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  • 40 Blue Fingers, Freshly Packed and Ready to Serve 40 Blue Fingers, Freshly Packed and Ready to Serve Quick View

    $39.99
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    40 Blue Fingers, Freshly Packed and Ready to Serve

    Import

    Remastered


    Featuring Christine Perfect (better known as the future Christine McVie of Fleetwood Mac) the British ensemble Chicken Shack offers up a solid set of blues-influenced rock on their 1968 LP, fully titled 40 Blue Fingers Freshly Packed And Ready To Serve.


    This LP was a promising debut, especially noteworthy for Stan Webb's Freddie King-inspired guitar playing and Christine Perfect's vocals. Webb does justice to his mentor with two instrumentals, King's San-Ho-Zay and his own Webbed Feet, and Christine proves the ideal counterpart: one of the few pianists paying homage to King's longtime collaborator Sonny Thompson.


    It remains their finest work; Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown.


    The album - with a nice spare sound, typical of Mike Vernon's Blue Horizon label- will be enjoyed again, this time on audiophile vinyl.


    * 180 grams audiophile vinyl


    1. The Letter
    2. Lonesome Whistle Blues

    3. When the Train Comes Back
    4. San-Ho-Zay
    5. King of the World
    6. See See Baby
    7. First Time I Met the Blues
    8. Webbed Feet
    9. You Ain't No Good
    10. What You Did Last Night
    Chicken Shack
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deep Blue Deep Blue Quick View

    $19.99
    Buy Now
    x

    Deep Blue

    Parkway Drive - Deep Blue. Australia's biggest hardcore-metal band Parkway Drive have delivered the long-awaited follow-up to 2007's hard-hitting breakout album Horizons just in time to unleash the new tracks as they storm the Warped Tour all summer. Determined to surpass previous efforts, Parkway Drive have gone all out in creating a complete listening experience. While maintaining the band's trademark sound at its core, Deep Blue weaves music, lyrics and artwork together into a dense concept that flows from beginning to end.
    1. Samsara

    2. Unrest

    3. Sleepwalker

    4. Wreckage

    5. Deadweight

    6. Alone

    7. Pressures

    8. Deliver Me

    9. Karma

    10. Home Is for the Heartless

    11. Hollow

    12. Leviathan I

    13. Set to Destroy

    Parkway Drive
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blues Jam At Chess (Pure Pleasure) Blues Jam At Chess (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Blues Jam At Chess (Pure Pleasure)

    No introduction needed for this fabulous release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the personnel above says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!




    Musicians:



    • Fleetwood Mac

    • Otis Spann

    • Willie Dixon

    • Shakey Horton

    • J.T. Brown

    • Guitar Buddy

    • Honey Boy Edwards

    • S.P. Leary




    Recording: January 1969 at Chess Ter-Mar Studios, Chicago

    Production: Mike Vernon and Marshall Chess



    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.


    and that the lacquer discs are newly cut.



    Side One

    1. Watch Out

    2. South Indiana - Take 1

    3. South Indiana - Take 2

    4. Last Night

    5. Red Hot Jam



    Side Two

    6. I'm Worried

    7. I Held My Baby Last Night

    8. Madison Blues

    9. I Can't Hold

    10. I Need Your Love

    11. I Got the Blues



    Side Three

    12. World's in a Tangle

    13. Talk with You

    14. Like it This Way

    15. Someday Soon Baby

    16. Hungry Country Girl



    Side Four

    17. Black Jack Blues

    18. Everyday I Have the Blues

    19. Rockin' Boogie

    20. Sugar Mama

    21. Homework

    Fleetwood Mac
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Magnetic South Magnetic South Quick View

    $28.99
    Buy Now
    x

    Magnetic South


    Blue Colored Vinyl


    In his solo debut as a recording artist, Michael Nesmith breaks ground with his First National Band on Magnetic South, waxing eleven country-rock classics. Taped at RCA's Hollywood Studios in February 1970 directly after his departure from The Monkees, the album thematically opens Nesmith's First National American trilogy of blue, red and white albums (with a trademark needle point sleeve designed by none other than Dean Torrence). Magnetic South is brimming with songs Nesmith stockpiled during The Monkees heyday and also includes the Top 40 hit single Joanne, with covers of One Rose and Beyond The Blue Horizon topping off this spirited and infectious long player. Issued in July 1970, Magnetic South was the first of two albums issued by The First National Band that year to critical accolades. Available again on blue vinyl from Sundazed, for the first time since the 1970's.

    1. Calico Girlfriend
    2. Nine Times Blue
    3. Little Red Rider
    4. The Crippled Lion
    5. Joanne
    6. First National Rag
    7. Mama Nantucket
    8. The Keys To The Car
    9. Hollywood
    10. One Rose
    11. Beyond The Blue Horizon
    Michael Nesmith
    $28.99
    Colored Vinyl LP - Sealed Buy Now
  • Fleetwood Mac (1968) Fleetwood Mac (1968) Quick View

    $21.99
    Buy Now
    x

    Fleetwood Mac (1968)

    In 1967 Peter Green, Mick Fleetwood and John McVie played in the legendary John Mayall & The Blues Breakers, and were given free studio time during which they recorded five songs. Peter Green was so convinced of this band's musical prowess that he formed it on the spot and named it after the drummer & the bass player.


    John McVie wasn't convinced & it forced Fleetwood Mac to find a temporary replacement in Bob Burning. After a short while, however, he was as hooked on the Elmore James influenced British Blues that he left John Mayall to take a risk on a group of unknowns. The rest is history.

    1. My Heart Beat Like A Hammer
    2. Merry Go Round
    3. Long Grey mare
    4. Hellhound On My Trail
    5. Shake Your Moneymaker
    6. Looking For Somebody
    7. No Place To Go
    8. My Baby's Good To Me
    9. I Loved Another Woman
    10. Cold Black Night
    11. The World Keep On Turning
    12. Got To Move
    Fleetwood Mac
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Pious Bird Of Good Omen The Pious Bird Of Good Omen Quick View

    $21.99
    Buy Now
    x

    The Pious Bird Of Good Omen

    Pious Bird of Good Omen was originally released in 1969 as a compilation of the band's bluesy roots: their first four UK singles and their B-sides and two tracks by bluesman Eddie Boyd with Fleetwood Mac backing. The album's sound is laidback, down & VERY dirty, featuring scorching cover versions of Little Willie John's Need Your Love So Bad and Robert Johnson's I Believe My Time Ain't Long.


    The B-side features the international hit single Albatross and Peter Green's composition Black Magic Woman, the latter being popularized by Santana's version in 1970. This album is a must-have for blues fans.

    1. Need Your Love So Bad
    2. Coming Home
    3. Rambling Pony
    4. The Big Boat
    5. I Believe My Time Ain't Long
    6. The Sun Is Shining
    7. Albatross
    8. Black Magic Woman
    9. Just The Blues
    10. Jigsaw Puzzle Blues
    11. Looking For Somebody
    12. Stop Messin' Round
    Fleetwood Mac
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mr. Wonderful (Awaiting Repress) Mr. Wonderful (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    Mr. Wonderful (Awaiting Repress)

    Mr. Wonderful, the second album of Fleetwood Mac with Peter Green in its ranks, followed up on their massive same-titled debut album. Delivering hard edged, psychedelic and raw Blues, the album counts as a staple from the late sixties. Adding to the rowdy energy of the album is the fact that the band recorded these tracks live in the studio, without using a sound board. The album introduced Christine Perfect (later McVie) of Chicken Shack on keyboards and a horn section. Great songs on this album include Love That Burns, Coming Home and Elmore James' Dust My Broom.
    1. Stop Messin' Around
    2. I've Lost My Baby
    3. Rollin' Man
    4. Dust My Broom
    5. Love That Burns
    6. Doctor Brown
    7. Need Your Love Tonight
    8. If You Be My Baby
    9. Evenin' Boogie
    10. Lazy Poker Blues
    11. Coming Home
    12. Trying So Hard To Forge
    Fleetwood Mac
    $21.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Christine Perfect (Pure Pleasure) Christine Perfect (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Christine Perfect (Pure Pleasure)

    In 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 U.K. release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous - the big surprise is that it didn't go multi-platinum in the States. There are 12 tracks, and I'd Rather Go Blind went Top Ten in the U.K. It deserved to, but there's more here than the very good reading of the Etta James hit that I'd Rather Go Blind was. When You Say has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate.




    Musicians:



    • Christine Perfect (keyboards)

    • Rick Hayward, Top Topham, Danny Kirwan (guitar)

    • Martin Dunsford, John McVie, Andy Sylvester (bass)

    • Chris Harding (drums, percussion)




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. Crazy 'Bout You Baby
    2. I'm On My Way
    3. Let Me Go (Leave Me Alone)

    4. Wait And See
    5. Close To Me
    6. I'd Rather Go Blind

    7. When You Say
    8. And That's Saying A Lot

    9. No Road Is The Right Road
    10. For You
    11. I'm Too Far Gone (To Turn Around)
    12. I Want You
    Christine Perfect
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live 81-82 Live 81-82 Quick View

    $24.99
    Buy Now
    x

    Live 81-82

    Few bands were as cataclysmic, chaotic, and iconoclastic as Australia's Birthday Party. And while they spawned a few imitators (most notably Bogshead, Scratch Acid, and the short-lived batcave movement), their fractured sound and aura of wickedness were so far removed from the norm of early-'80s rock music that no group even came close to duplicating their murderous persona and manic, driving racket.


    Live 1981-82 collects 17 tracks from concerts in London, Germany, and Greece, and for a band whose music seemed to cling to sanity by the most delicate of threads, these recordings are surprisingly coherent and faithful to the album versions.


    Taking into account the barrage of feedback, the pile-driving bass, and singer Nick Cave's howling, the sound is also quite good (the only exception being the single cut from Greece, a cover of the Stooges Funhouse).


    As for the performances, the band is in excellent form. Cave delivers the songs with conviction and energy, punctuating them with his startling vocabulary of shiver-inducing screams, grunts, snorts, groans, and growls. Considering the schizophrenia that was so much a part of the band's music, Cave's ability to convincingly deliver his gut-wrenching angst is nothing short of remarkable.


    While Cave's Manson-meets-Morrison persona drew most of the attention, it was the Birthday Party's ability to swing--hard--that put them over the top. Drummer Phil Calvert is a beacon in the sea of chaos as guitarists Mick Harvey and Roland S. Howard disembowel their guitars, blasting shards of jazz and blues across the horizon. The late bassist Tracy Pew is the real revelation. Rock solid and never missing a beat, Pew emerges as the constant amidst the wreckage, providing the rich base from which these bad seeds sprung.


    Live 1981-81 is a near-perfect document of one of rock's most extreme, creative, and dangerous forces.


    -S. Duda

    1. Junkyard

    2. A Dead Song

    3. The Dim Locator

    4. Zoo - Music - Girl

    5. Nick The Stripper

    6. Blast Off!

    7. Release The Bats

    8. Bully Bones

    9. King Ink

    10. (Sometimes) Pleasure Heads Must Burn

    11. Big - Jesus - Trash - Can

    12. Dead Joe

    13. The Friend Catcher

    14. 6 Gold Blade

    15. Hamlet (Pow, Pow, Pow)

    16. She's Hit

    17. Funhouse
    The Birthday Party
    $24.99
    Vinyl LP - Sealed Buy Now
  • Live At The Checkerboard Lounge 1981 Live At The Checkerboard Lounge 1981 Quick View

    $38.99
    Buy Now
    x

    Live At The Checkerboard Lounge 1981

    White & Black Vinyl


    On 22 November 1981, in the middle of their mammoth American tour, the Rolling Stones arrived in Chicago prior to playing 3 nights at the Rosemont Horizon. Long influenced by the Chicago blues, the band paid a visit to Muddy Waters' club the Checkerboard Lounge to see the legendary bluesman perform. It didn't take long before Mick Jagger, Keith Richards, Ronnie Wood and Ian Stewart were joining in on stage and later Buddy Guy and Lefty Dizz also played their part. It was a unique occasion that was fortunately captured on camera. Now, restored from the original footage and with sound mixed and mastered by Bob Clearmountain, this amazing blues night is being made available in an official release for the first time.

    LP
    1. Introduction Instrumental
    2. You Don't Have To Go
    3. Baby Please Don't Go
    4. Hoochie Coochie Man
    5. Long Distance Call
    6. Mannish Boy
    7. Got My Mojo Working
    8. Next Time You See Me
    9. One Eyed Woman
    10. Blow Wind Blow
    11. Champagne & Reefer


    DVD
    1. Sweet Little Angel
    2. Flip Flop and Fly
    3. Muddy Waters Introduction
    4. You Don't Have To Go
    5. Country Boy
    6. Baby Please Don't Go
    7. Hoochie Coochie Man
    8. Long Distance Call
    9. Mannish Boy
    10. Got My Mojo Working
    11. Next Time You See Me
    12. One Eyed Woman
    13. Baby Please Don't Go (instrumental)
    14. Blow Wind Blow
    15. Champagne & Reefer

    The Rolling Stones
    $38.99
    Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Killing With A Smile Killing With A Smile Quick View

    $19.99
    Buy Now
    x

    Killing With A Smile

    Australia's biggest hardcore-metal band Parkway Drive have delivered the long-awaited follow-up to 2007's hard-hitting breakout album Horizons just in time to unleash the new tracks as they storm the Warped Tour all summer. Determined to surpass previous efforts, Parkway Drive have gone all out in creating a complete listening experience. While maintaining the band's trademark sound at its core, Deep Blue weaves music, lyrics and artwork together into a dense concept that flows from beginning to end.
    1. Gimme AD
    2. Anasasis (Xenophontis)
    3. Pandora
    4. Romance Is Dead
    5. Guns For Show, Knives For A Pro
    6. Blackout
    7. Picture Perfect, Pathetic
    8. It's So Hard To Speak Without A Tongue
    9. Mutiny
    10. Smoke 'Em If Ya Got 'Em
    11. A Cold Day In Hell
    Parkway Drive
    $19.99
    Vinyl LP - Sealed Buy Now
  • Daydream Daydream Quick View

    $28.99
    Buy Now
    x

    Daydream

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian. The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents. By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men. The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Daydream
    2. There She Is
    3. It's Not Time Now
    4. Warm Baby
    5. Day Blues
    6. Let The Boy Rock N Roll
    7. Jug Band Music
    8. Didn't Want To Have To Do It
    9. You Didn't Have To Be So Nice
    10. Bald Headed Lena
    11. Butchie's Tune
    12. Big Noise From Speonk
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Do You Believe In Magic Do You Believe In Magic Quick View

    $28.99
    Buy Now
    x

    Do You Believe In Magic

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian.


    The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents.


    By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men.


    The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Do You Believe In Magic
    2. Blues In The Bottle
    3. Sportin Life
    4. My Gal
    5. You Baby
    6. Fishin Blues
    7. Did You Ever Have To Make Up Your Mind
    8. Wild About My Lovin
    9. Other Side Of This Life
    10. Younger Girl
    11. On The Road Again
    12. Night Owl Blues
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Hums Of The Lovin' Spoonful Hums Of The Lovin' Spoonful Quick View

    $28.99
    Buy Now
    x

    Hums Of The Lovin' Spoonful

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian.


    The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents.


    By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men.


    The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Lovin You
    2. Bes' Friends
    3. Voodoo In My Basement
    4. Darlin' Companion
    5. Henry Thomas
    6. Full Measure
    7. Rain On The Roof
    8. Coconut Grove
    9. Nashville Cats
    10. Four Eyes
    11. Summer In The City
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Seventh Sojourn Seventh Sojourn Quick View

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    Seventh Sojourn


    The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate 4 Decades Of Their Legendary Prog-rock Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!


    Mastered Impeccably By Joe Reagoso From The Original Threshold Records Tapes


    Seventh Sojourn was a huge multi-platinum smash for The Moody Blues and a stellar example of how important
    their symphonic and progressive rock sound was for the fans of this legendary English quintet. Featuring the original
    award winning line-up of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/
    flutes), Ray Pinder (lead vocals/keyboards) and Graeme Edge (drums/vocals), Seventh Sojourn is undoubtedly one of their
    biggest selling albums and also one of the most revered in their huge catalog.


    Buoyed by the success of the two smash hit singles Isn't Life Strange and their definitive follow up rocker I'm Just
    a Singer (In a Rock and Roll Band), Seventh Sojourn was filled with more masterful works like the powerful Ray Thomas
    classic For My Lady, John Lodge's masterpiece When You're a Free Man, plus the Justin Hayward and Graeme Edge
    prog-rock collaboration You and Me.


    The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
    the stunning LP opener Lost in a Lost World, Justin Hayward's soulful anthem New Horizons, as well as his ever popular
    The Land of Make-Believe.


    The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
    Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
    the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, Seventh Sojourn
    became the album of choice for radio programmers in 1972.


    Although Seventh Sojourn is four decades young, it stands as a modern day classic to this day, while The Moody
    Blues truly recorded one of the finest works ever in the album rock era.


    This amazing album has been out of print on vinyl for many years, that is until now


    Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
    with their definitive masterpiece Seventh Sojourn. Mastered impeccably from the original Threshold Records tapes by
    Joe Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.


    For this special limited edition, we have also included the original full color album cover in gatefold style for the first
    time since it was released in 1972, complete with the great music you will always remember from this historic classic.


    Seventh Sojourn from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from
    your friends at Friday Music I'm just a singer in a rock and roll band

    1. Lost in a Lost World
    2. New Horizons
    3. For My Lady
    4. Isn't Life Strange
    5. You and Me
    6. The Land of Make-Believe
    7. When You're a Free Man
    8. I'm Just a Singer (In a Rock and Roll Band)
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Pious Bird of Good Omen (Speakers Corner) The Pious Bird of Good Omen (Speakers Corner) Quick View

    $34.99
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    The Pious Bird of Good Omen (Speakers Corner)

    After the break-up of John Mayall's Bluesbreakers in the summer of 1967, the time seemed ripe for Peter Green, John McVie and Mick Fleetwood to take their leave from raw British rock 'n' roll. The newly established band Fleetwood Mac first turned to black blues, and their art of playing was so similar to that of other groups that the magazine Eye criticised them for their »almost ridiculous mimicry«. However, their choice of performance style took them in the right direction and in 1969, the year in which The Pious Bird Of Good Omen appeared, they landed at the top end of the pop charts, even ahead of The Beatles and Stevie Wonder.



    Of course, in the cover version of Little Willie John's Need Your Love So Bad, which is treated with a velvety string sound, and other bluesy songs, the American influence still makes itself heard, but not without success! The highly individual sound of the group comes best through in the now legendary numbers such as the weightless, gliding Albatross and Black Magic Woman with its Latin and blues elements. Judged the best British blues ever to be played (allmusic.com), one can now sit back and enjoy this great album.



    Musicians:



    • Peter Green (guitar, vocal)

    • Jeremy Spencer (guitar, piano, vocal)

    • Danny Kirwan (guitar)

    • Eddie Boyd (piano, vocal)

    • Big Walter Horton (harmonica)

    • John McVie (bass)

    • Mick Fleetwood (drums)




    Recorded between September 1967 and October 1968 by Mike Ross

    Production: Mike Vernon





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Need Your Love So Bad
    2. Comin' Home
    3. Rambling Pony
    4. The Big Boat
    5. I Believe My Time Ain't Long
    6. The Sun Is Shining
    7. Albatross
    8. Black Magic Woman
    9. Just The Blues
    10. Jigsaw Puzzle Blues
    11. Looking For Somebody
    12. Stop Messin' Round

    Fleetwood Mac
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dalmak Dalmak Quick View

    $25.99
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    Dalmak

    180g LP Audiophile Pressing Includes Art Poster


    Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)


    Partly Recorded In Istanbul With Four Turkish Guest Players


    Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)


    When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.


    Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
    principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.


    European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.


    Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
    deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.


    With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
    live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
    satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
    Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.


    We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.

    1. Learning To Crawl
    2. Lost River Blues I
    3. Lost River Blues II
    4. Barn Board Fire
    5. Hayale Dalmak
    6. Translator's Clos I
    7. Translator's Clos II
    8. White Pine
    9. Yavri Yavri
    Esmerine
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Never Were The Way She Was Never Were The Way She Was Quick View

    $25.99
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    Never Were The Way She Was


    180g LP In Gatefold Jacket Includes Art Print Poster


    "Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
    exhilarating and frightening." - Pitchfork


    "Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
    expressive sound palette,." - The New York Times


    Two of Constellation's acclaimed solo instrumental artists join forces on this
    tremendous new album of original compositions for horn and violin.


    Colin Stetson has developed a unique and renowned voice as a performer and
    composer, chiefly on bass and tenor saxophones, where he rallies an array of
    technical strengths and innovations (circular breathing, contact micing of his own
    body and the body of his instrument, vocalizations through the reed) to make some
    of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
    work of recent years. His brilliant trilogy of New History Warfare records (2007-
    2013) has been resoundingly celebrated by critics, fans and fellow musicians
    across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
    industrial/dark ambient, black metal and indie rock.


    The solo violin work of Sarah Neufeld has emerged more recently, and especially
    through 2011-2014, in the period between her primary band Arcade Fire's last two
    albums. While no stranger to modern/minimalist composition with her Bell Orchestre
    ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
    deliberate and evocative solo violin practice combining rock, folk, ambient and
    modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.


    Stetson and Neufeld first began playing in duo formation while on tour together as
    soloists in 2012, joining each other on stage for one or two of their respective
    pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
    Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
    (including the Blue Caprice soundtrack). Duo compositions for their debut album
    emerged throughout 2014, and were road-tested that spring with performances at
    the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
    (Germany). The album was recorded without overdubbing, looping, sampling,
    cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
    and mixed in Montreal by Mark Lawson (Arcade Fire).


    Never were the way she was is guided by the metaphorical narrative of the life of
    a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
    search for a world that resembles her experience. The album's expansive sonic
    trajectory and multiplicity of structures and voicings belies the fundamental
    economy of two acoustic instruments combining in real time. The result is a musical
    chronicle that powerfully establishes its own spatial and temporal horizon, a
    soundtrack that requires no images but profoundly compels the imaginative. From
    the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
    to the stately long tones of "And they still move", the dark drone-inflected sea-saw
    waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
    epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
    impressively diverse) integration of composition, performance, timbre and texture
    while holding their respective instruments in sparkling juxtaposition. Never were
    the way she was is a sum quite definitively and thrillingly greater than its parts.

    1. The sun roars into view
    2. Won't be a thing to become
    3. In the vespers
    4. And still they move
    5. With the dark hug of time
    6. The rest of us
    7. Never were the way she was
    8. Flight
    Colin Stetson and Sarah Neufeld
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jake Xerxes Fussell Jake Xerxes Fussell Quick View

    $21.99
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    Jake Xerxes Fussell

    The Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."


    A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)


    As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.


    Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.


    So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.


    For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.

    1. All in Down and Out
    2. Let Me Lose
    3. Star Girl
    4. Raggy Levy"
    5. Rabbit on a Log
    6. Boat's up the River
    7. Man at the Mill
    8. Push Boat
    9. Georgia Buck
    10. Pork and Beans
    Jake Xerxes Fussell
    $21.99
    Vinyl LP - Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • La Futura La Futura Quick View

    $34.99
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    La Futura

    La Futura, the first new studio album from ZZ Top in nine years, is set for release on American Recordings. The album harkens back to the hallmark raw sound of the band's formative years and will, inevitably, be considered a return to form on multiple levels. Produced by Rick Rubin and Billy Gibbons, the album finds the legendary group infusing their newly recorded work with the electric blues/roots approach that typified ZZ Top's earliest work while, at the same time, reaching for new sonic horizons. At its fundament, this is the incarnation of the band whose influence resonates today with such artists as The Black Keys, Jack White, Queens of the Stone Age and many others.


    The fact that the new album's title is in Spanish is a nod to an early ZZ Top tradition manifested in the titles of some of the band's earliest albums including Tres Hombres, Fandango!, El Loco and DegÜello. Known for decades by the sobriquet "That Little Ol' Band From Texas," ZZ Top was inducted into the Rock and Roll Hall of Fame by Keith Richards in 2004 and has maintained a very active international and domestic touring schedule over the intervening years. They signed to American Recordings a few years ago and have been working on what would become La Futura in spurts since then.

    1. I Gotsta Get Paid
    2. Chartreuse
    3. Consumption
    4. Over You
    5. Heartache In Blue
    6. I Don't Wanna Lose, Lose, You
    7. Flyin' High
    8. It's Too Easy Manana
    9. Big Shiny Nine
    10. Have A Little Mercy
    ZZ Top
    $34.99
    180 Gram Audiophile Virgin Vinyl 45 RPM - 2 LPs Sealed Buy Now
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