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  • Dr. Byrds & Mr. Hyde Dr. Byrds & Mr. Hyde Quick View

    $28.99
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    Dr. Byrds & Mr. Hyde

    A key transitional touchstone in The Byrds' fabled canon, 1969's Dr. Byrds & Mr. Hyde
    was the next stop in the band's pioneering country-rock trajectory and the first album by
    the post-Gram Parsons lineup. With leader Roger McGuinn at the helm of a stellar new
    edition of the band featuring guitar god Clarence White, drummer Gene Parsons, and
    bassist John York, Dr. Byrds & Mr. Hyde sees The Byrds bridging the gap between the
    psychedelic flights of the group's mid-'60s albums and the down-home, country-based
    style developed only months earlier with Sweetheart of the Rodeo.


    In addition to containing strong McGuinn originals (King Apathy III, Old Blue),
    more of the band's beloved interpretations of Bob Dylan classics (This Wheel's on Fire
    and a medley blending The Bard's My Back Pages' with Jimmy Reed's Baby, What You
    Want Me to Do), and even a Gram Parsons collaboration (the bemusing Drug Store
    Truck Drivin' Man, which cleverly celebrates The Byrds' love of country music while
    simultaneously taking a dig at small-minded rednecks), Dr. Byrds & Mr. Hyde also boasts
    two tracks composed by McGuinn for the obscure, racy '60s cult movie Candy.


    Mastered from the original Columbia Records analog master reels, Sundazed's exact
    reproduction of the original LP will have Byrdmaniacs everywhere soaring to high heaven!

    1. This Wheel's On Fire
    2. Old Blue
    3. Your Gentle Way Of Loving Me
    4. Child Of The Universe
    5. Nashville West
    6. Drug Store Truck Drivin' Man
    7. King Apathy III
    8. Candy
    9. Bad Night At The Whiskey
    10. Medley:
    11. My Back Pages

    12. B.J. Blues

    13. Baby, What Do You Want Me To Do
    The Byrds
    $28.99
    Vinyl LP - Sealed Buy Now
  • Sweetheart Of The Rodeo (Pre-Order) Sweetheart Of The Rodeo (Pre-Order) Quick View

    $32.99
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    Sweetheart Of The Rodeo (Pre-Order)

    Celebrate 5 Decades Of The Byrds' 1968 Classic!


    First Time 180-Gram Translucent Blue & Green Swirl Vinyl


    Liner Notes From Chris Hillman


    Impeccably Mastered By Joe Reagoso - Pressed At R.T.I.


    Featuring: Roger Mcguinn, Chris Hillman, Gram Parsons, Kevin Kelley, John Hartford & Clarence White


    In 1968, The Byrds changed the course of popular music as Roger McGuinn, Chris Hillman & new members Gram Parsons and Kevin Kelley delivered one of the first bluegrass/rock albums with their masterpiece Sweetheart Of The Rodeo. This album remains one of the most influential pieces of music of all time.


    The masterwork kicks off with their hit You Ain't Going Nowhere and follows with the brilliant I Am A Pilgrim, featuring Chris Hillman.


    More choice material abounds thanks to Gram Parsons with his signature works Hickory Wind and One Hundred Years From Now.


    Friday Music proudly presents for the rst time on 180 Gram Translucent Blue & Green Swirl Audiophile Vinyl, the 50th Anniversary Edition of The Byrds' Sweetheart Of The Rodeo. Impeccably mastered by Joe Reagoso at Friday Music Studios & Capitol Mastering, the Lp is pressed at R.T.I. and is featured in a stunning gatefold cover.


    To celebrate this limited edition album, we are also including recent liner notes from Chris Hillman along with some very rare photos from The Byrds archives at Sony.

    1. You Ain't Going Nowhere
    2. I Am A Pilgrim
    3. The Christian Life
    4. You Don't Miss Your Water

    5. You're Still On My Mind

    6. Pretty Boy Floyd
    7. Hickory Wind

    8. One Hundred Years From Now
    9. Blue Canadian Rockies
    10. Life In Prison

    11. Nothing Was Delivered
    The Byrds
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Chris Thile & Brad Mehldau Chris Thile & Brad Mehldau Quick View

    $27.99
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    Chris Thile & Brad Mehldau

    Nonesuch Records labelmates mandolinist/singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other's work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City's Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs.


    Chris Thile and Brad Mehldau come from different worlds but the same species, says the New York Times. Mr. Thile is a progressive-bluegrass pacesetter; Mr. Mehldau is the most influential jazz pianist of the last 20 years. Both are team players ... Both love Bach and the Beatles, and both have developed fan bases bigger and broader (and younger) than their genre silos can accommodate.


    The two musicians first performed together in September 2011 as part of Mehldau's residency at London's Wigmore Hall. The Guardian said of that performance, Mehldau struck up his signature rocking chord vamp over which lightly struck motifs swell to sensuous extended melodies. Thile kept cajoling him with percussive snaps, flying runs, and chords strummed fast enough to sound as seamless as a purring strings section, inducing Mehldau to bat back the playful provocation with stinging rejoinders.


    MacArthur Fellow and A Prairie Home Companion host Chris Thile is the founding member of Punch Brothers, which a Boston Globe reviewer called the tightest, most impressive live band I have ever seen. The band has released four albums on Nonesuch beginning in 2008: Punch, Antifogmatic, Who's Feeling Young Now?, and The Phosphorescent Blues. Thile's other releases on the label include Sleep with One Eye Open with Michael Daves; Edgar Meyer & Chris Thile and Bass & Mandolin-the latter of which won a Grammy Award; a solo record of Bach violin sonatas and partitas; and A Dotted Line with his longtime band Nickel Creek. He also recently collaborated with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer on the double Grammy Award-winning album The Goat Rodeo Sessions.


    Brad Mehldau's Nonesuch debut was the 2004 solo disc Live in Tokyo and includes six records with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, and Blues and Ballads. His collaborative records on the label include Love Sublime, Highway Rider, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, and Mehliana: Taming the Dragon. Mehldau's additional solo albums on Nonesuch include Live in Marciac and last year's 8-LP/4-CD 10 Years Solo Live, which the New York Times says contains some of the most impressive pianism he has captured on record. Earlier this year, he released a duo album with Joshua Redman, Nearness, of which the Wall Street Journal said: Few records released this year better define what jazz sounds like today, even if there isn't a hip noun to describe it.

    1. The Old Shade Tree (Brad Mehldau & Chris Thile)
    2.Tallahassee Junction (Brad Mehldau)
    3. Scarlet Town (David Rawlings & Gillian Welch)
    4. I Cover the Waterfront (Johnny Green & Edward Heyman)
    5. Independence Day (Elliott Smith)
    6. Noise Machine (Chris Thile)
    7. The Watcher (Brad Mehldau)
    8. Daughter of Eve (Chris Thile)
    9. Fast As You Can (Fiona Apple)*
    10. Marcie (Joni Mitchell)
    11. Don't Think Twice It's Alright (Bob Dylan)
    12. Tabhair dom do Lámh (Ruaidri Dáll Ó Catháin)


    *Vinyl-only bonus track

    Chris Thile & Brad Mehldau
    $27.99
    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
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