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  • Greatest Hits I Greatest Hits I Quick View

    $35.99
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    Greatest Hits I

    Includes Queen's classic hits Another One Bites the Dust, Bohemian Rhapsody, Don't Stop Me Now and more. Released on 180-gram vinyl and featuring original artwork.
    LP 1
    1. Bohemian Rhapsody
    2. Another One Bites The Dust
    3. Killer Queen

    4. Fat Bottomed Girls

    5. Bicycle Race

    6. You're My Best Friend

    7. Don't Stop Me Now

    8. Save Me


    LP 2
    1. Crazy Little Thing Called Love [Remastered 2011]
    2. Somebody To Love

    3. Now I'm Here

    4. Good Old-Fashioned Lover Boy
    5. Play The Game

    6. Flash

    7. Seven Seas Of Rhye
    8. We Will Rock You
    9. We Are The Champions

    Queen
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Wayne's World Soundtrack Wayne's World Soundtrack Quick View

    $29.99
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    Wayne's World Soundtrack

    Platinum rock-driven soundtrack album from the 1992 Motion Picture Wayne's World. Album was originally released on CD 2/18/92 and is now set for release on vinyl in a 2 LP set. This album includes Queen - Bohemian Rhapsody, Black Sabbath - 'Time Machine and of course the Wayne & Garth's famous Wayne's World Theme. Party on!!
    LP 1
    1. Bohemian Rhapsody - Queen
    2. Hot And Bothered - Cinderella
    3. Rock Candy - Bulletboys
    4. Dream Weaver - Gary Wright
    5. Sikamikanico - Red Hot Chili Peppers
    6. Time Machine (Wayne's World Version) - Black Sabbath


    LP 2
    1. Wayne's World Theme (Extended Version) - Wayne And Garth
    2. Ballroom Blitz - Tia Carrere
    3. Foxy Lady - Jimi Hendrix
    4. Feed My Frankenstein - Alice Cooper
    5. Ride With Yourself - Rhino Bucket
    6. Loving Your Lovin' - Eric Clapton
    7. Why You Wanna Break My Heart - Tia Carrere

    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tenderness Junction Tenderness Junction Quick View

    $21.99
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    Tenderness Junction

    A classic of the original NYC freak-folk scene!


    The Fugs were the original outsider artists, releasing their first recordings on the legendary avant-garde label ESP-Disk' in the mid 1960s before signing to Reprise. Formed around the core of Ed Sanders and Tuli Kupferberg, The Fugs combined jug band music, smutty rock'n'roll, country ballads, Gregorian chants, canticles, and bohemian poetry into a stoned stew of anti-establishment freakouts! Now their first two albums for Reprise are available on vinyl for the first time since their original 1967-68 release.

    1. Turn on, Tune in, Drop Out

    2. Knock Knock

    3. Garden Is Open

    4. Wet Dream

    5. Hare Krishna

    6. Exorcising the Evil Spirits From the Pentagon Oct. 21, 1967

    7. War Song

    8. Dover Beach

    9. Fingers of the Sun

    10. Aphrodite Mass: I. Litany of the Street Grope

    11. Aphrodite Mass: II. Genuflection at the Temple of Squack

    12. Aphrodite Mass: III. Petals In the Sea

    13. Aphrodite Mass: IV. Sappho's Hymn to Aphrodite

    14. Aphrodite Mass: V. Homage to Throb Thrills

    The Fugs
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Get Cape Wear Cape Fly Get Cape Wear Cape Fly Quick View

    $28.99
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    Get Cape Wear Cape Fly

    Sam Duckworth is Get Cape Wear Cape Fly, the Southend-born troubadour who named his solo project after a solution from an old Batman adventure game. His home-made debut album, The Chronicles Of A Bohemian Teenager was released on Atlantic Records in 2006. He then enlisted Kate Nash and Billy Bragg to guest on his 2008 follow-up Searching For The Hows And Whys and became a leading figure in the political pop scene, helping to spark the new wave of modern folk heroes that's brought us Jamie T and Jack Peñate. This, his 11-song self-titled third album was released in September of 2010 and features guest-appearances by Shy FX and Baaba Maal. 180g audiophile vinyl.
    1. Hand Me Downs
    2. Collapsing Cities (feat. Shy FX)
    3. Nightlife
    4. All of This Is Yours (feat. Baaba Maal)
    5. Queen For A Day
    6. All Falls Down
    7. Where Will You Stand
    8. Stitch by Stitch (plus Interlude)
    9. The Uprising
    10. The Plot
    11. Morning Light
    Get Cape Wear Cape Fly
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rickie Lee Jones (Awaiting Repress) Rickie Lee Jones (Awaiting Repress) Quick View

    $34.99
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    Rickie Lee Jones (Awaiting Repress)

    Rickie Lee Jones on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Rickie Lee Jones' Hip, Jazzy Debut as Fresh Today As It Was in 1979


    Mastered from the Original Master Tapes: At Last, the Definitive-Sounding Edition of the Diversified Genre-Hopping Classic


    Coolsville: Music Combines Finger-Snapping Style, Beret-Wearing Artfulness, Bohemian Pop Know-How


    Double-Platinum Album Includes Top 10 Hit "Chuck E's In Love"


    Rickie Lee Jones was hip before hipsters came of age. Wearing a beret, exuding supreme cool, and visually demarcating herself as a member of a bohemian underground, her image on the cover of her self-titled debut says as much about the singer-songwriter as it does the music within the grooves. Uninterested in coloring within the lines, Jones steps out, a dreamer in the post-punk age, an adventurous drifter seemingly deaf to the noisiness of her era. No wonder the work remains one of the most impressive opening salvos in history.


    Mastered from the original master tapes, Mobile Fidelity's 180 gram LP edition of Jones' double-platinum 1979 smash finally gives listeners the ultimate version of this long-adored masterpiece. Always prized by audiophiles for its sonics, the record now breathes with a clearer air, with enhancements in dynamics, imaging, soundstaging, and frequency extension apparent seconds after the needle touches down on the opening grooves. Jones' singular, jazzy vocals-straddling territory between youthful surprise, street-smart sharp, and grown-up seriousness-take on stupendously lifelike qualities to the extent you can hear into her lungs.


    Emerging from a quiet Los Angeles scene that also laid claim to Tom Waits, a former love interest, Jones reflects an undiminished capacity for fusing folk, R&B, pop, jazz, and scatted word poetry on an effort that matches the flexibility and elasticity of the artist's creative approach. As if playing games of hide and seek, Jones often dances around conventional syllabic phrases, using her delivery to stretch language and vowels, turning in diction that's at once gorgeous and enterprising. She taps into a subtlety of texture and ambience well beyond her then 23-year-old age, inserting sly humor when apt, and never shying away from raw emotion.


    Renowned for the Top 10 hit "Chuck E's In Love," Rickie Lee Jones overflows with finger-snapping be-bop accents, funky cabaret melodies, bluesy bridges, soothing balladry, and even Westernized fills. Subdued complexities flavor the arrangements, expressly tailored for Jones' portrait-rich storytelling and character-driven narratives. Such diversity is on display on the metaphorical heartache of "Last Chance Texaco," reflective "Company," and corner-hangout musings of "Danny's All-Star Joint." Throughout, intricate guitar lines give listeners further reason to concentrate on the tunes. This one is simply a must-have.


    This title is not eligible for discount.

    1. Chuck E's In Love
    2. On Saturday Afternoons in 1963
    3. Night Train
    4. Young Blood
    5. Easy Money
    6. Last Chance Texaco
    7. Danny's All-Star Joint
    8. Coolsville
    9. Weasel and the White Boys Cool
    10. Company
    11. After Hours
    Rickie Lee Jones
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • A Night At The Opera (Awaiting Repress) A Night At The Opera (Awaiting Repress) Quick View

    $19.99
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    A Night At The Opera (Awaiting Repress)

    Ranked 230/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Nothing succeeds like excess, at least that's the case with Queen's breakthrough classic, A Night At The Opera. On one level, the title is a reference to the band's operatic pretensions as evidenced here on the classic Bohemian Rhapsody. It also happens to be the title of a Marx Brothers movie, and the reference isn't lost on Queen, who seldom scaled the heights of pomprock without a knowing wink. The album is remembered for its meticulously produced bombast, but the truth is that there's a wide variety of material here, from the gorgeous piano-based You're My Best Friend and the McCartneyesque 39, to the music-hall-style Lazing on a Sunday Afternoon and the pedal-to-the-metal rockers Death on Two Legs and I'm in Love with My Car. A Night at the Opera is widely considered to be the quintessential Queen album and justifiably so.


    This fall marks Queens return to studio recording for the first time in 13 years, to commemorate that occasion, Universal has created the Queen on Vinyl Collectors Edition re-issue program in which every Queen studio album is to be released on vinyl LPs over the next two years. The original albums are being re-issued correct in every detail to the original releases, including inner sleeves, packaging and bonuses.

    1. Death On Two Legs (Dedicated To...)
    2. Lazing On A Sunday Afternoon
    3. I'm In Love With My Car
    4. You're My Best Friend
    5. '39
    6. Sweet Lady
    7. Seaside Rendezvous
    8. The Prophet's Song
    9. Love Of My Life
    10. Good Company
    11. Bohemian Rhapsody
    12. God Save The Queen
    13. I'm In Love With My Car
    Queen
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Master Mix: Red Hot + Arthur Russell Master Mix: Red Hot + Arthur Russell Quick View

    $24.99
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    Master Mix: Red Hot + Arthur Russell

    Master Mix' embodies the genre-defying, experimental spirit that defined Russell's work. Living in the East Village from the '70s until his untimely death in 1992 at age 40 from AIDS-related causes, Russell moved effortlessly between the city's various music scenes, recording disco beats alongside Nicky Siano one night, and the next, crafting slow, haunting tracks in his apartment with his cello and idiosyncratic warbling voice. The New Yorker called his work "stranded between lands real and imagined: the street and the cornfield; the soft bohemian New York and the hard Studio 54 New York; the cheery bold strokes of pop and the liberating possibilities of abstract art." Through his collaborations, he earned the admiration of artists like Allen Ginsberg, David Byrne and Philip Glass, who said of Russell's music: "It does not submit to formula, but subverts the formula." The record features 26 tracks by more than 20 artists, including Hot Chip, Sufjan Stevens, Phosphorescent, Blood Orange, The Autumn Defense and Lonnie Holley, paying homage to Russell's boundless creativity and wide-ranging work, which swerved from electronic dance to folk to classical and resulted in what NPR hails as "catchy and hypnotic records that were far ahead of their time."
    1. Jose Gonzalez - "This Is How We Walk On The Moon"
    2. Lonnie Holley - "Soon-To-Be Innocent Fun (Interlude)"
    3. Robyn - "Tell You"
    4. Hot Chip - "Go Bang"
    5. Sufjan Stevens - "A Little Lost"
    6. Lonnie Holley - "In The Light Of The Miracle (Interlude)"
    7. Richard Reed Parry, Little Scream, Sam Amidon, Colin Stetson & Sarah Neufeld - "Keeping Up"
    8. Liam Finn, Ernie Brooks & Peter Zummo - "This Love Is Crying"
    9. Rubblebucket & Nitemoves - "Eli"
    10. The Revival Hour - "Hiding Your Present from You"
    11. Sam Amidon - "Lucky Cloud"
    12. Devendra Banhart - "Losing My Taste For The Night Life"
    13. Phosphorescent - "You Can Make Me Feel Bad"
    14. Blood Orange - "Is It All Over My Face & Tower Of Meaning"
    15. Scissor Sisters - "That's Us/Wild Combination"
    16. VEGA INTL. - "Arm Around You"
    17. Oh Mercy - "Planted A Thought"
    18. Lonnie Holley - "Hop On Down (Interlude)"
    19. Cults - "Being It"
    20. Richard Reed Parry - "Just A Blip"
    21. Glen Hansard - "I Couldn't Say It To Your Face"
    22. Thao & The Get Down Stay Down - "Nobody Wants A Lonely Heart"
    23. The Autumn Defense - "Oh Fernanda Why"
    24. Alexis Taylor - "Our Last Night Together"
    25. Lonnie Holley - "The Deer In The Forest (Interlude)"
    26. Redding Hunter - "Close My Eyes"
    Various Artists
    $24.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Rickie Lee Jones (Box Set) (Awaiting Repress) Rickie Lee Jones (Box Set) (Awaiting Repress) Quick View

    $59.99
    Buy Now
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    Rickie Lee Jones (Box Set) (Awaiting Repress)

    Rickie Lee Jones on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Rickie Lee Jones' Hip, Jazzy Debut as Fresh Today As It Was in 1979


    Mastered from the Original Master Tapes and Stretched Out Across 45RPM Grooves: At Last, the Definitive-Sounding Edition of the Diversified Genre-Hopping Classic


    Coolsville: Music Combines Finger-Snapping Style, Beret-Wearing Artfulness, Bohemian Pop Know-How


    Double-Platinum Album Includes Top 10 Hit "Chuck E's In Love"


    Rickie Lee Jones was hip before hipsters came of age. Wearing a beret, exuding supreme cool, and visually demarcating herself as a member of a bohemian underground, her image on the cover of her self-titled debut says as much about the singer-songwriter as it does the music within the grooves. Uninterested in coloring within the lines, Jones steps out, a dreamer in the post-punk age, an adventurous drifter seemingly deaf to the noisiness of her era. No wonder the work remains one of the most impressive opening salvos in history.


    Mastered from the original master tapes, Mobile Fidelity's 180 gram 45RPM 2LP edition of Jones' double-platinum 1979 smash finally gives listeners the ultimate version of this long-adored masterpiece. Always prized by audiophiles for its sonics, the record now breathes with a clearer air, with enhancements in dynamics, imaging, soundstaging, and frequency extension apparent seconds after the needle touches down on the opening grooves. Jones' singular, jazzy vocals-straddling territory between youthful surprise, street-smart sharp, and grown-up seriousness-take on stupendously lifelike qualities to the extent you can hear into her lungs. The slower speed enriches all of the information contained within the grooves.


    Emerging from a quiet Los Angeles scene that also laid claim to Tom Waits, a former love interest, Jones reflects an undiminished capacity for fusing folk, R&B, pop, jazz, and scatted word poetry on an effort that matches the flexibility and elasticity of the artist's creative approach. As if playing games of hide and seek, Jones often dances around conventional syllabic phrases, using her delivery to stretch language and vowels, turning in diction that's at once gorgeous and enterprising. She taps into a subtlety of texture and ambience well beyond her then 23-year-old age, inserting sly humor when apt, and never shying away from raw emotion.


    Renowned for the Top 10 hit "Chuck E's In Love," Rickie Lee Jones overflows with finger-snapping be-bop accents, funky cabaret melodies, bluesy bridges, soothing balladry, and even Westernized fills. Subdued complexities flavor the arrangements, expressly tailored for Jones' portrait-rich storytelling and character-driven narratives. Such diversity is on display on the metaphorical heartache of "Last Chance Texaco," reflective "Company," and corner-hangout musings of "Danny's All-Star Joint." Throughout, intricate guitar lines give listeners further reason to concentrate on the tunes. This one is simply a must-have.


    This title is not eligible for discount.

    1. Chuck E's In Love
    2. On Saturday Afternoons in 1963
    3. Night Train
    4. Young Blood
    5. Easy Money
    6. Last Chance Texaco
    7. Danny's All-Star Joint
    8. Coolsville
    9. Weasel and the White Boys Cool
    10. Company
    11. After Hours
    Rickie Lee Jones
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Suicide Squad: The Album Suicide Squad: The Album Quick View

    $27.99
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    Suicide Squad: The Album

    SUICIDE SQUAD: THE ALBUM is as wildly diverse as the Suicide Squad itself, showcasing new and previously unreleased material from some of the most commendable artists in contemporary music. Other highlights include tracks from such unprecedented assemblages as Action Bronson & Dan Auerbach (of The Black Keys) [Feat. Mark Ronson], and Skrillex & Rick Ross. What's more, SUICIDE SQUAD: THE ALBUM also features new songs from Kevin Gates, Kehlani, Skylar Grey, Grimes and Panic! At The Disco (who offer up an astounding rendition of Queen's classic Bohemian Rhapsody). In addition to these new tracks, the album features musical classics from War and Creedence Clearwater Revival, as well as Eminem's timeless anthem Without Me and a modern rendition of Leslie Gore's classic You Don't Own Me by Grace and contemporary superstar G-Eazy. The album also features the first full-length version of the ConfidentialMX (Feat. Becky Hanson) cover of I Started A Joke, which was featured in the Suicide Squad Comic-Con trailer, named one of the most-watched trailers of 2015 with over 136 million views since its release.


    SUICIDE SQUAD: THE ALBUM was produced by Atlantic Records President of Film & TV and GRAMMY® Award-winning soundtrack producer Kevin Weaver (Furious 7, Boardwalk Empire, The Fault In Our Stars, CREED, Girls Volumes 1 & 2, True Blood Volumes 1 & 2) and Creative Officer of Warner Music Group and CEO of both Artist Publishing and Partner Groups, Mike Caren, who recently co-A&Red the Furious 7 soundtrack with Weaver, and has been responsible for signing more than twenty Gold and Platinum-selling artists including Trey Songz, T.I., Flo Rida and Wiz Khalifa.

    1. Purple Lamborghini (Skrillex & Rick Ross)
    2. Sucker For Pain (Lil Wayne, Wiz Khalifa & Imagine Dragons [feat. with Logic, Ty Dolla $ign & X Ambassadors])
    3. Heathens (twenty one pilots)
    4. Standing In The Rain (Action Bronson, Mark Ronson & Dan Auerbach [of The Black Keys])
    5. Gangsta (Kehlani)
    6. Know Better (Kevin Gates)
    7. You Don't Own Me (Grace [feat. G-Eazy])
    8. Without Me (Eminem)
    9. Wreak Havoc (Skylar Grey)
    10. Medieval Warfare (Grimes)
    11. Bohemian Rhapsody (Panic! At The Disco)
    12. Slippin' Into Darkness (War)
    13. Fortunate Son (Creedence Clearwater Revival)
    14. I Started a Joke (ConfidentialMX [feat. Becky Hanson])
    Various Artists
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pirates (Awaiting Repress) Pirates (Awaiting Repress) Quick View

    $34.99
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    Pirates (Awaiting Repress)

    Rickie Lee Jones Pirates On Numbered Limited-Edition 180-gram LP From Mobile Fidelity. Singer-Songwriters gorgeous-sounding 1981 album finally remastered!


    Rickie Lee Jones' Pirates arrives like a cloudburst in the desert of Eighties formula pop music and recycled heavy-metal rock. So wrote Stephen Holden in Rolling Stone in his five-star review of the eclectic artists sophomore album, a set that continues to defy eras and styles. While less-well known than her 1979 self-titled debut, the ambitious 1981 record remains Jones definitive statementan effort steeped in biographical details, fictional circumstances, and classic literary elements.


    Narratively blending West Side Story and Romeo and Juliet while also exploring spirit worlds and her breakup with Tom Waits, Pirates is at its core an idiosyncratic fusion of possibilities. And does Jones deliver! Accompanied by an all-star lineup that includes trumpeter Randy Brecker, Steely Dan icon Donald Fagen, drumming colossus Steve Gadd, session pro Victor Feldman, and legendary jazz arranger Ralph Burns, the singer-songwriter achieves a musical nirvana that encompasses post-bop, coffeehouse folk, bohemian pop, romantic soul, Beat poetry, and Broadway showtunes.


    Harmonized vocals and jive talking bring the piano-based records rich characters to life, making it seem as if listeners are overhearing conversations between strangers. In more than one way, Pirates is a self-contained theatrical production in which Jones singing is the star attraction. Her moody whispers, cries, and coos are the voices of spurned lovers, alienated outcasts, and unlikely heroines. Albums with this kind of stylistic magnitude, close-up intimacy, and emotional intensity come around only once or so a decade.


    Mobile Fidelity is proud to have had the opportunity to remaster Pirates from the original analog master tapes and produce a version that captures every nuance of this great-sounding studio masterpiece. Co-produced by Russ Titelman and Lenny Waronker (whose long list of credits include Randy Newman, James Taylor, and Eric Clapton records), trust us when we say that this 180-gram LP is one of the finest-sounding pop records youll hear. Fans of Steely Dan, Joni Mitchell, Randy Newman, Carole King, and Sarah Vaughan should consider this requisite listening. MoFis mini-LP style packaging only adds to the allure.


    So dont hesitate: Be the Lucky Guy that Jones sings about on the record by securing your lowest-numbered copy of Mobile Fidelitys half-speed mastered LP of Pirates today!


    This title is not eligible for discount.

    1. We Belong Together
    2. Living It Up
    3. Skeletons
    4. Woody and Dutch on the Slow Train to Peking
    5. Pirates (So Long Lonely Avenue)
    6. A Lucky Guy
    7. Traces of the Western Slopes
    8. The Returns
    Rickie Lee Jones
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bloomed Bloomed Quick View

    $19.99
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    Bloomed


    Remastered


    Includes CD With Bonus Tracks


    The March entry in our 25th anniversary reissue series is Bloomed, the 1994 debut album
    from Richard Buckner. The album will be remastered and released on 180-gram
    vinyl and will include a CD containing 11 bonus tracks of radio sessions, live
    performances, and original recordings of songs that appeared on future releases.
    Spin magazine described Buckner as "equal parts Bay Area bohemian and dust bowl
    traditionalist" and named Bloomed one of its best albums of 1994, while Pitchfork
    wrote, "It's a traditional outsider-country record in the lineage of Townes Van Zandt.
    Buckner's voice is all honey and oak, his guitar style elaborately twanging, his constant
    subject matter heartache."


    Richard Buckner provides some background on the album:


    Bloomed was originally (erroneously?) released on an unnamable German label in 1994.
    I was living in San Francisco at the time, having just moved out of a residential hotel
    and into the 1906 hilltop prefab that adorns the cover. At the time, I was heading a
    band called The Doubters. We were playing high profile events such as The Covered
    Wagon Saloon's Musical Barstools, but weren't making much headway. We had been
    turned down consistently every year by SXSW, but I was somehow finagled in as
    an unannounced guest onto an already unofficial SXSW showcase created by Butch
    Hancock at his gallery in downtown Austin. There, I met up again with Lloyd Maines,
    who agreed to produce my first record.


    Maines and I met in Lubbock, TX, a few months later, where we worked with
    Lubbock musicians in a small recording studio walled in wooden shingles Sharpied
    with bible passages from various church groups that also enjoyed working there.
    It was 112°F the morning I arrived under the suspicious (Californians are merely
    B-grade yankees) gaze of downtown's Buddy Holly statue. That first night there, it
    hailed so hard that heaven's angry pellets were storming in under my motel door. It
    only let up for a few moments that first night, allowing me to run across the street to
    get a butter burger and fries to go. We finished four days later and I flew back to San
    Francisco, dismembered the band, and embarked on a tour that would last about 20
    years (or a few days, if you count what I actually remember).


    Nothing's changed. I'm still dodging the sky and busking to strangers.

    LP
    1. Blue and Wonder
    2. Rainsquall
    3. 22
    4. Mud
    5. Six Years
    6. This is Where
    7. Gauzy Dress in the Sun
    8. Daisychain
    9. Desire
    10. Up North
    11. Surprise, AZ
    12. Cradle to the Angel


    CD
    1. The Last Ride
    2. Settled Down
    3. The Worst Way
    4. Emma
    5. Hutchinson (Recorded in 1995 at Black Eyed Pig in San Francisco by Kyle Statham)
    6. Surprise, AZ (Recorded in 1996 at World CafÉ)
    7. Blue and Wonder (Recorded in 1997 at KCRW)
    8. Still Lookin For You-Townes Van Zandt (Recorded in 1997 at World CafÉ)
    9. Up North
    10. Six Years
    11. Gauzy Dress in the Sun (Recorded live at The Starry Plough, Berkeley CA 2/25/1995)

    Richard Buckner
    $19.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Then It All Came Down Then It All Came Down Quick View

    $18.99
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    Then It All Came Down

    Then It All Came Down is J.R. Robinson s second long-form composition as Wrekmeister Harmonies. Employing an enormous ensemble of some of Chicago s best talents in the metal and experimental communities, including Wrest (Leviathan), Ryley Walker, and members of Indian, Corrections House, Twilight, Yakuza, Anatomy of Habit, Come, Mind Over Mirrors, and Bloodiest, Robinson has created a work that is equally gorgeous and menacing. The CD edition also includes 2013 s You ve Always Meant So Much To Me (on CD for the first time), bringing the total running time to over 73 minutes. Few artists have perfected the nuances of beauty as well as annihilation, and Robinson s mastery of both sides of the spectrum makes his a unique voice in the field of doom. J.R. Robinson perceives life as a long, gradual process of decay. Lightness fades into darkness, while innocence succumbs to the evils of modern society. His music reflects not only this worldview but his emotional response to it. Then It All Came Down is an exploration of that existential deterioration and an attempt at attaining a deeper understanding of its process. Then It All Came Down opens with a low, soft drone, creeping in almost imperceptibly. Bells chime as more tonal voices emerge from the ether, Walker s acoustic guitar echoing in the abyssal soundscape. Several women sing as sirens: Beautiful Sun. The piece is inspired by and takes its name from an essay written by Truman Capote following his interview with Manson-associate Bobby Beausoleil (which translates as beautiful sun ), whose dangerous spirit and embodiment of occult ideals offer an extreme example of the light into dark transition the piece explores. As the soft drones and angelic voices are replaced with threatening rumbles of distortion and low cackles courtesy of Wrest, an overwhelming sense of unease permeates the piece s atmosphere, only a harbinger of what is to come. When the piece does explode into crushing howls and heavy doom, all semblance of tranquility and stillness, the light, the peace, is exterminated. Then It All Came Down was debuted at the Bohemian National Cemetery in Chicago under a full moon in July of 2013, the first in a continuing yearly series called Beyond The Gate. The series continued in 2014 with a debut of another new Wrekmeister composition which will be released in early 2015. Wrekmeister Harmonies will continue to bring large-scale productions involving a rotating cast of guest musicians to unconventional performance spaces throughout 2014-15, and has a future collaboration planned with The Body. An essay by Robinson about Beausoleil s influence on Charles Manson and his ideological lineage from Alastair Crowley is available for deeper insights into Robinson s fascination with the controversial cult figure.
    1. Then It All Came Down
    Wrekmeister Harmonies
    $18.99
    Vinyl LP - Sealed Buy Now
  • Songs Of Anarchy: Vol. 4 - Season 7 (Picture Disc) Songs Of Anarchy: Vol. 4 - Season 7 (Picture Disc) Quick View

    $49.99
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    Songs Of Anarchy: Vol. 4 - Season 7 (Picture Disc)

    SOA Exclusive Deluxe Two-LP Picture Disc Presentation!


    Celebrate Sons Of Anarchy With The Final Rockin' Volume Of The Critically Acclaimed Television Show & Soundtrack


    2 Stellar Picture Disc LP Set Featuring Performances From Ed Sheeran, Billy Valentine, Katey Sagal, Amos Lee, The White Buffalo & The Forest Rangers


    Mastered Impeccably By Joe Reagoso


    A Final Chapter To One Of The Most Acclaimed Television Series In Decades!!!


    Songs of Anarchy Volume 4 - Music from Season 7 features a stunning collection of revered performances from the hard-hitting and award-winning Fox television show.


    To celebrate one of the most captivating biker drama series ever, Friday Music once again enhances your music pleasure with the exciting and exclusive picture disc release of this stellar soundtrack album. This limited edition double picture disc album contains the final season soundtrack and features a plethora of classic tunes and fan favorites.


    Featuring superstar Ed Sheeran delivering his smash hit Make It Rain, Amos Lee's brilliant interpretation of Bob Dylans' Boots Of Spanish Leather, the soul legend Billy Valentine hitting an all time high with All Along The Watchtower and of course The Forest Rangers/White Buffalo rocking rendition of Queen's Bohemian Rhapsody all add to the excitement of this trail blazing television series that continues to thrill its millions of fans worldwide.


    As with our previous audiophile vinyl editions SOA Volume 1 and SOA Volume 2 & 3, this collection features the Golden Globe® Award winning actress/singer Katey Sagal. Performing with The Forest Rangers, her stellar voice is featured on a standout performance of Greensleeves.


    This amazing double picture discs album is the last in a deluxe series of a limited edition Vinyl releases from the Sons Of Anarchy television soundtrack series with Friday Music.
    For a very limited time, Songs of Anarchy Volume 4 - Season 7 will be presented on a stellar 2 LP Picture Disc set, with stunning graphics featuring photos of all your favorite SOA actors like Charlie Hunnam, Katey Sagal, Ron Pearlman, Maggie Siff, Mark Boone Junior and other greats as you will remember from this incredible series created by Kurt Sutter.


    Songs of Anarchy Volume 4 - Season 7 12 tracks of rock & blues power on first-time Picture Disc vinyl courtesy of the Sons Of Anarchy and Friday Music.

    LP 1
    1. Bohemian Rhapsody - The Forest Rangers (feat. The White Buffalo, Billy Valentine & Franky Perez)
    2. Never My Love - Audra Mae & The Forest Rangers (feat. Billy Valentine)
    3. The Age Of Aquarius / Let The Sun Shine In - Joshua James & The Forest Rangers (feat. Billy Valentine)
    4. Greensleeves - Katey Sagal & The Forest Rangers
    5. All Along The Watchtower - Billy Valentine & The Forest Rangers
    6. Make It Rain - Ed Sheeran


    LP 2
    1. Baby, Please Don't Go - Franky Perez & The Forest Rangers
    2. Blue Angel - Billy Valentine & The Forest Rangers
    3. All Along The Watchtower (Instrumental) - The Forest Rangers (feat. Gabe Witcher)
    4. Can't Help Falling In Love - Franky Perez & The Forest Rangers
    5. Boots Of Spanish Leather - Amos Lee & The Forest Rangers
    6. Come Join The Murder - The White Buffalo & The Forest Rangers

    Various Artists
    $49.99
    Vinyl LP Picture Disc - 2 LPs Buy Now
  • Ma Vlast (Speakers Corner) Ma Vlast (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Ma Vlast (Speakers Corner)

    Smetana's symphonic poem "Má Vlast" consists of several individual compositions which the composer put together at a later date to form a cycle and is one of the greatest testimonies to Czech national music. The Bohemian countryside and sagas are reflected in the tone poem From "Bohemia's Woods and Fields", while the programmatic "Moldau" occupies a rightful place among the most outstanding works to have been written in the late 19th century. Thanks to its popular folk melodies, its clearly structured and recognizable "programme", and brilliant orchestration, the work has never failed to arouse the enthusiasm of a wide public.



    Rafael Kubelik conducted numerous first-class orchestras both in the concert hall and in the recording studio, and won a deserved reputation as the Smetana connoisseur. He is to be congratulated on his choice of the Vienna Philharmonic Orchestra for this recording: gentle and transparent in the gossamer-light orchestral passages, powerful and smooth when playing as a full tutti. This thoroughly satisfying performance is further enhanced by its excellent recording technique and is to be recommended to all collectors.





    Musicians:



    • The Vienna Philharmonic Orchestra

    • Rafael Kubelik (conductor)




    Recording: April 1958 at Sofiensaal, Vienna by Gordon Parry

    Production: Eric Smith




    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. Vysehrad
    2. Vltava (Moldau)
    3. Sarka
    4. From Bohemia's Meadows and Forest
    5. Tabor
    6. Blanik
    Rafael Kubelik with Vienna Philharmonic Orchestra
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Bringing It All Back Home (Awaiting Repress) Bringing It All Back Home (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Bringing It All Back Home (Awaiting Repress)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Numbered, Limited Edition


    Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?


    More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • White Eyes White Eyes Quick View

    $21.99
    Buy Now
    x

    White Eyes

    Hailing from the Show-Me State, White Eyes lugged their heavy psych and harmony-clad ballads across the Midwest, honing their live set wherever audiences were abundant. Whether it be the famed Cowtown Ballroom in Kansas City or the nearest American Legion, the quintet of long-haired bohemians loaded a double bass drum set, a wall of Marshall amplifiers, and a array of acoustic guitars into their 1953 Cadillac hearse to deliver their impeccable stage show across the plains.


    Despite years of relentless gigging, White Eyes never caught their break. This previously issued LP, recorded between the fall of 1969 and 1970, was originally intended as a demo for talent buyers and industry prospectors. Well-crafted arrangements and pro-sounding production make this an exceptional piece of
    lost psychedelic pop.

    1. It's For You
    2. Streetcar Love
    3. Rider
    4. October
    5. I Know What It's Like
    6. Hard Hard Livin'
    7. A Girl On A Hill
    8. I'm Not A Free Man
    White Eyes
    $21.99
    Vinyl LP - Sealed Buy Now
  • Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner)

    The Cello Concerto op. 104 is the last orchestral piece Dvorák wrote during his stay in America. Unlike his Ninth Symphony which borrowed folkloric themes from the New World, the charming Cello Concerto reveals Dvorák's yearning for his Bohemian homeland.



    This piece demands masterly playing and interpretation from the soloist which is enhanced by a sumptuous sound in the strings and explosive brass. Dvorák reaches back to various musical passages from the first and second movements in the finale and so illustrates his style of composition in his later works.
    Yearning for the Old World must have motivated George Szell to briefly leave his adopted home, the USA, in order to set down this late-Romantic musical gem together with the master cellist Pierre Fournier and the Berlin Philharmonic.



    The artists were obviously inspired by this favourable constellation during the recording which sets the standards for artistic quality and perfection of sound technology. Indeed, this LP is among the most successful classical productions of the Sixties. Thirty years on, this recording is just as popular as it ever was.



    Recording: June 1961 at the Jesus-Christus-Kirche, Berlinby GÜnter Hermanns / Hans Weber





    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.

    Dvorák: Concerto for Violoncello and Orchestra
    Pierre Fournier and the Berlin Philharmonic Orchestra conducted by George Szell
    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ceremony Ceremony Quick View

    $18.99
    Buy Now
    x

    Ceremony

    It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.


    You want to talk about compromises? No. Nor does Anna Von Hausswolff.


    These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.


    Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.


    "I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."


    Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."


    That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."


    He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.


    "This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."

    1. Epitaph of Theodor
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • Lunch. Drunk. Love. (Awaiting Repress) Lunch. Drunk. Love. (Awaiting Repress) Quick View

    $16.99
    Buy Now
    x

    Lunch. Drunk. Love. (Awaiting Repress)

    In today's disposable music industry, a twenty year career is something almost unheard of. It takes a band with a big heart, a loyalty to one of the most varied group of fans ever and just a sheer love of making people smile to do it properly. It takes a band from Texas...that band is Bowling For Soup.


    Produced by Jarinus (Linus of Hollywood and Jaret Reddick), Lunch. Drunk. Love. is a completely fan funded album through PledgeMusic. The band were able to include their fans on the entire process from demos to recording and even allowed the fans to name the album through an online poll!
    With heartfelt breakup songs like 'Since We Broke Up' and 'Envy,' upbeat pop-culture / name dropping songs that ONLY BFS can pull off such as 'Normal Chicks,' and a surprising cover of the Edie Brickell and the New Bohemians song 'Circle,' this could actually prove to be Bowling For Soup s most well rounded album to date...And it's number freakin 14 for these dudes!

    1. Critically Disdained
    2. Since We Broke Up
    3. Real
    4. And I Think You Like Me Too
    5. Envy
    6. I Am Waking Up Today
    7. Circle
    8. Right About Now
    9. Couple of Days
    10. Kevin Weaver
    11. Rooftops
    12. How Far This Can Go
    13. Normal Chicks
    Bowling For Soup
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bringing It All Back Home (Mono) Bringing It All Back Home (Mono) Quick View

    $49.99
    Buy Now
    x

    Bringing It All Back Home (Mono)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound, Original Mono Mix, Meticulously Mastered


    Strictly Limited to 3,000 Copies


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Bring it all back home - in mono. Originally designed by the artist for mono listening, Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It's a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is humbled to have the privilege of mastering the iconic album on its world-renowned mastering system and pressing it on 45RPM LPs at RTI in its original mono format. Strictly limited to just 3,000 copies, the end result is the very finest, most transparent analog mono edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album's you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    Since Bringing It All Back Home features the most instrumentation Dylan implemented in arrangements at that stage of his career, the set is undoubtedly vivid in stereo - particularly the electric half. Yet the Minnesota native paid particular attention to the mono mix, which here presents Dylan with unparalleled directness. The record's second half sounds especially genuine, lifelike, and intimate in mono. It paints listeners an incredibly accurate portrait of the attention-getting mass of acoustic-based sound - and features no artificial panning or echo chamber of its stereo counterpart. Instead, you are immersed right into the music.


    Indeed, the sonics on this Mobile Fidelity reissue are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia's Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fans into a tizzy.


    More than 50 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who's privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music's imprisoning rules and bounding restrictiveness - and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever made. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggie's Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan's attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Ranked 31 on Rolling Stone's list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don't come more vetted. You deserve to experience the mono edition in the finest-possible quality, just as Dylan intended.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • A Night At The Odeon: Hammersmith 1975 (Deluxe Edition) A Night At The Odeon: Hammersmith 1975 (Deluxe Edition) Quick View

    $149.99
    Buy Now
    x

    A Night At The Odeon: Hammersmith 1975 (Deluxe Edition)

    This Deluxe Edition Includes CD, DVD, Blu-Ray and 12 Vinyl


    This Hammersmith Christmas concert was the culmination of the 26-date 'Queen invites you to A Night At The Opera' UK tour of 1975, and was the last show of a very eventful and exciting year for Queen.


    Queen - A Night at the Odeon - Hammersmith 1975, the show which marked the live debut of the band's "Bohemian Rhapsody" while the song was in the midst of its nine-week reign atop the U.K. charts, remains a pivotal moment in Queen's history.


    "This concert was very special because it was the first time we ever played a whole show completely live on TV the Christmas Show," guitarist Brian May reflected in a press release. "The quality, after great rescue work and transfer into the digital domain, is amazing. And the energy we had comes across very forcefully."
    --www.ultimateclassicrock.com

    LP
    1.Bohemian Rhapsody
    2.Now I'm Here


    CD
    1. Now I'm Here
    2. Ogre Battle
    3. White Queen (As It Began)
    4. Bohemian Rhapsody
    5. Killer Queen
    6. The March Of The Black Queen
    7. Bohemian Rhapsody (Reprise)
    8. Bring Back That Leroy Brown
    9. Brighton Rock
    10. Guitar Solo
    11. Son And Daughter
    12. Keep Yourself Alive
    13. Liar
    14. In That Lap Of The Gods Revisited
    15. Big Spender
    16. Jailhouse Rock Medley
    17. Seven Seas Of Rhye
    18. See What A Fool I've Been
    19. God Save The Queen

    Queen
    $149.99
    Vinyl LP + CD+ DVD + Blu-Ray - Sealed Buy Now
  • Frames Frames Quick View

    $16.99
    Buy Now
    x

    Frames

    The debut Brian Haas & Matt Chamberlain album Frames features 11 instrumental compositions that spiral through the tempered scale. A through-composed work for piano and percussion, it was written entirely by Haas, the internationally renowned pianist and founder of Jacob Fred Jazz Odyssey. Now based in Santa Fe, Haas wrote Frames as a suite, equally influenced by stride piano masters Earl Hines, James P. Johnson and Fats Waller; the early minimalist works of Philip Glass and Steve Reich; and the lush aesthetic of modernists James Blake, Flying Lotus and Nigel Godrich. The music is pastoral, intensely melodic and tells the story of an imagined human life.


    "After several years of non-stop touring with my band Jacob Fred Jazz Odyssey I felt completely drained," explains Haas. "I was pulled to move to the high desert and mountains of Sante Fe; the space/distance from the road, the unearthly view from my house and the strange hum of my new surroundings inspired this music. What started as an exercise in all 12 keys turned into Frames."


    Brian Haas has recorded 21 albums and toured the world for two decades with Jacob Fred Jazz Odyssey, a band he started while a student at The University of Tulsa. Grammy Award-winning drummer Matt Chamberlain is one of the most revered musicians of his time having toured and recorded with the likes of Brad Mehldau, Edie Brickell & The New Bohemians, Critters Buggin, Tori Amos, Bill Frisell and Frank Ocean among others.

    1. Birth
    2. Open Windows
    3. Death: An Introduction
    4. Prism
    5. Of Many, One
    6. Niche
    7. Drive
    8. Death: An Observation
    9. Closing Window
    10. An Empty House
    11. From Nothing, Infinite
    Brian Haas & Matt Chamberlain
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Second Album The Second Album Quick View

    $24.99
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    The Second Album

    Back in 1995, Bay Area rap was at the big-ballin' peak of the mobb music craze, LA was chronically gripped in a G-funk indo smoke haze, Atlanta was
    enjoying its Southernplayalistic days, and NYC was entering a shiny-suit phase. There was no frame of reference for two lyrical emcees experimenting
    with the tonality and resonance of rhyme patterns. This was uncharted territory. The pairing of Lyrics Born and Lateef the Truthspeaker into Latyrx was an accident, LB recalls. Both emcees were solo artists, but when LB heard the pre-Endtroducing DJ Shadow beat which would become Latyrx' eponymous debut single, his reaction was, Oh my God, I gotta get on this.


    Latyrx was a syllabic tour de force which began with two dissonant voices -- one gruff and bassy, the other higher-pitched and trebly, both hella fluid -- it
    transmogrified into a harmonic convergence of doubled verses simultaneously assaulting eardrums. Undeniably, it was great... but weird. It was ill,
    Lateef recalls. We really felt like we had something unlike anyone else had done, he adds. Latyrx' first and thusfar, only, full-length, 1997's Latyrx: the Album, set the tone for what Solesides and Quannum would do, LB recalls, while 1998's Muzappers Re-Mixes EP spawned one of the only feminist-affirming club bangers in hip-hop history, Lady Don't Tek No.


    Though Latyrx never officially broke up, after Muzappers, both members followed their chosen paths to considerable solo success. Yet no matter how
    much acclaim each attained individually, the notion of someday making another Latyrx record was always present. It's probably the number one thing I
    got asked about in my career, LB says. 16 years (!) after the release of Latyrx: the Album, LB and Lateef have finally answered the prayers of long-starved fans who have begged, pleaded and, by now, tweeted about the possibilities of a reunion. An impromptu Latyrx set at a 2010 Jazz Mafia concert at San Francisco's Mezzanine led to an
    appearance at 2011's Outside Lands festival, Google's Summer Concert Series (they were the first ever hip-hop act to perform) and a last minute
    appearance as part of HITRECORD At The Movies -- a unique film and music traveling showcase curated and hosted by actor and artist Joseph Gordon-
    Levitt.


    Most recently the duo have performed at the Wintersalt Festival in San Francisco last December and toured the United States with super funk group,
    Galactic. Having just released a brand new EP titled 'DISCONNECTION' late last year, LB & Lateef are hard at work on the proper follow up to their debut album, a
    new record aptly titled, 'THE SECOND ALBUM'.


    Featuring a long list of producers and special guests, the album credits read like a music festival with artists from Tune Yards and Forrest Day to
    Blackalicious and The Decemberists stepping in to help create one of the most highly anticipated records of all time. What Latyrx brings to the table is a technical difficulty level rare these days in hip-hop and matched only by a few groups in the genre's entire history: Run -DMC, Jurassic 5, Blackstar, Freestyle Fellowship. Their challenging, intricate back-and forth arrangements evoke a lyrical version of bebop, with layer
    upon layer of rhythmic syncopation and vocal patterning constantly pushing the envelope.


    We have a good chemistry and it's kind of unique, Lateef says. We step up each others' game content, and both of us push each other in the originality
    department. What we've talked about is very simply, picking up where we left off, LB explains. The return of Latyrx stands as Very Good News for true hip-hop fans,
    lyrical aficionados, boom-bap beatniks, urban bohemians, wee tots in Reeboks, and Muzappers of all shapes, sizes, colors, and ages.

    1. Arrival [prod. by Jel of Anticon]
    2. It's Time [feat. Zion I, prod. by Amp Live]
    3. Reload [prod. by Jel of Anticon]
    4. Exclamation Point [feat. Forrest Day, prod. by Forrest Day]
    5. Deliberate Jibberish [prod. by tUnE-yArDs]
    6. Close Your Eyes [feat. Busdriver, prod. by Antonionian]
    7. Nebula's Eye [feat. 1-O.A.K. & Joyo Velarde, prod. by G-Koop & O-Man]
    8. The Power of Rumor (Leonard Is Lost) [prod. by Adam Theis and Lyrics Born]
    9. Watershed Moment [feat. The Gift of Gab of Blackalicious, prod. by tUnE-yArDs]
    10. Sometimes Why? [prod. by Chris Funk of The Decemberists]
    11. Every Man For Himself [feat. Joyo Velarde, prod. by Future People]
    12. Electric Chair [feat. Corey Glover of Living Colour, prod. by Kaveh Rastegar & Jeremy Ruzumna]
    13. Gorgeous Spirits (Aye, Let's Go!) [prod. by The Bangerz]
    Latyrx
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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