- Lowest Price
- Highest Price
Born To Play Guitar'
Born To Play Guitar (Awaiting Repress)2 LP Set From Buddy Guy, The legendary Award Winning Blues Icon.
The follow-up to his 2013 double disc release, Rhythm & Blues, which debuted at #1 on Billboard's Top Blues Albums chart. Born To Play Guitar is produced by Grammy Award winning producer/songwriter and Buddy's longtime collaborator Tom Hambridge. The recent recipient of the 2015 Grammy Lifetime Achievement Award, Buddy Guy's incredible career spans over 50 years with just as many albums released. Career highlights include 7 Grammy Awards, 28 Blues Music Awards, Kennedy Center Honors, NARM Chairman's Award for Sustained Creative Achievement, Billboard Music Awards' Century Award for distinguished artistic development, Presidential National Medal of Arts, and induction into the Rock and Roll Hall of Fame to name a few.LP1
1. Born To Play Guitar
2. Wear You Out
3. Back Up Mama
4. Too Late
5. Whiskey, Beer & Wine
6. Kiss Me Quick
7. Crying Out Of One Eye
8. (Baby) You Got What It Takes
1. Turn Me Wild
2. Crazy World
3. Smarter Than I Was
4. Thick Like Mississippi Mud
5. Flesh & Bone
6. Come Back Muddy$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Born Under A Bad SignBorn Under a Bad Sign is the second studio album by Albert King, originally released in 1967. It is composed of singles released by King recorded between March 3, 1966, and June 9, 1967, with additional studio tracks. Providing accompaniment to Albert King, who sang and played lead guitar, were the Stax in-house recording session band, Booker T. & the MG's, featuring the Memphis Horns.1. Born Under A Bad Sign
2. Crosscut Saw
3. Kansas City
4. Oh, Pretty Woman
5. Down Don't Bother Me
6. The Hunter
7. I Almost Lost My Mind
8. Personal Manager
9. Laundromat Blues
10. As The Years Go Passing By
11. The Very Thought Of You$21.99Vinyl LP - Sealed Buy Now
Queen Of The Flat Top GuitarThis is a collection of impossibly rare recordings from legendary finger-picker Lena Hughes. A musical amateur that best exemplified true artistry, Lena Hughes was born in Grape Grove Township, Missouri, in 1904. Though she never recorded any 78s and only one LP, Hughes was most influential through her steady performances at various fiddler conventions and folk festivals throughout the Ozarks. She was an excellent fiddler, banjoist and guitar picker who retained the largely extinct repertoire of parlor pieces and the variety of specialized tunings that were necessary to play them.
Lena Hughes' repertoire can be devided roughly in half: finger-picked numbers adapted from fiddle tunes and recast parlor guitar pieces gleaned from popular sentimental songs, hymns and 19th century airs. As a faithful attendee at folk festivals, Hughes was accompanied by her guitar-playing husband, Jake. Her most mesmerizing performances, such as Pearly Dew, Spanish Fandango and Kentucky Moon Waltz depend heavily upon resonance of the open chord as it relates to the picking of the melodic line, primarily on one string. This ethereal harmonic technique, which seems so natural in Hughes' playing, is the holy grail for most finger-picking guitarists. Her lack of pretense and her mastery of this repertoire are what define her legendary status.1. Pearly Dew
2. Under the Double Eagle
3. Letter Edged in Black
4. Blue Heaven
5. Galloway Bay
6. You Are The Only Star of My Blue Heaven
7. Spanish Fandango
8. Kentucky Moon Waltz
9. Silver Threads Among the Gold
10. What A Friend We Have in Jesus
11. Cedar Brook Waltz$19.99Vinyl LP - Sealed Buy Now
Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A.2014 marks the 30th anniversary of Bruce Springsteen's 'Born In The U.S.A.'
Although it would become his biggest selling album with seven top 10 singles
on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars
says "any of those songs could be played with acoustic guitar alone and
still be great." Taking this idea as its premise, 'Dead Man's Town: A Tribute to
Born in the U.S.A' strips the album's twelve indelible originals to the core, with
contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin
Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced
cover of "Born In The U.S.A," saying these artists are "reimagining 'Born in
the U.S.A.'... with a reduced approach more influenced by that of the acoustic
Isbell says of his cover, ""Born In The U.S.A." is one of my favorites
because so many people have seemingly misunderstood the lyrical content
and the song's overall tone. When you listen to the demo, the dark, minor key
arrangement makes it clear that this is not strictly a song of celebration.
We wanted to stay true to that version." Amanda Shires adds, "I love that
the song paints a picture of struggle in the face of the American dream, and
the irony in the chorus is delivered with such force that it nearly
transcends irony altogether."1. Born In The U.S.A. - Jason Isbell & Amanda Shires
2. Cover Me - The Apache Relay
3. Darlington Country - Quaker City Nighthawks
4. Working On The Highway - Blitzen Trapper
5. Downbound Train - Joe Pug
6. I'm On Fire - Low
7. No Surrender - Holly Williams
8. Bobby Jean - Ryan Culwell
9. I'm Goin' Down - Trampled By Turtles
10. Glory Days - Justin Townes Earle
11. Dancing In The Dark - Nicole Atkins
12. My Hometown - North Mississippi Allstars$19.99Vinyl LP Buy Now
Teaspoon To The OceanBorn in Louisville, raised in Georgia, educated in Michigan and bouncing between California and New York ever since, he has spent the last decade exploring a variety of approaches to psychedelic collage. In his audio
recordings, songs, videos, sculptures, digital paintings, chalk murals & written work he has attempted to harness the humour and ambiguous poignancy specific to the experience of dreaming.
The latest addition to Schuster-Craig's unique and under-exposed body of work comes in the form of Teaspoon To The Ocean, his debut album for Weird World. The eleven acid-country pop songs of Teaspoon To The
Ocean combine the cut-up lyrical style of avant garde literary great Gertrude Stein with influences ranging from Lindsay Buckingham to Meat Puppets by way of Roy Orbison, Gary Numan and Indonesian Campursari
and Vietnamese slide guitar playing.1. Remove A Tooth
2. In Between
4. The Waves
5. Situations In Love
6. World Of Machines
8. The Many
10. Melt Me
11. Wild Wind$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Welcome Back To MilkIt's time for a revolution. Beth Jeans Houghton is dead. Du Blonde is born.
Welcome Back To Milk is the Newcastle-born singer-songwriter's second
album, but her debut as Du Blonde, and it's a complete reinvention: new name,
new look, new band, new attitude - and attitude is a key word.
Du Blonde is not a persona or a character, it's Beth Jeans Houghton ripping
it up and starting again. Gone is the baroque chamber pop of 2012's Yours
Truly, Cellophane Nose. Gone is the band she recorded that album with,
The Hooves Of Destiny. In place of all that are heavy riffs, loud drums, vocal
aggression and the sound of somebody finding their voice, whether screaming
the chorus of Chips To Go, singing soul-bearing ballad Four In The Morning
or cooing through wistful torch song After The Show.
Aside from a track made with Youth, Welcome Back To Milk is produced by
Jim Sclavunos, who knows plenty about capturing dark sounds as a member
of Nick Cave's Bad Seeds. An unmistakable presence on the album is that of
Future Islands frontman Samuel T Herring, whose soaring vocals appear on
Mind Is On My Mind.
Where Yours Truly, Cellophane Nose threw everything at a song, Du Blonde
strips everything down to the bare essentials. Black Flag, which opens the
album, is bass, guitar, drums and a dose of rage. "I got really into hard rock
and American hardcore while I was living in LA after we finished touring," she
says. "I couldn't work out why I was having such trouble expressing myself with
the music I was writing, but after a while I realised the instrumentation didn't
lend itself to the anger I was feeling. I needed to release all of this pent up
aggression and I was trying to do it over layers of vocal harmonies and nicely
played instruments. It was never going to work."
"I was hiding behind my guitar for so long, it was easy to feel safe there. I
wanted to put myself in a position I wasn't comfortable with in order to grow
as a performer. I want no choice but to look people dead in the eyes and give
them all I have."1. Black Flag
2. Chips to Go
3. Raw Honey
4. After the Show
5. If You're Legal
7. Hard to Please
8. What Is It Like
9. Mr. Hyde
10. Four in the Morning
11. Mind is on My Mind
12. Isn't It Wild?$20.99Vinyl LP - Sealed Buy Now
Rough Guide To Barbecue BobLovingly Remastered Using Pioneering Restoration Techniques
Very few names in the history of the blues capture the imagination quite like that of Barbecue Bob. Don't be fooled by the quirky pseudonym and gimmicky publicity photograph of him posing in his chef's whites with guitar in hand, as he was an incredibly influential figure whose records helped pave the way for many of the important bluesmen that followed.
One of the unsung heroes of the Piedmont blues style, Robert Hicks aka Barbecue Bob recorded over sixty sides for Columbia Records and became one of the best-selling artists on their 'race series', outsold only by Bessie Smith, Ethel Waters and Blind Willie Johnson. With his original and witty compositions he was one of the real pioneers of the Atlanta blues scene of the time, but his career was tragically ended by his death from pneumonia at the age of just 29.
Born in Walnut Grove, Georgia to a family of sharecroppers, Hicks learned to play the guitar from his brother Charley and Savannah 'Dip' Weaver, the mother of his friend Curley Weaver. He teamed up with Charley, Curley and harmonica player Eddie Mapp to perform at dances, parties and picnics in the Atlanta area. After leaving the group in 1926, Hicks became a chef in a barbecue joint where he would cook, serve and sing to the customers. He soon became something of a local celebrity and was noticed by a talent scout from Columbia Records, who gave him the opportunity to record under the catchy title of Barbecue Bob.
Characterized by a heavy percussive guitar style, he often used a bottleneck and played with a frailing technique that is more often associated with the claw hammer banjo. His twelve string guitar gave a rich accompaniment to his warm nasal singing voice which, compared to the morbid and foreboding songs of the Delta blues, created a vibe which was jaunty and upbeat. With a huge repertoire of songs ranging from hokum to slow blues and spirituals to traditional songster tunes, his music is imbued with a special warmth typical to the East Coast blues.
Even from the opening few measures of his very first record Barbecue Blues, Hicks signature sound of a bright and trebly twelve string guitar combined with his expressive voice is instantly accessible and almost 'pop' sounding in comparison with other blues singers of the time. His debut song was a huge success and led to a prolific recording career over the next four years when, it is said, he lived fast and enjoyed the high life. Hicks frequently recorded with his brother Charley, who was known as Laughing Charley Lincoln, and would later record several sides in 1930 with Buddy Moss and Curley Weaver as the Georgia Cotton Pickers.
Largely due to his life being tragically cut short in 1931, his music has been sadly overlooked and has therefore not received the respect proffered to other East coast players such as Blind Willie McTell and Buddy Moss. He was however a true innovator in his time, and this compilation gives proof that his music is undoubtedly some of the most engaging early blues that you are likely to hear.1. Poor Boy A Long Ways From Home (1927)
2. Barbecue Blues (1927)
3. Honey Your Going Too Fast (1928)
4. Motherless Chile Blues (1927)
5. She Looks So Good (1930)
6. Thinkin' Funny Blues (1927)
7. Honey You Don't Know My Mind (1927)
8. Going Up The Country (1928)
9. Atlanta Moan (1930)
10. It Just Won't Hay (1929)
11. Chocolate To The Bone (1928)
12. She's Coming Back Some Cold Rainy Day (1930)$19.99Vinyl LP - Sealed Buy Now
Send Them All To HellThe German PANZER, the Teutonic Heavy Metal trio, is comprised of yet three undisputed genre legends: Vocalist & bass-player Schmier, best known as frontman of DESTRUCTION and HEADHUNTER, guitarist Herman Frank (ACCEPT, VICTORY) as well as drummer Stefan Schwarzmann (ACCEPT).
The initial idea was born when drummer Stefan Schwarzmann, who has relocated to Switzerland about seven years ago, had a chat with the owner of renowned Swiss club Z7 in Pratteln. The two tried to figure out a way to fill the empty space within touring and recording, the venue has been facing with its most frequently playing bands. To make a long story short: Nobert Mandel (owner of Z7) had the idea of a trio, with both Stefan and Herman in it. The only vacancy for bass and vocals wouldn't stay open for long, as Stefan had the phone number and mail address of DESTRUCTION's Schmier right at hand - and so "The German Panzer" was born!
Commented vocalist & bass-player Schmier: "When Stefan Schwarzmann, drummer of ACCEPT and an old friend came to me with the idea of putting a band together, I first thought he tried to fool me hahaha! But the idea sounded amazing from the beginning and after the first meeting with Herman Frank, the German guitar legend, that everybody knows from his work with ACCEPT and VICTORY and Stefan, we realized really fast, that this team could really kick some serious ass together. And Instead of talking too long about it, we started writing songs right away and within some weeks had half of the album recorded and it sounded wicked! We don t wanna re-invent the metal-wheel. We play the music we love, easy as that and it's great fun cause we all dig this shit since we are teenagers!
Naming a band after fierce war machinery might seem a bit off for some, but if you take a look at the lyrics, this is picture perfect. The lyrics provoke, criticize and are part of the art. "My lyrics criticize... I don t pray," adds Schmier.
And as difficult as the search for a name was at first, with all members being German die-hards and organizers of the Teutonic scene, The German PANZER seemed to be the name everybody remembers right away.
As for the album title, »Send Them All To Hell« was almost mandatory, as these are the first words to be heard on the record, with Schmier whispering them into the mic. With the exception of one track that feature all three members, all songs are written entirely by Herman Frank and Schmier.
If you like it heavy, more melodic or if you dig Speed Metal, then The German PANZER will hit right on - Or to say it with Herman Frank: "No left - no right! Just straight forward like a Panzer!1. Death knell
2. Hail and kill
3. Temple of doom
6. Mr. Nobrain
8. Virtual collision
9. Roll the dice
10. Bleed for your sins
11. Murder in the skies (Gary Moore Cover)$28.99Vinyl LP - 2 LPs Sealed Buy Now
Hard For To Win And Can't Be WonI suppose it's not terribly difficult to play a guitar - to hold the thing in your arms, to move your hands across its body in all the prescribed and proven ways, to coax a little melody into being.
But what Nathan Salsburg - an acoustic guitarist and the curator of the Alan Lomax archive, a Pennsylvania-born Kentuckian who has logged good time in coastal Maine - does with his instrument is singular, nearly mystic: his are agile, engaging compositions, songs that feel desirous and questioning and vital, as if they weren't just channeled into being, but demanded revelation.
Nathan's 2011 solo debut, Affirmed, directly addressed a trio of thoroughbreds - Affirmed, Eight Belles, and Bold Ruler - which also made it at least in part about Salsburg's Kentucky: the land that sustained and nurtured those horses, the ancient traditions that anointed and sometimes undid them. Its follow-up, Hard For To Win and Can't Be Won, is also a record about place, although its landscapes are less specific. Some of them are memories, even: spaces that were real once, but have to be conjured now, willed to or from mind. Most of the album's songs are instrumental, save two re-workings of older material: "Coll Mackenzie," written and first performed by Archie Fisher, and "To Welcome the Travelers Home," a composite of two traditional nineteenth-century pieces; one sacred, one less so. Both songs concern homecomings, what it feels like to be enveloped by a place that you know will sustain you, will nurture what needs nurturing.
Musically, Nathan has emerged from a venerable tradition that includes Lena Hughes and Frank Hutchison, John Fahey and Ry Cooder. I'm reluctant to make too much of his virtuosity - and he is virtuosic, a staggering craftsman - because he is
also in the unique position of having that be the least interesting thing about his playing. There are moments in Nathan's pieces - these nimble rhythmic shifts, steps from one place to another - that make my knees quiver. Listening to him play, it's hard not to feel subsumed by gratitude.
I'm just as hesitant to frame his work as subversive, and yet - he is such a remarkably courageous writer and musician, and Hard For To Win and Can't Be Won is so matchless a document, so inimitable in its moves. This is the sort of record
that could change the course of your year. It certainly changed mine. - Amanda Petrusich1. First Field Path
2. Mrs. Gristle's Reel
3. Paraffin & Turpentine
4. Coll Mackensie
6. Dog At Bay
7. Chief Wants
8. To Welcome The Travelers Home
9. What Can't Be Won$14.99Vinyl LP - Sealed Buy Now
The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)
Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.
- Gil Evans (arranger, conductor, piano)
- David Sanborn, Billy Harper (saxophone, flute)
- Billy Harper (saxophone, flute)
- Lewis Soloff (trumpet)
- Tom Malone (synthesizer, trombone, flute, bass)
- David Horowitz (electric piano, synthesizer)
- John Abercrombie (guitar)
- Don Pate (bass)
- Warren Smith, Jr. (chimes, percussion, vibraphone)
- Bruce Ditmas (drums)
Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
Production: Mike Lipskin
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. Angel
2. Crosstown Traffic/ Little Miss Lover
3. Castles Made of Sand/Foxey Lady
4. Up From the Skies
5. 1983 - A Merman I Should Turn to Be
6. Voodoo Child (Slight Return)
7. Gypsy Eyes
9. Castles Made of Sand
10. Up From the Skies
11. Gypsy Eyes$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Blues Is Alive And Well
Fresh off the heels of a thrilling performance for the closing of NYC's B.B. Kings Blues Club and Grill, multi-Grammy Award-winning blues icon Buddy Guy announces the upcoming release of his brand new studio album, The Blues Is Alive And Well.
Set for release on Silvertone/RCA Records, The Blues Is Alive And Well features guest appearances by Mick Jagger on "You Did The Crime," Keith Richards & Jeff Beck on "Cognac," and James Bay on "Blue No More." Grammy Award-winning producer/songwriter and longtime collaborator Tom Hambridge produced the album.
The Blues Is Alive And Well is the follow-up to Guy's 2015 critically acclaimed album Born To Play Guitar, which debuted at #1 on Billboard's Top Blues Album charts. The album marked Guy's fifth #1 album on the chart and twelfth Top 10 Billboard Blues album.1. A Few Good Years
2. Guilty As Charged
3. Cognac (feat. Jeff Beck & Keith Richards)
4. The Blues Is Alive And Well
5. Bad Day
6. Blue No More (feat. James Bay)
7. Whiskey For Sale
8. You Did The Crime (feat. Mick Jagger)
9. Old Fashioned
10. When My Day Comes
11. Nine Below Zero
12. Ooh Daddy
13. Somebody Up There
14. End Of The Line$24.99Vinyl LP - 2 LPs Sealed Buy Now
Joe Beard Direct-To-DiscBorn and raised in Ashland, Mississippi, guitarist Joe Beard was surrounded by aspiring and veteran blues musicians. Matt Guitar Murphy and his brother Floyd were Beards childhood buddies and the ones who initially got him started on guitar.
Beard moved to Rochester, New York in the mid-1950s and from time to time would visit one of his brothers in Chicago. He became enamored with the blues being played there and eventually sat in, both with John Lee Hooker and Muddy Waters.
In Rochester, he formed the Soul Brothers Six, playing bass and singing. He wouldnt perform in public on guitar until 1965. For most of the 1960s on through the 80s, Beard worked as an electrician by day and would occasionally play out at night and on weekends. He long ago gained a reputation as one of the best local players around Rochester and has sporadically been counted as one of the best nationally.
In the 90s, Beard began recording with the Audioquest label, and those two releases have won major acclaim within the blues and audiophile communities.
This title is not eligible for discount.1. New York Woman
2. Going Back To Mississippi
3. I Want To Get Close To You
4. No More Cherry Rose
5. Every 60 Seconds
6. Tired of the Way We Are Living$19.99Vinyl LP D2D - Sealed Direct to Disc (D2D) Buy Now
I'm Glad I'm Not MeCritically acclaimed indie rockers Born Cages will release their debut studio album, I'm Glad I'm Not Me, via Washington Square/Razor & Tie.
I'm Glad I'm Not Me was recorded at Mission Sound (Metric, Arctic Monkeys, Matt & Kim) in Brooklyn, NY and was produced by Jon Kaplan (Cage The Elephant, Walk The Moon) and co-produced by Born Cages' lead singer Vlad Holiday. On the album, Holiday, bassist/keyboardist Matt Maroulakos and drummer Dave Tantao conjure festival-ready, truly modernist modern rock that is every bit as grand as its song titles would predict: "Bigger Than Me." "I Just Want The Truth, Baby." "Don't Look Back." "Finding Beauty in a Broken World."
I'm Glad I'm Not Me touches on rock, electronic, dance, alternative and everything in between, reaching listeners thought to be quarantined from each other. It's a record celebrating togetherness in fractious times, music that finds commonalities rather than chasms. Throughout, Born Cages play with an urgency that posits their music as something essential. I'm Glad I'm Not Me embraces its punchy hooks, economic arranging and distinct kind of New York City disillusionment; it's the despondency of being told your mere existence in the city is a sign of having "made it" and still feeling alone amongst the millions.
The album is the follow up to their critically acclaimed 2013 EP release, The Sidelines EP. Vice Noisey describes the band's music as a "blend of 80s-influenced synth/guitar work and modern pop-rock sounds," and Blackbook raved, "More than a decade after the riff-heavy heyday of The Strokes, The Vines, The White Stripes, The Hives, and many other bands that put the word "the" before a plural noun, we may be ready for another bout of ripping revivalism Born Cages, certainly makes that argument." The Born Cages Daytrotter Session made the Top 50 of 2014 list.
Lead singer and guitarist Vlad Holiday formed Born Cages in 2011 and the group dove head-first into New York City's eclectic indie rock movement. He is joined by Matt Maroulakos on bass/keyboards and Dave Tantao on drums. The band has shared bills with a bevy of acts such as Hockey, Magic Man, X Ambassadors, Gold Fields, Royal Teeth, Said The Whale, Donald Cumming (of The Virgins), Public Access TV, JD Samson (of Le Tigre) and Har Mar Superstar. They were even handpicked by Guns N' Roses to be the sole support band on two sold out GN'R club shows.1. Rolling Down The Hill
2. Bigger Than Me
3. Don't Look Back
4. Moving On
5. I Just Want The Truth, Baby
6. Give Me A Smile
9. Dirty Money
12. Finding Beauty In A Broken World$22.99Vinyl LP - Sealed Buy Now
Dan DyerIt may be generalizing. Hopefully it isn't offensive. But let's face it: Dan Dyer has one hell of a soulful voice for a white guy. It's a soulful voice for anybody. But for a white guy?! Close your eyes and you're likely to picture something more along the lines of Al Green or Stevie Wonder or Sly Stone than some east Texan around 40 years old. But this is Dan Dyer's gift - a voice oozing soul along with deeply introspective, serious songwriting.
Dyer was born and raised in the small east Texas town of Tool. He was given a guitar at age 5 but didn't learn to play until he was 18 and had moved to Austin, Texas. It was there that he began to study music seriously, attacking the guitar, and exploring his until-then untapped singing and songwriting powers.
While attending Texas State in San Marcos, Texas, Dyer formed a band, Breedlove, with guitarist Tyrone Vaughan (son of Jimmie Vaughan), drummer Jason White, keyboardist Ezra Reynolds and bassist Josh Dawkins. The group developed a dedicated following and released Reach Out in 1996 before disbanding in 1998.
From there, Dyer moved to New York City and began writing commercial music jingles, having songs placed in marketing campaigns for Budweiser, Chevrolet, Dr. Pepper and Campbell's Soup. While there, Lenny Kravitz, who had just begun a Warner Bros. imprint called Roxie Records, signed Dyer and produced his What Lies Beneath record in 2004, the first release on the label. Kravitz co-wrote four of the songs with Dyer and also played guitar on the record.
After touring for a year behind What Lies Beneath, Dyer moved to St. Louis and started a family. In 2007, he returned to Austin where he'd reunited with friend David Boyle, who recorded and produced Dyer in his converted-church studio for the self-titled Dan Dyer. The record was released in 2008 on Fat Caddy Records. From the chain gang-inspired sound of Love Chain to the gospel-tinged I Walk On Gilded Splinters and Stewart Copeland-esque syncopations of Play On Little Children, Dyer and Boyle weave a diverse fabric that extends beyond conventional musical boundaries.
This title is not eligible for discount.1. Prisoner Of Fear
2. Howling Wind
3. Come Home
4. Come Home Pt. 2
5. Reach Out$19.99180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
Major HandyMajor Handy was actually born Joseph Majay Handy, May 15, 1947. He thinks, if he understands what his mother's told him, that his parents had a child before him and named that boy Joseph Majay Handy. That son died near birth, and when the couple had their next child, also a boy, they decided to reuse the name. Eventually, after people had trouble recognizing the correct pronunciation, the middle name Majay morphed into Major. He says he did go by his first name initially. A lot of people called me 'Joe,' but that didn't ring no bell. And so, Major Handy it became.
Handy was born and raised as the oldest of seven children in St. Martinville, Louisiana, the parish seat of St. Martin Parish and right on the Bayou Teche. It's a rural town about 15 miles southeast of Lafayette and is generally considered the heart of the Creole and Cajun melting pot that makes this specific sub-region unique to anywhere else in the world. It's from right here that so much of the culture - the food, music, swamp life - that people associate with Louisiana comes.
Like with many people from St. Martinville, Handy's heritage is Creole, meaning it's tangled. I'm like a gumbo - everything. Alligator, fish, shrimp, Indian, Negro, white, whatever...I guess that's what that is. But I was raised as a black person, he says. The only time I ever mingled with white people was the music thing. 'Cause I didn't go to school with white people. I quit school in the ninth grade (just before school desegregation in Louisiana).
Handy's earliest musical inspiration came from his father, who had an old accordion that he toyed with as nothing more than a pastime, and some cousins who were fooling around with music. I saw that, and I wanted to take it and be better, Handy says. The first thing I picked up was a guitar. And I took it from there. His first professional gig came on bass in a cousin's band. From there it was back to guitar and eventually accordion as a bandleader. In between, he played in the bands of Rockin' Dopsie for many years as well as in the very first incarnation of Buckwheat Zydeco just after Buckwheat had left Clifton Chenier.
While he'd recorded previously as a bandleader, Handy's 2008 APO Records release Zydeco Feeling marked his first widely distributed release in 25 years.
This title is not eligible for discount.1. Jalapeno Cornbread
2. Bad Luck And Trouble
3. Well I Done Got Over It
4. Zydeco Feeling
5. Te Ni Nee Ni Nu
6. Lost My Baby$19.99180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
Worry Off My MindBorn in 1903 in Western Mississippi, Teddy Williams started on guitar when he was 31 years old. Nobody taught me, I just listened to the other people. He played local rent parties in the country, and had also played for a time in Chicago.
GEORGE MITCHELL: Do-Boy Diamond and Teddy Williams came from the same town. It was Teddy who told me about Do-Boy. Teddy was the older man, and even though Do-Boy said he learned from someone else, it sounded like he might have learned from Teddy. Or maybe they both learned from the same source. Teddy was an older man, he didn't work. He'd sit around the courthouse square in Canton, hanging out. Canton was a bigger town than most of these places, so the black section was livelier. Lots of people hanging out in the street, music coming out of cafes.
Teddy Williams: Vocal and Guitar
Recorded by George Mitchell in Canton, Mississippi, September 19671. Shaggy Hound
2. The Swing Blues
3. Catfish Blues #1
4. Down Home Blues
5. Going Away Blues
6. Catfish Blues #2
7. Black Mattie
8. Hard Time Blues
9. Sun Don't Shine
10. You See Me Laughing$17.99Vinyl LP - Sealed Buy Now
Whole Lotta Shakin' (Import)Import
The all-times rockabilly legend Carl Perkins was born into humble beginnings and spent his early years picking cotton and playing electric guitar in a band with his brothers. Signed to Sun Records by Sam Phillips in 1954, he didn't get the big one till he recorded Blue Suede Shoes in 1956. After a fairly slow start, the song with the tremendous beat and novel words about the blue suede shoes started moving and became a million seller. When Johnny Cash left Sun to go to Columbia in 1958, Carl followed him over and recorded Whole Lotta Shakin in June of that year, reinterpreting most of the Sun Records singles hits that made him the Rock And Roll Hall of Fame elected star he later became.1. Whole Lotta Shakin' Goin On
2. Tutti Frutti
3. Shake Rattle And Roll
4. Sittin' On Top Of The World
5. Ready Teddy
6. Long Tall Sally
7. That's All Right
8. Where The Rio De Rosa Flows
9. Good Rockin' Tonight
10. I Got A Woman
11. Hey Good Lookin
12. Jenny Jenn$27.99Import Vinyl LP - Sealed Buy Now
Owl John (Awaiting Repress)Owl John, aka Scott Hutchison of critically acclaimed Scottish group Frightened Rabbit, is proud to announce the release of his self-titled debut solo album out on Canvasback / Atlantic Records. The Owl John album, which showcases Scott's trademark brutal honesty, sees a different direction from the music of Frightened Rabbit. Raw, powerful and often heart-breaking, 'Owl John' will see Scott step out of Frightened Rabbit's shadow.
The Owl John album was born of Scott's desire to get creatively inspired ahead of the next Frightened Rabbit record, and with the rest of the band on a break following the release of their 4th album Pedestrian Verse (their first with Atlantic Records) reaching the Top 10 in February 2013. Scott headed to the Isle Of Mull with the mission to write and record an album in two weeks. With Andy and Simon (who also plays guitar from Frightened Rabbit's live band), they hired a space in the Island's Tobermory Arts Centre, 'An Tobar'. For a fortnight they made music by day and drank whisky by night; at the end an album was made and 'Owl John' was born.1. Cold Creeps
3. Hate Music
4. Songs About Roses
5. Los Angeles, Be Kind
6. Ten Tons Of Silence
7. A Good Reason To Grow Old
8. Red Hand
9. Don't Take Off The Gloves
10. Stupid Boy$20.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Chapter And Verse'Chapter and Verse,' the audio companion to Bruce Springsteen's extraordinary forthcoming autobiography, will be released on Columbia Records. The career-spanning compilation will be released four days before Simon & Schuster publishes 'Born to Run.' Five of the album's 18 tracks have not been previously released.
Springsteen selected the songs on 'Chapter and Verse' to reflect the themes and sections of 'Born to Run.' The compilation begins with two tracks from The Castiles, featuring a teenaged Springsteen on guitar and vocals, and ends with the title track from 2012's 'Wrecking Ball.' The collected songs trace Springsteen's musical history from its earliest days, telling a story that parallels the one in the book.
Recordings from Steel Mill and The Bruce Springsteen Band feature musicians who would go on to play in The E Street Band. Solo demos of "Henry Boy" and "Growin' Up" were cut in 1972 shortly before Springsteen began recording his debut album, 'Greetings From Asbury Park, N.J.'LP 1
1. Baby I - The Castiles (recorded May 2, 1966, at Mr. Music, Bricktown, NJ; written by Bruce Springsteen and George Theiss; previously unreleased)
2. You Can't Judge a Book by the Cover - The Castiles (recorded Sept. 16, 1967, at The Left Foot, Freehold, NJ; written by Willie Dixon; previously unreleased)
3. He's Guilty (The Judge Song) - Steel Mill (recorded Feb. 22, 1970, at Pacific Recording Studio, San Mateo, CA; previously unreleased)
4. Ballad of Jesse James - The Bruce Springsteen Band (recorded March 14, 1972, at Challenger Eastern Surfboards, Highland, NJ; previously unreleased)
5. Henry Boy (recorded June 1972, at Mediasound Studios, New York, NY; previously unreleased)
6. Growin' Up (recorded May 3, 1972, at Columbia Records Recordings Studios, New York, NY; previously appeared on 'Tracks')
7. 4th of July, Asbury Park (Sandy) (1973, 'The Wild, The Innocent & the E Street Shuffle')
8. Born to Run (1975, 'Born to Run')
9. Badlands (1977, 'Darkness on the Edge of Town')
10. The River (1980, 'The River')
1. My Father's House (1982, 'Nebraska')
2. Born in the U.S.A. (1984, 'Born in the U.S.A.')
3. Brilliant Disguise (1987, 'Tunnel of Love')
4. Living Proof (1992, 'Lucky Town')
5. The Ghost of Tom Joad (1995, 'The Ghost of Tom Joad')
6. The Rising (2002, 'The Rising')
7. Long Time Comin' (2005, 'Devils & Dust')
8. Wrecking Ball (2012, 'Wrecking Ball')$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
In The Right PlaceDr. John, or Mac Rebennack as known to friends and family, is universally celebrated as the living embodiment of the rich musical heritage exclusive to New Orleans. His very colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex and Frankie Ford. A notorious gun incident forced the artist to give up the guitar and concentrate on organ and piano. Further trouble at home sent Dr. John west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison and Aretha Franklin to name a few. He also launched his solo career, developing the charismatic persona of Dr. John The Night Tripper. Adorned with voodoo charms and regalia, a legend was born with his breakthrough 1968 album Gris-gris, which established his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973's In The Right Place, which contained the chart hits Right Place Wrong Time and Such A Night.1. Right Place Wrong Time
2. Same Old Same Old
3. Just The Same
5. Traveling Mood
6. Peace Brother Peace
8. Such A Night
9. Shoo Fly Marches On
10. I Been Hoodood
11. Cold Cold Cold$24.99Colored Vinyl LP - Sealed Buy Now
29On his third release of a most prolific year, Ryan Adams takes a break from his band, the Cardinals, to fashion an introspective song cycle with stripped-down arrangements focused on acoustic guitar or solo piano. After the propulsive, self-mythologizing title track opens the album in brazen fashion, forging an unlikely bond of comparison between John Lennon's Plastic Ono Band and the early '70s Grateful Dead, much of the rest of 29 finds Adams at his dreamiest (the reveries of Strawberry Wine and Elizabeth, You Were Born to Play That Part) and most rapturously romantic (the aching falsetto on the lovesick Starlite Diner). He continues to take chances and not all of them pay off, with the underwatery echo of Night Birds and the over-the-top dramatics of The Sadness showing the downside of self-indulgence, though Carolina Rain suggests he can return to the alt-country prime of Whiskeytown whenever the mood strikes. With the intimacy of the closing Voices, Ryan Adams sounds less like he is singing a song than sharing a secret. Refusing to rein himself in or pin himself down, he sings on the title track, You can't hang on to something that won't stop moving.1. 29
2. Strawberry Wine
4. Blue Sky Blues
5. Carolina Rain
6. Starlite Diner
7. The Sadness
8. Elizabeth, You Were Born To Play That Part
9. Voices$12.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Still ClimbingLeslie West is set to releases his album Still Climbing in 2013 via Provogue Records / Mascot Label Group.
Originality, excitement, honesty and survival are all part of what makes a legend, and those qualities ripple through every song on the album. It's a testimonial to the strength and durability of West's artistry. Born October 22, 1945, as he approaches his 68th birthday, West has packed some of the most soulful and searing vocal performances of his half-century career into these 11 tracks. His guitar has never sounded more massive or riff-orientated.
What's different on Still Climbing is that I wanted my guitars to sound as big as I look. So I used four of my Dean Signature model guitars with my Mountain of Tone humbucking pickups. I plugged them into my Blackstar amps - no pedals - and turned them up loud and raw, and what you hear is exactly what I did in the studio. These Blackstar amps deliver everything I need without 'confidence' pedals. I played one of the early tracks we recorded for Slash, and he said, 'That is as heavy as it gets.'
Still Climbing is co-produced by West and Mike Metal Goldberg, who engineered all of the sessions. Songs like Dyin' Since The Day I Was Born, Hatfield or McCoy, and Busted, Disgusted or Dead establish a new litmus test for heavy.
The latter features West and Johnny Winter on duelling slide guitars. West also gave up smoking cigarettes and pot after a bout with bladder cancer, so it's no wonder many of Still Climbing's numbers explore the theme of survival and, ultimately, triumph. To that end, West avows, Not only am I lucky to be here, but because I stopped smoking my voice is now stronger than it's ever been - as strong as my guitar playing.
His inclusion of Feeling Good, a song by British actor-musician Anthony Newley that was made famous by Steve Winwood's group Traffic, is a testimonial to all of that. Its lyrics celebrate a new dawn for me as West and his long-time buddy Dee Snider (Twisted Sister) trade vocal lines.
West has always been an outstanding vocalist, earning comparisons to soul legends like Otis Redding since his 1969 debut Mountain, which gave his historic band its name. On Still Climbing West revisits the catalogue of another classic soul man, Percy Sledge, with the enduring When a Man Loves a Woman. He's joined by now 32 year-old soul man Jonny Lang, who he met 15 years ago when Lang was a rising guitar prodigy. West says they cut the tune side-by-side in the studio, their soaring guitars and voices twining to bring fresh blood and a blues-soaked arrangement to the song.
When a Man Loves a Woman, Never Let Me Go and Fade Into You explore a romantic theme. In 2009 West married his wife Jenni, who co-wrote many of Still Climbing's songs with the guitar giant.
Balls, guts, heart - more words that are part of West's legend and describe the roaring crescendos and deep emotional roots of Still Climbing - and West himself. You know, when it comes to talent, we don't all move at the same rate of speed, West muses. Some people start at the top of their game and after 10 or 20 years you wonder what the hell happened to them. I like to joke that the older I get the better I used to be, but after giving up drugs and smoking, my voice can hit notes that I never could reach before. I'm thankful for that.1. Dyin' Since The Day I Was Born (With special guest Mark Tremonti)
2. Busted, Disgusted or Dead (With special guest Johnny Winter)
3. Fade Into You
4. Not Over You At All
5. Tales Of Woe
6. Feeling Good (with special guest Dee Snider)
7. Hatfield or McCoy
8. When A Man Loves A Woman (With special guest Jonny Lang)
9. Long Red
10. Don't Ever Let Me Go (With special guest Dylan Rose)
11. Rev Jones Time (Somewhere Over The Rainbow)$15.99Vinyl LP - Sealed Buy Now
Woven MusicCategories cannot contain Shinji Masuko. Hes the founder of DMBQ, one of Japans greatest modern psychedelic bands, a respected music and comic reviewer, an astonishing guitarist and a master guitar builder. Hes also been a member of the Boredoms since 2004, having designed and built their notorious seven neck guitar (the Sevena) while acting as the bands principle guitarist.
The idea for Woven Music, Masukos first solo work, was born during preparations for a series of Boredoms concerts in 2009 when Shinji played Kid Millions (of Oneida and Brah Records) some backing tracks hed created for the Boredoms current concert piece, Boadrum. For a short section of the live performance an incredible mass of multi-tracked droning guitars is mixed into the pounding chaos of the 9 person, multi-drummer ensemble. Shiji played Kid Millions this unadorned recording while they were between rehearsals at Shinjis home in Osaka and Kid was astounded, convinced that this music needed to be heard on its own.
Masuko thus inspired, spent the next year carefully crafting these pieces into stand alone works. Woven Music for Blue Steppe is a mass of mostly acoustic instruments while Woven Music for Silver Ocean explores the sound of a throng of electric guitars.
In the last twenty-plus years Masuko has created an astounding body of work with DMBQ and the Boredoms, but hes never released music of such singular beauty and depth. These are meditative, swirling pieces which suggest the resonances of their titles: grand and eternal natural vistas. These are immersive works and completely singular in their scope, Brah is proud to present these unheard compositions to a broader audience.1. Woven Music for Blue Steppe
2. Woven Music For Silver Ocean$16.99Vinyl LP - Sealed Buy Now
ChromeTo truly understand the color and shape of Nice Nice, you must really see them live. Only then will you realize that every sound heard on this record, every intricate ployrhythmic layer is LIVE. There are no overdubs, and there are only two people in the band. But if you haven't been lucky enough to see them yet, then bear in mind those facts when throwing this one into your headphones. Born in Olympia, WA and now calling Portland, OR their home, guitarist Jason Buehler and percussionist Mark Shirazi meticulously warp hard funk, psych, soul, dub, angular rock and no-wave noise into a mechanical beast that can take you from dream to dance in 30 seconds flat. The instrumentation is relatively simple: guitar and drums. But it's the endless tap-dancing of effects pedals and rock solid dub beats that make every moment more magical than the last. Having played with everyone from Black Dice to Cex to Gold Chains - and thoroughly blowing their minds all the same - Nice Nice are that rare band that seems to equally appeal to the bedroom stoners and Friday night hipsters. Intimidating only in their technical prowess, Nice Nice don't smash their equipment, they smash their stereotypes. Bring it on.1. Look, You're On TIV
2. Cold Sweat Part XVI
3. Chez Clix
4. See-Thru Plastic
5. Chrome Cabal
7. Bees Make Honey
9. Thank You
11. On Neon
12. Fight The Face
13. They React!
14. Disclaimers 1-5
15. Tiny Steps
16. We Go Towards$14.99Vinyl LP - Sealed Buy Now