're playing someone else's music. Guitarist Dr. Know really shines on the reggae songs, using his jazz-fusion background and unique style of rhythm playing to beautify what would otherwise be fairly harsh songs. The punk side of things is pretty righteous as well. The version of their standard Banned in D.C. found here is arguably the best recording the band has ever made, and the one-two punch of Return to Heaven and Let Me Help that kicks off the disc is incredible. Next time the band has a reunion tour (seems to happen every few years), check 'em out. If you can't do that, this is the next best thing. reggae-reviews.com
    1. Return to Heaven
    2. Let Me Help
    3. Day Tripper/ Shes a Rainbow
    4. Banned in DC
    5. Attitude
    6. Youth are Getting Restless
    Bad Brains
    $15.99
    10 Vinyl LP - Sealed Buy Now
  • Fences Fences Quick View

    $20.99
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    Fences

    New Album Produced By John Vanderslice (Spoon, The Mountain Goats, Samantha Crain)


    Mastered By Bernie Grundman (Michael Jackson's Thriller, Dr. Dre's The Chronic, Carole King's Tapestry)


    180-Gram Vinyl Pressed By Quality Record Pressing


    Vinyl Lacquers Were Cut Directly From Analog Tape


    Dear listener,


    Fences is something new for our band Bombadil. It is more than just an album; it is a new path, a reset after several challenging years. The path began in January 2015, when a longtime member of Bombadil unexpectedly left our band. Daniel Michalak and I sat down to discuss our next steps. It was a time for soul searching. A duo of a bassist and drummer did not feel like a band. Moving forward seemed daunting, but we both felt like there was more to say with the band. We wanted to make music. So we began simply by making some. Writing and recording the Still Bombadil EP was fun. A fast and dirty exploration of a creative idea, no room for fiddling, deadline looming. Our last album, Hold On, had not been like that. It had been an ordeal.


    Daniel suggested composing songs using guitar instrumentals our old bandmate Bryan Rahija had written, and of limiting ourselves to a small palette for the next album: guitar, piano, upright bass, harmony vocals. The goal was to make a folk record, something easy to understand, something beautiful. He shared a demo for "Binoculars" and I loved it. It was simple, elegant. We added it to the live set almost immediately. Daniel continued writing, focusing on guitar, harmony, and emotion. The songs inconveniently had no drums (what was I going to play?!). He instead wrote parts for me to sing and we began collaborating on composing tunes with a similar approach. "Fence" was written together at a friends house in Crozet, Virginia to kill time on tour. An old song of mine, "Long Life," was revived and extended. Percussion parts started to show up. Daniel's commitment to songwriting continued to inspire, a new demo was in my inbox almost weekly. Daniel enlisted the help of an old friend and data scientist, Nasir Bhanpuri, to analyze the success of our old catalog of songs and make suggestions to guide our writing and arranging. It was an experiment that pushed us to take the songs further than we might have in the past. In part, we were throwing ideas at the wall to see what would stick, but we were also searching for something new, actively trying to push ourselves to new creative heights.


    We kept the Bombadil ship moving by accepting all shows, searching for more opportunities to play. We found wonderful people to tour in our band. There were good shows. There were bad ones, too. I learned to be a lead singer on the fly and on stage (with the help of an encouraging septuagenarian opera singer). And we kept writing, practicing, and recording. In July 2015, Stacy Harden sent me an email inquiring if we needed a musician. In his audition, he played through songs like he had been in the band all along. He even knew the harmonies. He had grown up a fan of the band, singing along in the car. In October, Stacy and I drove our equipment across the country for a West Coast tour in a four-day sprint and listened to every song the Beatles recorded. His easy-going spirit was infectious, his presence made the band more fun and more inspiring. We had found our man. "What's So Great About You" was the first collaboration between this new trio, and we started to discover what a new version of our band sounded like.


    In January 2016, the three of us left North Carolina for Littleton, Massachusetts to spend several weeks at a friend's farmhouse. We recorded all day long, cooked together, spent our breaks around a roaring wood stove carefully tended to by Daniel. The resulting demo recordings gave us a roadmap to follow. Our label, Ramseur Records, suggested a producer, a departure after self-recording our last three records. John Vanderslice was given the demos and was enthusiastic about the material. He insisted that we listen closely to Paul Simon's first record. He told us the songs needed a sense of danger, that our demos felt like we were being too careful, and that the songs needed more percussion. John is opinionated, talented, and inspirational. And most of all, making the record with him over 12 days in September 2016 at Tiny Telephone in San Francisco was easy. And fun. And fast. We used only analog equipment, recording to tape through high-end vintage equipment. Bryan came to play his guitar parts (which by this point Stacy had learned for live performances of the material). The recordings were all first takes, new ideas were quickly embraced, mistakes were left alone as intention, very little artificial reverb was used but John's concrete echo chamber was used extensively. We hoped to catch lightning in a bottle and I think that we did.


    To me, Fences represents the journey of the last two years. It is the discovery of a group voice, the willingness to explore collaboration between old friends, and an openness to let new voices into the fold. It is something I am proud to have been a part of and am excited to share with the world. To me, it is an example of the power and positivity of collaboration, of a group of human beings working diligently on a shared vision. If nothing else, I can say that we tried as hard as we possibly could. I can't wait to do it again.


    Thank you for listening,


    James Phillips/Bombadil

    1. What's So Great About You
    2. Not Those Kind of People
    3. Binoculars
    4. Math and Love
    5. Perfect
    6. Fence
    7. Good News Sadie
    8. I Could Make You So Happy
    9. Long Life
    10. Is This Danger
    11. No Snow in the Valley
    Bombadil
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • My Midnight Things My Midnight Things Quick View

    $25.99
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    My Midnight Things

    Since 1983, the name Lizzy Borden has been synonymous with heavy metal music of the highest caliber. With My Midnight Things he has reaffirmed this standing, delivering the biggest, most dramatic, moving and cinematic record of his career, and one of the most essential additions to the genre in 2018. While showcasing a diverse range of sounds, tones and moods, it is unmistakably the work of the man who released a string of classic albums in the 1980s and two more in the 00s, but with a new fire burning at the heart of the record, it is one that he has lovingly crafted for those who scream along with every word at his shows. "On our last tour across Europe, Asia and South America, I noticed that the audience had changed," he states. "It got a lot younger. I looked out to see all these kids in every country singing at the top of their lungs to songs that were written before they were born, and that made me want to start writing some full-blown albums just for them. I wanted to make songs that would be theirs, albums that they could be a part of."


    Having not dropped a record since 2007's mighty Appointment With Death, fans have understandably champed at the bit waiting for new material. Though penning numerous songs throughout that period, when it became time to seriously focus upon writing an album, the multi-instrumentalist did what needed to be done to be sure of creating the best possible music. "I knew the only way I could find what I was looking for was to lock myself away and experiment, so that's what I did. I wrote and recorded in my studio in North Hollywood in a very industrial area all night every night, with only sirens from fire trucks and these songs to keep me company. It was a lonely time, but very fruitful. You might even hear some of those sirens in some of the songs if you listen closely." Starting with between forty and fifty songs, he steadily whittled these down to fifteen, and finally to the ten that made the record, only wanting the very best to make the cut. As with all of his albums, once Borden hones in on a core subject matter he builds the album around it, and in the case of My Midnight Things, the theme is that of love. However, adopting a different approach to writing than usual, rather than starting with music, he instead focused on the lyrics, and penned the music later to best serve the stories being told, wanting every song to stand up on its own while keeping the storyline of the record moving forward. "I just let the lyrics drive the mood and the way I would sing each song, but overall I kept it varied and engaging enough so that listeners will want to devour the whole album in one sitting, without you hearing me repeat myself."


    The diversity of the record makes it abundantly clear that he succeeded, and it makes for a thrilling ride from start to finish. Opening with the titanic stomp of the title track, the cinematic feel kicks off from the start, a serpentine seductiveness coiling through it, and the likes of "A Stranger To Love" and the bruising "Our Love Is God" inhabit similarly dark territory. The more stripped down, haunting strains of the reprise of the title track - which was in fact the first version penned - is achingly frail, and then counterpointing all of the record's darker and more brooding moments are the upbeat "Long May They Haunt Us", the hugely anthemic and uplifting closer "We Belong In The Shadows", and the frankly glorious "Run Away With Me". While the title of the album "means many different things" to Borden, he chooses not to disclose these, allowing listeners to find their own meaning in it, which is something important to him. In terms of the record's central theme, he acknowledges that while "love" seems somewhat obvious, he tried to find a way to see it through a different lens. "Sometimes being in love is the worst thing that can happen to you if you're with the wrong person and you can't stop it, and sometimes it's the best thing in the world. I knew I could find things in between every other song that's been written about it. So that was the challenge. But, even though I write with a theme in mind and with different personalities singing each song, I never write in storyboard form. I always try to write in poetry form. I think you can search for more meaning that way, from one line to the next there can be multiple meanings, as opposed to being trapped telling a story."


    Having signed a new contract with Metal Blade on the strength of three demo tracks, Borden opted to produce My Midnight Things himself, with Joey Scott as co-producer, who also handled all the drumming duties. Having an old school approach to his drumming, feeding off the vocals, lyrics and melody rather than just acting as a time keeper, he was perfectly suited to Borden's approach to the record, which also applied to his role as co-producer. "I knew what I was going for and had doubts that I could find a producer who would understand that. My approach is very different than what is happening in today's music, but Joey got that and wanted the same thing." With Marliese Quance Mildenberger handling the majority of the keyboards, her unique melancholy playing style added even more "emotion and dimension" to each song, while Borden himself handled all of the bass, guitars, some keys and all of the vocal parts. Anyone exposed to My Midnight Things will find it hard to deny that like all of his records, it is a true vocal tour de force, each track endowed with a phenomenal amount of layering to create something that is uniquely Lizzy Borden. "The style that I record vocals harkens back to The Beatles and Queen. It's time consuming and tedious, but the result gives you a more multi-dimensional feel than you would get with a single vocal. When I recorded 'Master Of Disguise' (1989), I was clocked in at a seven-octave vocal range between all the backing and lead vocals. It gave the feel of multiple personalities within my voice, and I've used that technique on the last four albums."


    That every song on the record could be released as a single is testament to just how strong this collection is. While truly a record for his fans, its appeal will easily reach much further, and Borden is as eager to get back on stage as his devout followers who cannot wait to see him back up there. "I've already started working on the 'My Midnight Things' Show, and I really can't wait to play these songs live. There are so many talented players out there in the world, I know I will find the right guys or girls to be on stage with me in my touring band, and just based on what is being talked about, so far it will be the best show I've ever done. I really do feel a new excitement that I have not felt in years. The best is yet to come."

    Tracklist coming soon!
    Lizzy Borden
    $25.99
    Vinyl LP - Sealed Buy Now
  • Power Of Peace Power Of Peace Quick View

    $27.99
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    Power Of Peace

    Legacy Recordings, a division of Sony Music Entertainment, is pleased to announce the release of Power of Peace, a new studio album from Santana (Carlos Santana and Cindy Blackman Santana) and The Isley Brothers (Ronald and Ernie).

    Recorded last year, Power of Peace is the fulfillment of a dream, a new musical studio collaboration connecting Santana and The Isleys on a mind-bending journey through some of the immortal soul, funk, blues, rock, jazz and pop songs that continue to inspire them.

    About the Power of Peace, Carlos Santana observes, I feel a deep sense of gratitude, appreciation, and thankfulness. There is a spirit of creativity that came knocking and presented itself as a golden opportunity to do something with and for a supreme musician, who I consider to be the best in the world. Brother Ronnie Isley has been in the center of collective unity and harmony on the radio around the world since 1962 with 'Twist and Shout,' the song that the Beatles chose to invade America with. Like Michael Jackson, John Lennon, and Bob Marley, he's an iconic supreme of the highest order. Cindy and I feel very blessed to offer him this gift. From God, through us to you, for the world Mr. Ronnie Isley.

    It was an absolute joy working on this album with Carlos!, exclaims Ronald Isley. I hope this record carries the spirit of hope, love, and peace to the world that it brought to me, my brother and Carlos!

    Ernie Isley shares his brother's enthusiasm, saying, Doing this project with Carlos Santana was fun and illuminating. I hope all music lovers enjoy what we have done.

    Led by the legendary Ronald Isley on lead vocals and the album's main producer/arranger Carlos Santana on lead guitar, rhythm guitar, percussion and background vocals, Power of Peace covers songs first made familiar by the Chambers Brothers (Are You Ready, Love, Peace, Happiness), Swamp Dogg (Total Destruction to Your Mind), Stevie Wonder (Higher Ground), Billie Holiday (God Bless the Child), Eddie Kendricks (Body Talk), Curtis Mayfield (Gypsy Woman), Muddy Waters/Willie Dixon (I Just Want to Make Love to You), Dionne Warwick/Jackie DeShannon (What the World Needs Now is Love Sweet Love), Marvin Gaye (Mercy Mercy Me - The Ecology), Leon Thomas (Let the Rain Fall on Me) and Sy Miller and Jill Jackson (Let There Be Peace on Earth).

    Power of Peace premieres a new song, I Remember, written and sung by Cindy Blackman Santana. Cindy, who plays drums on the album, produced and arranged Higher Ground (along with her husband, Carlos). A family affair, Power of Peace features two Santanas--Carlos (guitar) and Cindy (drums)--and four Isleys: Ronald (vocals) and Ernie (rhythm guitar) and their respective spouses, Kandy Johnson Isley (Ron's wife, she sings background on God Bless the Child, Body Talk and Gypsy Woman) and Tracy Isley (Ernie's wife, she also sings background vocals on God Bless the Child).

    1. Are You Ready
    2. Total Destruction To Your Mind
    3. Higher Ground
    4. God Bless The Child
    5. I Remember
    6. Body Talk
    7. Gypsy Woman
    8. I Just Want To Make Love To You
    9. Love, Peace, Happiness
    10. What The World Needs Now Is Love Sweet Love
    11. Mercy Mercy Me (The Ecology)
    12. Let The Rain Fall On Me
    13. Let There Be Peace On Earth
    The Isley Brothers & Santana
    $27.99
    150 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Yes Yes Quick View

    $31.99
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    Yes


    45th Anniversary Limited Edition!


    First Time Audiophile Vinyl And Gatefold Cover Presentation!


    Mastered Impeccably From The Original Atlantic Records Tapes By Joe Reagoso At Friday Music Studios And Capitol Records, Hollywood, CA


    After four plus decades of recording a staggering catalog of top charting albums, a plethora of successful worldwide
    tours and basically being the original architects of the prog-rock genre, Yes have continually given the fans their all and it all
    began humbly in 1969 with their first LP simply called Yes.


    With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted of Jon
    Anderson (vocals), Chris Squire (bass/vocals), Peter Banks (guitars/vocals), Bill Bruford on drums and keyboardist Tony Kaye.
    Yes truly stands as absolutely one of the most intriguing debut albums to begin the dawn of the prog-rock movement.


    Yes fans continue to praise Yes as a truly inspiring masterwork. This important piece of music consists of eight amazing
    Yes workouts such as the definitive side one opener Beyond and Before, the art rock driven interpretation of The Beatles'
    Every Little Thing and of course the international fan favorite Survival. Also featured from the Vincent Gallo film Buffalo '66 is
    the classic Sweetness from this incredible first album release.


    Yes enthusiasts were superlatively rewarded with even more progressive rock favorites as the brilliant acoustic driven
    balladry of Jon Anderson's Yesterday, Chris Squire and Jon Anderson's superb centerpiece Looking Around and the powerful
    Bill Bruford, Jon Anderson and Chris Squire Harold Land truly made Yes one of the finest albums of the early classic rock era.


    As we continue our exclusive and extensive Yes 180 Gram Audiophile Vinyl Series, Friday Music is very honored to announce their 1969 masterpiece Yes. Issued for the first time on premium sound 180 gram high grade audiophile vinyl, this
    exceptional work is now mastered impeccably from the original Atlantic Records tapes by Joe Reagoso (Close to the Edge,
    Drama, Tales From Topographic Oceans, 90125, Relayer).


    To celebrate the 45th Anniversary of this amazing album, this limited edition masterpiece is housed in a beautiful first
    time gatefold cover and includes the original stunning U.S. artwork by Haig Adishian, featuring the rare lyrics which are now
    inside the inside gatefold art.


    So, let us celebrate the audiophile dream recording from Yes with the exclusive Friday Music presentation of their debut
    masterwork Yes. Another definitive treasure awaits you from the Yes 180 Gram Audiophile Vinyl Series exclusively from
    your friends at Friday Music. Look for more Yes 45th Anniversary releases this year from Friday Music as we continue to
    celebrate the wonderful music of this incredible superstar act. Looking Around You!

    1. Beyond and Before
    2. I See You
    3. Yesterday and Today
    4. Looking Around
    5. Harold Land
    6. Every Little Thing
    7. Sweetness
    8. Survival
    Yes
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Black Bubblegum Black Bubblegum Quick View

    $19.99
    Buy Now
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    Black Bubblegum

    Black Bubblegum is the newest LP from Eric Copeland,
    and we are not kidding when we emphasize it sounds like
    nothing he has done in the past. The title of the record
    says it all: chewy, sticky pop that doesn't taste quite like
    any chewy, sticky pop you've had before.


    Recorded at Copeland's old practice space in South
    Williamsburg, Black Bubblegum contains songs with
    more conventional sounds and songwriting than any of
    his previous releases. While there are similarities with
    Copeland's earlier work in the drum patterns, major
    scales and vocals, Black Bubblegum moves away from
    his trademark psychedelic dub towards strange and
    fantastical pop; imagine Arthur Russell going into the
    studio with the Ramones. Wanting to take a more "handson"
    approach to these recordings, Copeland exchanged
    sample-driven tech and hardware for keyboards, guitars
    and effect pedals, creating a new sound that is oddly
    easy to digest despite its rejection of melody in favour of
    discord and dissonance.


    For a long time, Copeland considered this collection of
    songs to be recordings which would never be heard. This
    invariably influenced certain decisions made during the
    creation of Black Bubblegum, blessing Copeland with
    the unique freedom that comes from making music never
    intended to be heard, let alone released.


    When asked to please jot down what influenced this new
    album and sound, Eric replied "glam holes, glitter dreams,
    money troubles, apocalypse paranoia, one hit wonders,
    manifest destiny, my family's westward migration, body
    troubles (was passing kidney stones almost the entire
    time), LGBT disco parties, Jonathan Richman, Missing
    Foundation, Neil Diamond, New Orleans, poverty, getting
    pushed out of another Brooklyn neighbourhood... No
    Beach Boys, no Beatles, no Buddha... More Bad News
    Bears."


    Eric Copeland has been sound clashing at full volume for
    over twenty years, first carving out a named for himself as
    one third of the legendary NY-via-Providence band Black
    Dice. A wildly prolific solo artist, Copeland has played
    shit houses, party palaces and seemingly everything in
    between all over the world.


    A long time Brooklyn, resident, Eric recently relocated
    to where the L Train does not run - Palma de Mallorca,
    Spain. While maintaining a relatively humble and low key
    presence in a highly competitive musical world, he has
    releases a prolific amount of music every year through
    indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

    1. Kids In A Coma
    2. Rip It
    3. Fuck It Up
    4. Honorable Mentions
    5. Blue Honey
    6. On
    7. Cannibal World
    8. Don't Beat Your Baby
    9. Radio Weapons
    10. Get My Own
    Eric Copeland
    $19.99
    Vinyl LP - Sealed Buy Now
  • Wild Onion Wild Onion Quick View

    $17.99
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    Wild Onion


    " Twin Peaks have perfected the kind of songwriting that puts you in a practiced, happy headlock."
    - Pitchfork


    "The Chicago teenagers who make up the band Twin Peaks make a confident old-school indie rock chug that should be beyond their years."
    - Stereogum


    "Although steeped in the amp-shattering sensibilities of a garage band, the triumphant Sunken listens like a sunny pop record. It's lovably fuzzy, worn with the character of beloved jukebox hits."
    - Consequence of Sound


    Don't bother asking Twin Peaks about the deeper meaning of their band name. They simply thought it sounded cool, which explains why their second album Wild Onion isn't as spooky or surreal as David Lynch's short-lived TV show. It's more like a modern day Nuggets, with Ty Segall, Black Lips and Thee Oh Sees curating instead of Lenny Kaye. Not literally, of course. But the spirit of those garage demigods is alive and well alongside subtle nods to everything from the Pixies and Tame Impala to the godfathers of guitar-guided pop music, the Beatles, the Rolling Stones and the Beach Boys.


    If combining the influence of so many classic artists seems like a lofty goal for a group of 20 year olds, just remember that Twin Peaks' core quartet-frontman Cadien Lake James, guitarist Clay Frankel, bassist Jack Dolan and drummer Connor Brodner-has roots that reach back to elementary school. After cutting his teeth during his high school freshman year in a duo with his older brother Hal, James reconnected with his old chums and formed what would become Twin Peaks, and the chemistry was immediately undeniable.


    Having quickly cut their debut LP, 2013's Sunken, in Cadien's basement so they could sell it on tour, the band was excited to spend more time developing Wild Onion, a record that reveals a level of maturity beyond all the amp-singeing solos, ragtag rhythms and dizzying voices of three distinct singer-songwriters. Unlike acts who let their egos get in the way, Cadien, Clay and Jack share the spotlight and play to one another's strengths as Connor keeps things moving with a steady beat.

    1. I Found a New Way
    2. Strawberry Smoothie
    3. Mirror of Time
    4. Sloop Jay D
    5. Making Breakfast
    6. Strange World
    7. Fade Away
    8. Sweet Thing
    9. Stranger World
    10. Telephone
    11. Flavor
    12. Ordinary People
    13. Good Lovin'
    14. Hold On
    15. No Way Out
    16. Mind Frame
    Twin Peaks
    $17.99
    Vinyl LP - Sealed Buy Now
  • FREEMAN FREEMAN Quick View

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    FREEMAN

    Listening to Marvelous Clouds, Aaron Freeman's 2012 debut under his own name, fans might have felt that he was ignoring an elephant in his room-a drug-and-alcohol-related onstage flame-out that made viral headlines the year before. But Clouds, a deceptively chill Rod McKuen covers record, was just a warm-up for the artist once known as Gene Ween. In the opening minutes of FREEMAN, the self-titled debut from his new band, Freeman addresses addiction and its aftermath with the combination of merciless self-inventory and artful songcraft that earned Ween one of the most devoted fan bases in contemporary pop. This song, the unmistakably autobiographical Covert Discretion, is a quiet shocker. Save your judgments for someone else, Freeman sings. Be grateful I saved me from myself.


    As bitter as it sounds, the track clears the air. FREEMAN represents a new beginning- Aaron Freeman's first album of original material since disbanding Ween and getting sober-but it isn't a record mired in its maker's private struggles. It's simply a collection of gorgeous, subtly offbeat songs-in other words, a continuation of the thread that runs through the entire Ween catalog. The lush psychedelic pop of The English and Western Stallion; the melancholy plea of More Than the World; the unflappable, Plastic Ono Band-esque blues-rock of Gimmie One More-these are songs that bear the unmistakable Aaron Freeman stamp.


    And to hear Freeman tell it, they wouldn't have been possible if he'd stayed in his old band. There was so much of 'Aaron had to break up Ween because of addiction' and 'Aaron broke up Ween in order to pursue his solo work,' he says. But I broke up Ween because we were at a creative dead end way before our last record, La Cucaracha. Basically we were going through the motions, becoming a showcase band.


    Freeman stresses that FREEMAN is more about renewal than turning his back on the past. I want this record to pay homage to Ween, he says. These are the same songs I would've written in Ween-except without [ex-bandmate] Mickey. Several tracks hark back to the role-playing that was a hallmark of Freeman's back-catalog: (For a While) I Couldn't Play My Guitar Like a Man, a badass blues-rock meditation on lost mojo; or Black Bush, a trippy, heavily stylized ode to the natural beauty of Freeman's recently adopted hometown of Woodstock.


    But there's also a fresh perspective here, the sound of a shadow lifting. Delicate Green, which savors life's everyday blessings, is one of the sweetest, most sincere songs Freeman has written. And All the Way to China and El Shaddai reference Jewish texts-Kabbalah readings and James A. Michener's The Source, respectively-that guided him through his darkest times. There's a lot of spiritual stuff on here because that really helped me, Freeman says. I listened to a lot of reggae-'Jah gonna help me through Babylon,' you know? I listened to a lot of Paul McCartney too, and I thought, if he can do this, break up the fucking Beatles, I can certainly break up Ween and be okay.


    Aaron Freeman has also turned his back on substance abuse, a fact that might concern fans who mistake intoxication for inspiration. I wrote the songs I wrote in Ween despite all the drugs and alcohol I was doing, not because, Freeman says. Most people don't get sobriety at all. They assume you're this better-than-thou monk sitting on a mountain, judging everybody. It's not that way: You have to let everybody do their thing, and you get weirder. A song like FREEMAN's Golden Monkey, which rivals Ween's underrated Quebec for sheer mind-warping brilliance, proves Freeman's point.


    In order to get to FREEMAN, Aaron Freeman had to make a clean break. If I hadn't left my partnership, there wouldn't be anything, he explains. I'd probably be dead too. I know that at the end of the day, this is the best thing I could've done for me and for every Ween fan. FREEMAN, an album that distills the Aaron Freeman aesthetic-built on equal parts wonder and malaise, frankness and mysticism, defiance and vulnerability-to its headiest essence, proves his point. This man, known for so long by another name, is finally free.

    1. Covert Discretion
    2. The English And Western Stallion
    3. (For A While) I Couldn't Play My Guitar Like a Man
    4. El Shaddai
    5. Black Bush
    6. Gimme One More
    7. More Than the World
    8. All The Way To China
    9. Golden Monkey
    10. Delicate Green
    11. There Is A Form
    12. I Know A Girl
    FREEMAN
    $16.99
    Vinyl LP - Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
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    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
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    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
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