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  • American Epic: The Best of Blind Willie Johnson American Epic: The Best of Blind Willie Johnson Quick View

    $19.99
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    American Epic: The Best of Blind Willie Johnson

    Texas slide guitarist and gospel bluesman Blind Willie Johnson recorded only 30 songs over the course of his life as a preacher and street performer. Even so, the savvy combination of his gritty and powerful "chest voice" singing style coupled with his mastery of slide guitar (some report he regularly used a knife as a slide) has given him a notably influential legacy, specifically with later bluesmen Howlin' Wolf and Robert Johnson. His tune "Dark Was the Night, Cold Was the Ground" was selected for Carl Sagan's Voyager probe Golden Record, the Library of Congress as well as the National Recording Registry.


    Single LP with single pocket tip-on jacket with soft touch finish.

    1. John the Revelator
    2. It's Nobody's Fault But Mine
    3. If I Had My Way, I'd Tear the Building Down
    4. God Moves on the Water
    5. The Soul of a Man
    6. I Know His Blood Can Make Me Whole
    7. Church, I'm Fully Saved Today
    8. Let Your Light Shine on Me
    9. Mother's Children Have a Hard Time
    10. Lord, I Just Can't Keep from Crying
    11. Trouble Will Soon Be Over
    12. Jesus Make Up My Dying Bed
    13. Bye and Bye I'M Goin' to See the King
    14. Praise God I'm Satisfied
    15. Keep Your Lamp Trimmed and Burning
    16. Dark Was the Night, Cold Was the Ground
    Blind Willie Johnson
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Benjamin Booker (Awaiting Repress) Benjamin Booker (Awaiting Repress) Quick View

    $19.99
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    Benjamin Booker (Awaiting Repress)

    Benjamin Booker is a young New Orleans based singer-songwriter. He is influenced by The Gun Club, Blind Willie Johnson, and T. Rex. Benjamin
    Booker's debut self-titled album was produced by Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff)
    1. Violent Shiver
    2. Always Waiting
    3. Chippewa
    4. Slow Coming
    5. Wicked Waters
    6. Have You Seen My Son?
    7. Spoon Out My Eyeballs
    8. Happy Homes
    9. I Thought I Heard You Screaming
    10. Old Hearts
    11. Kids Never Growing Older
    12. By the Evening
    Benjamin Booker
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Rough Guide To Gospel Blues Rough Guide To Gospel Blues Quick View

    $19.99
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    Rough Guide To Gospel Blues

    The huge musical influence of the church has meant that gospel music and the blues have long been intertwined. From the true guitar evangelists such as Blind Willie Johnson and Reverend Gary Davis to blues legends Blind Lemon Jefferson and Skip James, these recordings illustrate how the line separating the Lord's song and 'devil's music' was very thin.
    1. I Am The Light - Reverend Gary Davis
    2. I Know His Blood Can Make Me Whole - Blind Willie Johnson
    3. The Promise True And Grand - Bukka White
    4. Your Enemy Cannot Harm You - Rev. Edward W. Clayborn
    5. Scandalous And A Shame - Blind Joe Taggart & Josh White
    6. Jesus Is My Air-O-Plane - Mother McCollum
    7. I Got Religion, I'm So Glad - Blind Willie & Kate McTell
    8. Be Ready When He Comes - Skip James
    9. Let Me Ride - Memphis Minnie
    10. When The Saints Go Marching In - Barbecue Bob
    11. On Revival Day - Bessie Smith
    12. All I Want Is That Pure Religion - Blind Lemon Jefferson
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blues For The Modern Daze (Awaiting Repress) Blues For The Modern Daze (Awaiting Repress) Quick View

    $18.99
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    Blues For The Modern Daze (Awaiting Repress)

    Blues For The Modern Daze represents the guitar legend returning to his core blues roots; creating his first blues album in 23 years as a bandleader. Walter Trout's inspiration for the album was the country bluesman Blind Willie Johnson as he explains, His music is so beautiful, primal, direct and deeply spiritual that I wanted to feel it at my back when we were cutting these songs. Blues For The Modern Daze cuts right to the core of his art and his heart. His 21st album returns the contemporary guitar legend to his hard-core blues roots and finds his songwriting here at a creative and personal zenith.
    1. Saw My Mama Cryin
    2. Lonely
    3. The Sky is Fallin' Down
    4. Blues for my Baby
    5. You Can't go Home Again
    6. Recovery
    7. Turn off your TV
    8. Lifestyle of the Rich and Famous
    9. Never Knew You Well
    10. Puppet Master
    11. Money Rules the World
    12. All I Want is You
    13. Brother's Keeper
    14. Blues for the Modern Daze
    15. Pray for Rain
    Walter Trout
    $18.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Church Mouth Church Mouth Quick View

    $18.99
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    Church Mouth

    While this new album maintains its artistic mix of aurora borealis-avant-indie pop and post-punk, Church Mouth paves a new musical path for the band. A departure from 2006's drum-machine and sequencer-heavy Waiter: You Vultures!, Church Mouth leans on Led Zeppelin, The White Stripes, and Santana for inspiration. Front man John Gourley was also listening to a lot of Blind Willie Johnson, Muddy Waters, and Robert Johnson when he wrote the record. While most of us who grew up in the continental US were raised on Saturday morning cartoons and sugary cereal, Gourley's Alaskan upbringing was unorthodox; his youth spent exploring nature in one of the few virtually untouched territories left in the world. As a result, his striking enigmatic vision makes its mark on the band's packaging, merch design, videos, photos, posters, and the music.
    1. Church Mouth
    2. Sugar Cinnamon
    3. Tellers Tellers Tell Me
    4. My Mind
    5. Shade
    6. Dawn
    7. Oh Lord
    8. Bellies Are Full
    9. Children
    10. The Bottom
    11. Sleeping Sleepers Sleep
    12. Sun Brother
    Portugal The Man
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Prodigal Son The Prodigal Son Quick View

    $24.99
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    The Prodigal Son

    The first solo album for six years by the enduringly influential Ry Cooder, The Prodigal Son, will be released by Fantasy Records.


    Recorded in Hollywood, it was produced by Ry with his son and chief collaborator, Joachim Cooder. It's described as a musical depiction of modern America through the songs of the Pilgrim Travellers, the Stanley Brothers, Blind Willie Johnson and Cooder himself (above photo credit: Joachim Cooder).


    The 11-track set features three Cooder originals, which sit along his personal selection of favorite spirituals of the last century which have great resonance in the modern world. "I do connect the political/economic dimensions with the inner life of people since people are at risk and oppressed on all sides in our world today," says the artist.


    "There's some kind of reverence mood that takes hold when you play and sing these songs. 'Reverence' is a word I heard my granddaughter's nursery school teacher use, a Kashmiri woman. She said, 'We don't want to teach religion, but instill reverence.' I thought that was a good word for the feeling of this music."


    The new set further extends the deep contribution made by Cooder to modern music and culture that dates back nearly 50 years. As a singer, writer, producer, guitarist and muse, he remains a unique voice and inspiration, with a vast catalog of solo albums, collaborations, guest appearances and soundtracks. His last studio set was 2012's Election Special.

    1. Straight Street
    2. Shrinking Man
    3. Gentrification
    4. Everybody Ought To Treat A Stranger Right
    5. The Prodigal Son
    6. Nobody's Fault But Mine
    7. You Must Unload
    8. I'll Be Rested When The Roll Is Called
    9. Harbor Of Love
    10. Jesus And Woody
    11. In His Care
    Ry Cooder
    $24.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Barbecue Bob Rough Guide To Barbecue Bob Quick View

    $19.99
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    Rough Guide To Barbecue Bob

    Lovingly Remastered Using Pioneering Restoration Techniques


    Very few names in the history of the blues capture the imagination quite like that of Barbecue Bob. Don't be fooled by the quirky pseudonym and gimmicky publicity photograph of him posing in his chef's whites with guitar in hand, as he was an incredibly influential figure whose records helped pave the way for many of the important bluesmen that followed.


    One of the unsung heroes of the Piedmont blues style, Robert Hicks aka Barbecue Bob recorded over sixty sides for Columbia Records and became one of the best-selling artists on their 'race series', outsold only by Bessie Smith, Ethel Waters and Blind Willie Johnson. With his original and witty compositions he was one of the real pioneers of the Atlanta blues scene of the time, but his career was tragically ended by his death from pneumonia at the age of just 29.


    Born in Walnut Grove, Georgia to a family of sharecroppers, Hicks learned to play the guitar from his brother Charley and Savannah 'Dip' Weaver, the mother of his friend Curley Weaver. He teamed up with Charley, Curley and harmonica player Eddie Mapp to perform at dances, parties and picnics in the Atlanta area. After leaving the group in 1926, Hicks became a chef in a barbecue joint where he would cook, serve and sing to the customers. He soon became something of a local celebrity and was noticed by a talent scout from Columbia Records, who gave him the opportunity to record under the catchy title of Barbecue Bob.


    Characterized by a heavy percussive guitar style, he often used a bottleneck and played with a frailing technique that is more often associated with the claw hammer banjo. His twelve string guitar gave a rich accompaniment to his warm nasal singing voice which, compared to the morbid and foreboding songs of the Delta blues, created a vibe which was jaunty and upbeat. With a huge repertoire of songs ranging from hokum to slow blues and spirituals to traditional songster tunes, his music is imbued with a special warmth typical to the East Coast blues.


    Even from the opening few measures of his very first record Barbecue Blues, Hicks signature sound of a bright and trebly twelve string guitar combined with his expressive voice is instantly accessible and almost 'pop' sounding in comparison with other blues singers of the time. His debut song was a huge success and led to a prolific recording career over the next four years when, it is said, he lived fast and enjoyed the high life. Hicks frequently recorded with his brother Charley, who was known as Laughing Charley Lincoln, and would later record several sides in 1930 with Buddy Moss and Curley Weaver as the Georgia Cotton Pickers.


    Largely due to his life being tragically cut short in 1931, his music has been sadly overlooked and has therefore not received the respect proffered to other East coast players such as Blind Willie McTell and Buddy Moss. He was however a true innovator in his time, and this compilation gives proof that his music is undoubtedly some of the most engaging early blues that you are likely to hear.

    1. Poor Boy A Long Ways From Home (1927)

    2. Barbecue Blues (1927)
    3. Honey Your Going Too Fast (1928)

    4. Motherless Chile Blues (1927)

    5. She Looks So Good (1930)
    6. Thinkin' Funny Blues (1927)

    7. Honey You Don't Know My Mind (1927)
    8. Going Up The Country (1928)

    9. Atlanta Moan (1930)

    10. It Just Won't Hay (1929)

    11. Chocolate To The Bone (1928)

    12. She's Coming Back Some Cold Rainy Day (1930)
    Barbecue Bob
    $19.99
    Vinyl LP - Sealed Buy Now
  • Richland Woman Blues (Pure Pleasure) Richland Woman Blues (Pure Pleasure) Quick View

    $34.99
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    Richland Woman Blues (Pure Pleasure)

    Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in Me And My Chauffeur Blues (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's Far Away Blues, the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.



    Musicians:



    • Maria Muldaur (vocal)

    • Alvin Youngblood Hart (guitar, vocal)

    • Bonnie Raitt, John Sebastian (guitar)

    • David Wilkie (mandocello)

    • Dave Mathews (piano)

    • Roly Salley (bass)

    • Angela Strehli, Tracy Nelson (vocal)




    Recording: 2001 by John Jacob

    Production: John Jacob & Maria Muldaur



    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. The One To Sing The Blues
    2. I'm So Bad (Baby I Don't Care)
    3. No Voices In The Sky
    4. Going To Brazil
    5. Nightmare/Dreamtime
    6. Love Me Forever
    7. Angel City
    8. Make My Day
    9. R.A.M.O.N.E.S.
    10. Shut You Down
    11. 1916
    Maria Muldaur
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
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    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    Format: 2LPs 33rpm / gatefold sleeve



    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. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Front Porch Sessions Front Porch Sessions Quick View

    $18.99
    Buy Now
    x

    Front Porch Sessions

    Southern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.


    That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.


    "It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."


    The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."


    I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."


    We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.


    "We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."


    That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.


    Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.


    "This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."


    The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"


    Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.


    "In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.


    "Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."


    The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.


    "I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."


    With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.


    "I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."

    1. We Deserve a Happy Ending
    2. When My Baby Left Me
    3. Shakey Shirley
    4. What You Did to the Boy Ain't Right
    5. One Bad Shoe
    6. It's All Night Long
    7. One More Thing
    8. Flying Squirrels
    9. Let Your Light Shine
    10. When You Lose Your Money
    11. Cornbread and Butterbeans
    Reverend Peyton's Big Damn Band
    $18.99
    Vinyl LP - Sealed Buy Now
  • Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Quick View

    $469.99
    Buy Now
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    Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)


    Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.


    800 Newly-remastered Digital Tracks, Representing 175 Artists


    90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender


    6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image


    250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale


    400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography


    Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism


    First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive


    Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.


    Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).


    As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.


    But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.


    Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.

    6 LPs feature tracks from the collection.


    USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
  • Boomer's Story Boomer's Story Quick View

    $34.99
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    Boomer's Story

    Ry Cooder Is A Master Sonic Archeologist And Cultural Historian On Boomer's Story: Guitarist Pays Tribute To The Past And Updates Music For Future On Rustic Record Steeped In Folk, Blues, And Soul


    Mastered From The Original Master Tapes, Pressed At RTI, And Strictly Limited To 3000 Numbered Copies: Mobile Fidelity 180g LP Of Boomer's Story Sounds Fantastic With Vibrant Textures


    Ry Cooder's development as a peerless musician capable of grasping virtually any style began with his time spent with Taj Mahal and Captain Beefheart, but for all intents and purposes reaches epic proportions on Boomer's Story. With two ambitious albeit uneven studio albums behind him, the California native plunged into roles that still define him today - that of sonic archaeologist and cultural historian, shaping his 1972 Reprise effort with enlightened selections carved into the bedrock of America's folk, blues, and soul landscapes. Inspired, virtuosic, and poignant, Boomer's Story endures as a ravishing portrait of inspired translation and inventive craftsmanship that after years of neglect finally boasts sonics deserving of the performances.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Cooder's breakout teems with natural tones, front-to-back imaging, and vintage tube warmth. Boomer's Story benefits from vibrant textures and organic openness, two prized traits that come to fore with breathtaking realism on this analog reissue. Details ranging from the audible resonance of the drum skins, drifting reverb on the guitar, and the inner cavity of the piano take up residence on deep-black soundstages. Individual notes appear and recede with lifelike decay. Cooder and company sound as if they're in the room, playing in real time with one another. This record has never been more dynamic or involving.


    Having initiated his self-taught learning of customs established by the likes of Josh White, Woody Guthrie, Charlie Johnson, and Robert Johnson as early as age four, and grown up a son of parents obsessed with Folkways Records, Cooder never suffers from the retro rehash fakery plaguing countless contemporary revivalists. A true original, the guitarist simultaneously pays tribute to the past and updates it for the future. Boomer's Story brims with traditional tunes (the title track, Good Morning Mr. Railroad Man), classic blues (Ax Sweet Mama, Cherry Ball Blues), and World War II standards (Comin' in on a Wing and a Prayer).


    A spellbinding blend of personality, respect, and innovation grace every song. Evoking the timeless rusticism and weird, old America vibe of Bob Dylan and the Band's Basement Tapes, Boomer's Story unfolds with a relaxed ease and back-porch chemistry underlined by the musicians' unpretentious demeanors and potent abilities. Drummer Jim Keltner, percussionist Milt Holland, and bassist Jim Dickinson (also a producer) are among the cast fleshing out Cooder's visions. The headliner also welcomes country-blues legend Sleepy John Estes to sing on his own President Kennedy and leans on pianist Randy Newman to help him transform the normally bellicose Rally 'Round the Flag into a patient, mournful protest.


    Cooder attains equally meaningful, emotional results on a definitive wordless interpretation of the staple soul ballad The Dark End of the Street, expressing unfathomable depths of regret and longing via slide-guitar work that draws a line back to Blind Willie McTell's immortal spiritual Dark Was the Night - a song Cooder called the most transcendent piece in all American music. Indeed, the degree of interplay attained by twinkling keys, rambling beats, brass accents, and dazzling guitar lines - also finger-picked and strummed - on Boomer's Story breathes with a rare air increasingly endangered in an era of on-demand immediacy and auto-tuned imitation. This, as it's said, is the real deal.


    This title is not eligible for discount.

    1. Boomer's Story
    2. Cherry Ball Blues
    3. Crow Black Chicken
    4. Ax Sweet Mama
    5. Maria Elena
    6. The Dark End of the Street
    7. Rally 'Round the Flag
    8. Comin' in on a Wing and a Prayer
    9. President Kennedy
    10. Good Morning Mr. Railroad Man
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Coming Tide (Out of Stock) The Coming Tide (Out of Stock) Quick View

    $16.99
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    The Coming Tide (Out of Stock)

    Listening to Luke Winslow-King's third full-length album is like taking a stroll through the artist's adopted home of New Orleans; his Bloodshot label debut is the sound of community, emotional duality,spiritualism, and lived-on-the-streets-not-stored-in-abottle historical preservation. It is the sound of rickety wooden porches on humid summer days, the grimy streets of New Orleans' neighborhoods beyond the French Quarter, the celebration and solemnity of centuries old churches and gathering places, and the anything-is-possible attitudes of smoky music halls and folk clubs.


    Recorded at Piety Street Studios in New Orleans, The Coming Tide brings together Winslow-King's formal music education with a street-busking resilience, a proficiency on bottleneck slide guitar, the featured vocals (and washboard playing) of Esther Rose, and a cast of A-plus local players. The result is a vibrant amalgam of early 20th century jazz, Delta blues, American folksong, and Southern gospel.


    Just as the Crescent City's famous parades and joyous second lines are known as "jazz funerals without the body," The Coming Tide asserts that while life's issues
    can be dire, there's always a reason to find the silver lining. When Winslow-King and Esther Rose harmonize like tag-team town criers on the title track, it's easy to be transported in time and place. "You better come inside for the coming tide," sung amid a scurrying hi-hat/tomtom shuffle, buoyant upright bass, and languid brass line, settles the nerves and sends the crowd back home to make amends before the shit hits the fan.


    Without blatantly narrating each scene in a way that other songwriters might, The Coming Tide naturally gives the listener a cinematic feeling of distinct atmospheres,
    moods and the people that come with them. Rose clickclacks the washboard on "Movin On (Towards Better Days)" while an animated trombone-trumpet conversation brings to life the scandalous, noisy cabaret. "Staying in Town," a gently waltzing love story between two once-ramblers, plays like a two-minute diddy between cornmeal ads on Saturday evening AM radio. "You & Me" is a crinkled black & white snapshot of nights dancing cheek-to-cheek at the juke joint.
    Later Winslow-King turns up the Texas heat on Blind Willie Johnson's "Keep Your Lamp Trimmed and Burning" and flashes his nearly vocal, rubber band bendy bottleneck slide guitar skill. The album-closer is a pleasantly unexpected, stylistically dark take on Rudy Clark's "I've Got My Mind Set On You" that leaves you wanting more.

    1. The Coming Tide
    2. Moving On (Towards Better Days)
    3. Let 'em Talk
    4. Staying In Town
    5. Keep Your Lamp Trimmed and Burning
    6. You Don't Know Better Than Me
    7. I've Got the Blues for Rampart Street
    8. You & Me
    9. I Know She'll Do Right By Me
    10. Ella Speed
    11. I've Got My Mind Set On You
    Luke Winslow-King
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
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