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  • Cry Baby Cry Baby Quick View

    $21.99
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    Cry Baby

    The Cry Baby album is a softpack with a full-color 32-page storybook written by Melanie Martinez and illustrated by Chloe Tersigni.


    Melanie Martinez wants to tell you a story. It's fictional, but it's also about her, in a way that's somewhat exaggerated and darker than reality. The tale traces through Melanie's debut album Cry Baby, a collection of pop songs that draw inspiration from singer-songwriter folk and hip-hop and follow a character who learns to be more comfortable with who she is. The journey of the character, who Melanie dubbed Cry Baby, mirrors the musician's own.

    1. Cry Baby
    2. Dollhouse
    3. Sippy Cup
    4. Carousel
    5. Alphabet Boy
    6. Soap
    7. Training Wheels
    8. Pity Party
    9. Tag, you're it
    10. Milk and Cookies
    11. Pacify Her
    12. Mrs. Potato Head
    13. Mad Hatter
    Melanie Martinez
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Second Time Around The Second Time Around Quick View

    $32.99
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    The Second Time Around

    Import


    180 Gram LP With a Bonus CD of The Album!


    Considered by many to be her best album, 1961's The Second Time Around, found Etta James performing a string of pop hits from the 1940s in an attempt to crossover to a wider audience. Songs like 1948's "It's Too Soon To Know" (the first rock & roll song ever), or 1946's "Fool That I Am", were both brought to life again here by James. The album's biggest hit however, was 1929's "Don't Cry Baby", first recorded by the Empress of the Blues, and James' idol, Bessie Smith.

    1. Don't Cry Baby
    2. Fool That I Am
    3. One For My Baby
    4. In My Diary
    5. Seven Day Fool
    6. It's Too Soon To Know
    7. Dream
    8. I'll Dry My Tears
    9. Plum Nuts
    10. Don't Get Around Much Anymore
    Etta James
    $32.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Soul Deep Soul Deep Quick View

    $34.99
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    Soul Deep

    Import

    Soul Deep is an essential compilation of The Box Tops' best tracks. Hailing from 1960's Memphis, The Box Tops are best known for the hits The Letter, Cry Like a Baby and Soul Deep, and are considered a major blue-eyed Soul group of the period.


    They performed a mixture of current Soul music songs by artists such as James & Bobby Purify and Clifford Curry, Pop tunes such as A Whiter Shade of Pale by Procol Harum, and songs written by their producers, Dan Penn, Spooner Oldham, and Chips Moman.


    Their records are prime examples of the styles made popular by Moman and Penn at American Sound Studio in Memphis. Many of their lesser known Top 40 hits, including Neon Rainbow, I Met Her in Church, and Sweet Cream Ladies, Forward March, are considered minor classics.

    1. The Letter
    2. Neon Rainbow
    3. Happy Times
    4. Cry Like A Baby
    5. Fields Of Clover
    6. Choo Choo Train
    7. She Shot A Hole In My Soul
    8. People Gonna Talk
    9. I Met Her In Church
    10. Sweet Cream Ladies, Forward March
    11. Together
    12. I Must Be The Devil
    13. Soul Deep
    14. I Shall Be Released
    15. (the) Happy Song
    16. Turn On A Dream
    17. I See Only Sunshine
    18. You Keep Tightening Up On Me
    The Box Tops
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tonight's The Night Tonight's The Night Quick View

    $24.99
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    Tonight's The Night

    By 1975 Young had written some of the most enduring anthems in rock history. But from the slow, tension-building piano opening of Tonight's the Night, he downshifts into darkness and Crazy Horse's folk-country melodies take on a guttural hum that would eventually speak to generations of punk and grunge musicians.


    Inspired by the overdose deaths of two of Young's friends, roadie Bruce Berry and guitarist Danny Whitten, the title track (and its closing reprise) is a hypnotic cry of why? Even the relative party songs, Come On Baby Let's Go Downtown and Roll Another Number, fit the album's bus-to-nowhere resignation. -Steve Knopper

    1. Tonight's The Night
    2. Speakin' Out
    3. World On A String
    4. Borrowed Tune
    5. Come On Baby Let's Go Downtown
    6. Mellow My Mind
    7. Roll Another Number (For The Road)
    8. Albuquerque
    9. New Mama
    10. Lookout Joe
    11. Tired Eyes
    12. Tonight's The Night (Part II)
    Neil Young
    $24.99
    Vinyl LP - Sealed Buy Now
  • Pearl Pearl Quick View

    $49.99
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    Pearl


    1971's Pearl Showcases Janis Joplin at Her Peak: Chart-Topping Record Includes Hits Me and Bobby McGee, Mercedes Benz, and Get It While You Can


    Mastered From the Original Master Tapes: Mobile Fidelity 45RPM Pressing is Definitive-Sounding Analog Version of Masterpiece Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time


    Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion: Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit


    Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's 180g 45RPM 2LP presents the lasting artwork like never before.


    Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than authentic, and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.


    While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's Cry Baby, underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.


    Playfully introduced as a song of great social and political import, the acapella Mercedes Benz reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's Me and Bobby McGee signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as A Woman Left Lonely offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.


    Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band - the only group she ever considered to be her own - as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labors fill Pearl, be it the guardedly optimistic Get It While You Can or assertive, fleet-footed Move Over.


    Experienced in the new light brought to fore by this definitive Mobile Fidelity analog edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.


    This title is not eligible for discount.

    1. Move Over
    2. Cry Baby
    3. A Woman Left Lonely
    4. Half Moon
    5. Buried Alive In The Blues
    6. My Baby
    7. Me And Bobby McGee
    8. Mercedes Benz
    9. Trust Me
    10. Get It While You Can
    Janis Joplin
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • UB40 - Collected UB40 - Collected Quick View

    $34.99
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    UB40 - Collected


    180-Gram Audiophile Vinyl


    Gatefold Sleeve


    High-Quality PVC Protective Sleeve


    4-Page Booklet With Liner Notes And Photos


    Featuring ''Red Red Wine'', ''I Got You Babe'' And ''Rat In Mi Kitchen''


    Early 1980, UB40 scored their first success with ''Food For Thought'', reaching high in the charts. By the time they released their first album they were already so successful that they had signed off on unemployment benefit, leading to the stamped Signing Off featured on form 40, for the sleeve of their debut album. The first dub album ever to reach the album charts in the U.K. included ''One In Ten'' and ''Don't Slow Down''.


    In 1983 the band put on a new project, boasting ten cover versions of Jamaican hits and, contrary to low expectations, it became a huge hit and the band's first number one album. Tracks included are ''Cherry Oh Baby'' and ''Please Don't Make Me Cry'' and ''Red Red Wine''. The latter was a rather poppy song and became the band's biggest-selling single ever, entailing their definitive worldwide breakthrough.


    There have been lots of collaborations through the years and most of these became huge hit songs. Together with Chrissie Hynde UB40 recorded two singles: ''I Got You Babe'' (1985) and ''Breakfast In Bed'' (1988). They teamed up with Afrika Bambaataa for ''Reckless'' (1988) and with Robert Palmer the band released ''I'll Be Your Baby Tonight'' (1990), just to name a few.


    UB40 - COLLECTED has captured all the different phases of the band in one complete album, from classic hits combined with the new!

    LP 1
    1. Tyler
    2. Burden Of Shame
    3. I Think It's Going To Rain Today
    4. Food For Thought
    5. Don't Do The Crime
    6. One In Ten
    7. Sardonicus
    8. Please Don't Make Me Cry
    9. Cherry Oh Baby
    10. Red Red Wine
    11. If It Happens Again
    12. Don't Slow Down


    LP 2
    1. I Got You Babe (ft. Chrissie Hynde)
    2. Don't Break My Heart
    3. Sing Our Own Song
    4. Rat In Mi Kitchen
    5. All I Want To Do
    6. Maybe Tomorrow
    7. Afrika Bambaataa and Family ft. UB40 - Reckless
    8. Breakfast In Bed (ft. Chrissie Hynde)
    9. Homely Girl
    10. Kingston Town
    11. Robert Palmer ft. UB40 - I'll Be Your Baby Tonight
    12. Tears From My Eyes
    13. Here I Am (Come And Take Me)
    14. (I Can't Help) Falling In Love With You

    UB40
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Carla Carla Quick View

    $21.99
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    Carla

    Paired with Stax writing whiz-kids Isaac Hayes and David Porter, Thomas had her greatest chart run, beginning with the hit B-A-B-Y and continuing with Let Me Be Good to You. Both of those appear here, alongside evocative slabs of country-soul in covers of Hank Williams's I'm So Lonesome I Could Cry and Patsy Cline's I Fall to Pieces. For good measure, Thomas also tries her hand at the blues with covers of Howlin' Wolf's Little Red Rooster and Jimmy Reed's Baby What You Want Me to Do?

    - Rob Bowman (AllMusic.com)

    1. B-A-B-Y
    2. Red Rooster
    3. Let Me Be Good To You
    4. I Got You, Boy
    5. Medley:
    - Baby What You Want Me To Do
    - For Your Love
    6. What Have You Got To Offer Me
    7. I'm So Lonesome I Could Cry
    8. I Fall To Pieces
    9. You Don't Have To Say You Love Me
    10. Fate
    11. Looking Back
    Carla Thomas
    $21.99
    Vinyl LP - Sealed Buy Now
  • Holographic Violence Holographic Violence Quick View

    $14.99
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    Holographic Violence

    In the five years since Grave Babies' debut album Deathface was released, founder Danny Wahlfeldt has been handling all songwriting and recording duties for the Seattle-based band, with invaluable help from friends in performing their material live. For their newest album entitled Holographic Violence, Wahlfeldt chose a different path, causing a significant change in the band's overall sound.


    Holographic Violence is Grave Babies' second Hardly Art full-length after Crusher (2013), and further explores the themes of nihilism, the pending doom of mankind, and shaming humanity, which the band has been building their gloomy reputation on since the beginning. This time however, instead of recording everything in his basement, Wahlfeldt enlisted the help of Bryce Brown (Crypts) on bass and Mark Gajadhar (Blood Brothers, Past Lives) on drums in the early stages of recording. The songs on Holographic Violence fell into place in Mark's studio on Orcas Island, Washington. Mixing was handled by Matt Bayles (Alice in Chains, Mastodon), with final mastering by Chris Common (Chelsea Wolfe, Mars Volta). As a final touch, Claire Haranda was added to the lineup on keyboards and synth to round out the band's live sets. By leaving the edgy, lo-fi haze of earlier output in the past, these songs have clarified what the music of Grave Babies has to offer the future.


    That is, if humanity has a future?


    "I wanted it to be a last cry for sanity going into our dystopian future," Wahlfeldt says about Holographic Violence. Grave Babies has long held a crush on morbidity, death, and corruption, building a romantic relationship around the juxtaposition of the dark contextual matter with hook-heavy songs rife with pretty melodies and harmonies. The 11 new songs on Holographic Violence present this powerful combination from a science fiction perspective, begging the question: has our imagination outpaced the confines of our reality as we keep going down the same path, believing there's hope? Playing anthemic pop songs with a strange male choir-esque sound to the vocals adds a distinctly cultish feel to the abrasive exercise of figuring out if it is possible to circumvent destructive human predispositions.


    Thus, Holographic Violence is a lesson in authenticity as we must look deeper into the subject matter for the finer details, instead of skimming the surface and believing we have things right at a mere glance. Maybe we just have to come to terms with the fact that the things that we're constantly running away from are inherent in ourselves and inescapable? Grave Babies mission is not to find the answers to these questions, but to challenge the listener and on Holographic Violence, their uncompromising aesthetic makes the suffering a little prettier.

    1. Eternal (On & On)
    2. Beautiful Lie
    3. Try 2 Try
    4. Something Awful
    5. Punishment (Only A Victim)
    6. Metal Me
    7. Pain Iz Pleasure
    8. Positive Aggression
    9. N2 Ether
    10. Concrete Cell
    11. War
    Grave Babies
    $14.99
    Vinyl LP - Sealed Buy Now
  • The Stiff Singles 1976 - 1977 The Stiff Singles 1976 - 1977 Quick View

    $59.99
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    The Stiff Singles 1976 - 1977

    It was the summer of 1976 when Dave Vanian, Rat Scabies and Captain Sensible recruited guitarist and songwriter Brian James, they played their first gig supporting the Sex Pistols at the 100 Club and quickly signed to Stiff Records and began writing the very first chapter of the punk rock history books. Their debut 7" - New Rose - was written by Brian James and backed by a proto-thrash version of The Beatles' Help. It was recorded by Stiff's in-house producer, Nick Lowe and set the punk dream alight at exactly 9.00am when record shops opened for business on 22 October 1976, stealing a march on the Pistols by becoming what is widely acknowledged as the very first punk record ever released.


    The band really came into their own with their second single - Neat Neat Neat - which had two cuts on the B-side, Stab Yor Back and Singalongascabies. Produced, like New Rose, by Nick Lowe, the vinyl had a message from one band member scratched in the run-out groove: "this is your captain speaking..." So what were Captain Sensible's favourite acts on Stiff, one journalist asked him in 2007? "I wasn't interested!" he insists. "It was mainly pub rock in the early days, which we despised and sneered at in our young and snotty way " After a special 7" - Stretcher Case Baby - cut to give away at gigs celebrating the band's first anniversary, they went back into the studio, this time with Pink Floyd's Nick Mason at the controls.


    Third single Problem Child was written by Brian James with Rat Scabies and featured new recruit Lu Edmonds on guitar. An incendiary two minutes of the band in their prime, it failed to crack the UK top 40 but did make number 27 in NME's alternative singles chart. By the end of 1977, the Damned were ready to part with Stiff, just as Brian James and Lu Edmonds were ready to part with The Damned. Their last single was Don't Cry Wolf, backed with another Nick Mason-produced track, One Way Love.


    BMG now proudly present this limited edition set comprising of 5 x 7 vinyl singles including the famed first ever punk single 'New Rose' and all the other early hits from the impressively chaotic punk quartet. All singles have been recreated with their original artwork, including the ultra-rare, previously fan club only 'Stretcher Case Baby'. These are all packed in a superb box, collaged with original press cuttings from back in the day. Also included is a Damned embroidered patch, exclusive to this boxset.

    7 Single 1
    1. New Rose
    2. Help (2018 - Remaster)


    7 Single 2
    1. Neat Neat Neat
    3. Stab Yor Back (2017 Remastered)
    4. Singalongascabies


    7 Single 3
    1. Problem Child
    2. You Take My Money


    7 Single 4
    1. Don't Cry Wolf
    2. One Way Love (2018 - Remaster)


    7 Single 5
    1. Stretcher Case Baby (2018 - Remaster)
    2. Sick of Being Sick

    The Damned
    $59.99
    7 Vinyl Box Set - 5 Singles Sealed Buy Now
  • Rainbow Bridge (Soundtrack) Rainbow Bridge (Soundtrack) Quick View

    $24.99
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    Rainbow Bridge (Soundtrack)


    Remastered By Bernie Grundman From The Original Analog Masters


    Rainbow Bridge is being reissued on vinyl, reintroduced with original album art and track orders and remastered by Bernie Grundman from the original analog masters.


    Rainbow Bridge was compiled and mixed by Eddie Kramer and Mitch Mitchell in 1971, with the help of Electric Lady Studios engineer John Jansen. Most of the tracks were recorded in 1969 and 1970, during the same sessions that spawned The Cry Of Love. Rainbow Bridge is often misconstrued as being an entirely live album, being that the film of the same name features excerpts of a live Jimi Hendrix performance in Maui. However, Hendrix had no role in the creation of the rambling, unfocused 1971 film which was directed by Chuck Wein. The film was not a Hendrix project in any way but instead an independent vision of his manager Michael Jeffery. After Hendrix's death in September 1970, Jeffery scrapped Hendrix's original vision of a double studio album titled First Rays Of The New Rising Sun and called for Kramer, Mitchell and Jansen to compile two posthumous albums-including one that would that would serve as a soundtrack for the Rainbow Bridge film.


    Mitchell, Kramer and Jansen drew upon Hendrix's rich trove of studio recordings that the guitarist had been developing at Electric Lady Studios. Songs such as ''Dolly Dagger'' and ''Room Full Of Mirrors'' were bright examples of Hendrix's new creative direction. Other standouts on the album included a studio rendition of ''Star Spangled Banner'' as well as the majestic ''Hey Baby (New Rising Sun).'' The one live track on the album, an extraordinary rendition of Hendrix's original blues composition ''Hear My Train A Comin''' is taken from a performance at Berkeley Community Theatre in May of 1970, and not in the film at all. Buddy Miles and Noel Redding both appear on one track each, and the Ronettes provide backing vocals on ''Earth Blues.''


    After Hendrix's death in September 1970, First Rays Of The New Rising Sun was scrapped and instead two posthumous albums were created from the sessions, including one that would serve as a soundtrack for the Rainbow Bridge film.

    1. Dolly Dagger
    2. Earth Blues
    3. Pali Gap
    4. Room Full of Mirrors
    5. Star Spangled Banner (studio version)
    6. Look Over Yonder
    7. Hear My Train A Comin' (live)
    8. Hey Baby (New Rising Sun)
    Jimi Hendrix
    $24.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Profile: Best Of Emmylou Harris Profile: Best Of Emmylou Harris Quick View

    $21.99
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    Profile: Best Of Emmylou Harris

    Already celebrated as a discoverer and interpreter of other artists' songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs-three of them co-written with Grammy- and Oscar-winning composer Will Jennings-that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons ("The Road") and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle ("Darlin' Kate") and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On "My Name Is Emmett Till" she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim's perspective; on "Goodnight Old World," she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up's world-weariness with a baby's wide-eyed wonder. "Big Black Dog," with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte's Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: "She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I'm making up for lost time now, that's for sure."Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

    Forty years into her career, Harris shares the hard-earned wisdom that-hopefully if not inevitably-comes with getting older, though she's never stopped looking ahead. The candor of Harris's words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she'd previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris's acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves-employing piano, pump organ, and synths as well as playing percussion-conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, "a floaty, dreamy quality.""It's such a beautifully realized sound," says Harris. "We didn't have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on 'My Name Is Emmett Till.' It's a simple part but it just breaks my heart whenever I hear it. It's like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I've been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable."On "The Road,"

    1. One Of These Days
    2. Sweet Dreams
    3. To Daddy
    4. (You Never Can Tell) C'est La Vie
    5. Making Believe
    6. East From Now On
    7. Together Again
    8. If I Could Only Win Your Love
    9. Too Far Gone
    10. Two More Bottles Of Wine
    11. Boulder To Birminham
    12. Hello Stranger
    Emmylou Harris
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Alice Cooper Show The Alice Cooper Show Quick View

    $29.99
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    The Alice Cooper Show


    Celebrate Four Decades Of Alice Cooper's Legendary 1977 Live Album


    First Time 180 Gram Audiophile Vinyl Release


    Mastered Impeccably By Joe Reagoso From The Original Warner Bros. Tapes


    After an amazing string of gold and platinum albums and singles, Alice Cooper and his band delivered the goods with their first sensational live album The Alice Cooper Show in 1977. This hard rockin'
    live collection featured the superstars biggest songs from his biggest albums like Love It to Death, Killer,
    School's Out, Billion Dollar Babies and Welcome to My Nightmare.


    Produced by Bob Ezrin and Brian Christian, Alice Cooper and superstar sidekicks like Dick Wagner
    and Steve Hunter on dual lead guitars truly recorded some of the finest hard rock ever for this platinum
    plus collection.


    Featuring hard rock smashes like School's Out, Eighteen, Billion Dollar Babies, Under My Wheels and
    Only Women Bleed, it is easy to see why this album flew up the rock album charts in 1977.
    Even more masterful cuts like You and Me, Is It My Body and I Never Cry make this album one of the
    most enduring live rock and roll albums ever in classic rock history. It has been out of print on vinyl now
    for several decades that is until now.


    Friday Music is very proud to offer another exciting installment in our Alice Cooper 180 Gram
    Audiophile Vinyl Series with Alice Cooper's classic 1977 smash album The Alice Cooper Show. Impeccably mastered from the original Warner Bros. tapes by Joe Reagoso (Alice Cooper/David Bowie/Deep
    Purple) at Friday Music Studios and Capitol Records in Hollywood, this Anniversary limited edition first
    time 180 Gram LP is also presented in a first time collectible deluxe gatefold cover with the original 1977
    rare inner sleeve artwork detailed inside. We believe this is the definitive sounding version of this monumental collection and will be one of the more anticipated audiophile releases of 2013.


    Let's now celebrate The Alice Cooper Show Anniversary Edition First Time 180 Gram Vinyl
    Only From Your Friends at Friday Music

    1. Under My Wheels
    2. Eighteen
    3. Only Women Bleed
    4. Sick Things
    5. Is It My Body
    6. I Never Cry
    7. Billion Dollar Babies
    8. Devil's Food/The Black Widow
    9. You and Me
    10. I Love the Dead/Go to Hell/Wish You Were Here
    11. School's Out
    Alice Cooper
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Imagene Peise - Atlas Eets Christmas Imagene Peise - Atlas Eets Christmas Quick View

    $9.99
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    Imagene Peise - Atlas Eets Christmas

    ATLAST EETS CHRISTMAS was previously released in a very limited physical quantity on CD only under the pseudonym Imagene Peise (with a sticker that read Love Is The Answer - Merry Christmas From The Flaming Lips 2007). The pseudonym Imagene Peise is a John Lennon-esque spelling of Imagine Peace, ala Lennon's wonsaponatime, and likewise the album title sounds-out At last, it's Christmas. The alias credits are similarly punning: Imagene Peise - Piano Ominog Bangh - Laughing/Crying Glider Synthesizer Shineyu Bhupal - Drones, Sitar, and Baritone Tambura.


    From the Flaming Lips' presumably vast vault of curiosities comes Atlas Eets Christmas, a psych-jazz piano album that originally appeared in a very limited run under the pseudonym Imagene Peise during the 2007 holiday season. Billed as a lost album by a mysterious young Iraqi piano prodigy name Peise who committed suicide in 1978, the album plays like the soundtrack to some sort of unearthed educational filmstrip where science meets Santa.


    The same could be said about much of the Lips' more experimental output, which does include other Yuletide offerings, most notably the soundtrack to their 2008 film Christmas on Mars. Almost entirely instrumental and buried under the weight of a fabricated faux-vinyl crackle, Atlas frames their lovely piano arrangements of such classics as Winter Wonderland, Do You Hear What I Hear?, and White Christmas with buzzing sitars, spacy electronic noises, distant synths, and the band's hallmark Mellotron drones.


    The result is a warmly intended yet moon-cold Christmas album that is still surprisingly pleasant. Although Wayne Coyne does make his presence known singing lead on the Vince Guaraldi-esque title cut (most likely through an old telephone from his home office on Mars), this largely seems to be the baby of multi-instrumentalist Steven Drozd, whose graceful piano playing makes up the bulk of this unusual venture.

    1. Winter Wonderland
    2. Silver Bells
    3. Christmas Laughing Waltz (including Jingle Bells)
    4. Silent Night
    5. Atlas Eets Christmas
    6. Do You Hear What I Hear?
    7. Have Yourself A Merry Little Christmas
    8. White Christmas (Binson Echorec Sleigh Ride)
    9. Frosty The Snowman
    10. Christmas Kindness Song
    11. The Christmas Song
    The Flaming Lips
    $9.99
    Vinyl LP - Sealed Buy Now
  • Singin' The Blues (Pure Pleasure) Singin' The Blues (Pure Pleasure) Quick View

    $34.99
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    Singin' The Blues (Pure Pleasure)

    Singin' The Blues was issued as Crown 5020 in spring 1957 and featured some of B.B. King's best-loved songs up to that point. The LP included four #1 R&B hits: 3 O'Clock Blues and You Know I Love You (1952), Please Love Me (1953) and You Upset Me Baby (1954); four other top ten hits; plus Blind Love from 1953 and covers of Tampa Red's Crying Won't Help You (1955) and Gatemouth Moore's Did You Ever Love A Woman from 1956. To fill out the album, a superior alternate take of Sweet Little Angel was included. As John Broven observes in his notes: In 1957 Singin' The Blues gave the first real indication that B.B. King was destined to be a major star. Absolutely seminal material; his classic hits.




    Musicians:



    • B. B. King (guitar, vocal)

    • The Maxwell Davis Orchestra



    About Pure Pleasure



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



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



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



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



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



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



    1. Please Love Me
    2. You Upset Me Baby
    3. Every Day I Have the Blues
    4. Bad Luck
    5. 3 O'clock Blues
    6. Blind Love
    7. Woke Up This Morning
    8. You Know I Love You
    9. Sweet Little Angel
    10. Ten Long Hears
    11. Did You Ever Love A Woman
    12. Crying Won't Help You
    B.B. King
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Labour Of Love Labour Of Love Quick View

    $34.99
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    Labour Of Love

    Labour of Love is a reggae album by UB40, the band's fourth album and first covers album. It was originally released on 1 September 1983 and included the hits, Red, Red Wine, Cherry Oh Baby, Many Rivers to Cross, and Please Don't Make Me Cry.
    1. Cherry Oh Baby
    2. Keep On Moving
    3. Please Don't Make Me Cry
    4. Sweet Sensation
    5. Johnny Too Bad
    6. Red Red Wine
    7. Guilty
    8. She Caught The Train
    9. Version Girl
    10. Many Rivers To Cross
    UB40
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Binary Binary Quick View

    $24.99
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    Binary

    "My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."

    With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.

    She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)

    "When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"

    "When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"

    On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.

    "I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"

    She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."

    Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.

    "Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."

    The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."

    Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."

    For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.

    Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.

    "While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."

    "I'm trying to figure it out daily," says Ani DiFranco. "Just like always."

    1. Binary
    2. Pacifist's Lament
    3. Zizzing
    4. Play God
    5. Alrighty
    6. Telepathic
    7. Even More
    8. Spider
    9. Sasquatch
    10. Terrifying Sight
    11. Deferred Gratification
    Ani DiFranco
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I'm Jimmy Reed / Rockin With Reed I'm Jimmy Reed / Rockin With Reed Quick View

    $38.99
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    I'm Jimmy Reed / Rockin With Reed

    Import


    There's simply no sound in the blues as easily digestible,accessible, and instantly recognizable as the music of Jimmy Reed. His debut LP release, I'm Jimmy Reed, was about as strong a first album as was heard in Chicago blues. Really a collection of single sides rather than an actual album of new material, the tracks were recorded from June 1953 (Roll & Rhumba) through March 1958 (You Got Me Crying ) and include the songs on which he'd built his reputation over the previous five years, key among them: Honest I Do,Ain't That Lovin' You Baby, You Got Me Dizzy, and You Don't Have to Go, plus their highly relevant B-sides, which help give this album more depth and breadth than a formal hits collection would have had.

    Jimmy Reed's second album was a little different from his first. It is also a collection with previously released single sided recorded and released over the prior seven years; but three of the dozen songs here were new to listeners when they showed up on Rockin' with Reed. This album is every bit as enjoyable and equally essential listening, includingDown in Virginia, Going to New York, and Take Out Some Insurance, the latter two the latest recordings on this album; and even the one or two seeming throwaway here, the instrumentals Ends & Odds and My BitterSeed are worth hearing for what they reveal of the playing on these sessions. Reed's incredibly expressive voice, coupled with his sinewy guitar and virtuoso-level harp playing, is consistently great throughout.

    LP 1: I'M JIMMY REED
    1. Honest I Do
    2. Go On To School
    3. My First Plea
    4. Boogie In The Dark
    5. You Got Me Crying
    6. Ain't That Lovin' You Baby
    7. You Got Me Dizzy
    8. Little Rain
    9. Can't Stand To See You Go
    10. Roll And Rhumba
    11. You're Something Else
    12. You Don't Have To Go
    13. I Love You Baby*
    14. Honey, Don't Let Me Go*
    15. Signals Of Love*
    16. Honey, Where You Going*


    LP 2: ROCKIN' WITH REED
    1. Going To New York
    2. A String To Your Heart
    3. Ends & Odds
    4. Caress Me Baby
    5. Take Out Some Insurance
    6. The Moon Is Rising
    7. Down In Virginia
    8. I Know It's A Sin
    9. Wanna Be Loved
    10. Baby, What's On Your Mind
    11. My Bitter Seed
    12. Rockin' With Reed
    13. The Sun Is Shining*
    14. I Told You Baby*
    15. I'm Gonna Get My Baby*
    16. You Know I Love You*


    *bonus tracks

    Jimmy Reed
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Range Of Light Range Of Light Quick View

    $17.99
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    Range Of Light

    S. Carey's chosen musical expression is a hugely beatific,restorative panorama of beauty - perfect given how
    landscape and the wonder of nature inspire much of Carey's imagery. His new album Range of Light - the
    follow-up to his 2010 debut All We Grow-takes its title from the name that 19th century naturalist John Muir
    - Carey's hero - gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and
    shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range
    changing shadow form and color, or the ebb and flow of a river's current, his music is simultaneously restful
    and rhythmic, complex and simple, and always evolving.


    "My music has specific connections to nature and place, my surroundings, and my experiences," says Carey. I
    travelled the Sierra Nevada area many times as a boy,fishing small mountain streams, hiking to the top of'half
    dome', exploring the Redwood groves at Wawona, in awe of the Yosemite Valley. The term,'Range of Light',to
    me, denotes the spectrum of light and dark a person can have in their life - peaks and valleys of happiness,
    sorrow, challenges and growth - for me most recently and more specifically: marriage, having a baby, and
    maintaining a spiritual connection to nature, place, friends and family as an adult."


    While he studied classical percussion and piano at the University of Wisconsin in Eau Claire, Carey imbibed
    rhythmic minimalists such as Steve Reich and Philip Glass. Immediately after graduating in 2007, he caught
    wind that Eau Claire resident Justin Vernon was forming a band to take his For Emma, Forever Ago opus on
    the road. Carey learnt the drum and vocal parts for the album,rehearsed with Vernon, and has been a mainstay
    of the Bon Iver live band ever since.


    While on tour with Bon Iver, Carey developed his own song writing ambitions, and after many less than
    frequent recording sessions between tours, released All We Grow in 2010. Those nine songs sat between a
    folk/modern classical hybrid and rarefied jazz climes. Carey's warm melodic nuances, reflected in the lush
    folds of his singing, added to the mutable percussive syncopations of his instrumentation.


    Range of Light incorporates elements of his previous work, but also amplifies Carey's percussive proclivities,
    and is altogether more developed than its predecessors, with more input on the performance and even
    composition side from the band of musicians and best friends he assembled originally to bring All We Grow
    to life in the live setting. "Therewere times during recording sessions when there were three percussionists, all
    with different styles and fortes, playing at once, adding different textures."


    From the flurry of violins over a circular rhythm in 'Crown The Pines' and the beautiful cries of 'Alpenglow',
    to the pensive depths of songs like 'Fire-scene' and 'The Dome', Range of Light is a still life of an artist in this
    particular stage of his life; a stage that has been met with the highest of peaks and the lowest of depths all
    within the range each of us treads through.

    1. Glass/Film
    2. Creaking
    3. Crown The Pines
    4. Fire-scene
    5. Radiant
    6. Alpenglow
    7. Fleeting Light
    8. The Dome
    9. Neverending Fountain
    S. Carey
    $17.99
    Vinyl LP - Sealed Buy Now
  • In The Beginning In The Beginning Quick View

    $21.99
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    In The Beginning

    Seminal Early Beatles Recordings as Backing Band for Singer Tony Sheridan


    Includes Rare Lennon/Harrison Instrumental "Cry for a Shadow" and Lennon-Led "Ain't She Sweet"


    Gatefold LP with Rare Photos and Essay By Tony Sheridan


    This is where the legend starts. Serving as the backing musicians for British rock singer Tony Sheridan, the Beatles turned out the most productive studio session of their formative years in June 1961 in Hamburg, a historical occasion documented on the seminal In the Beginning. Billed as the Beat Brothers, the group that evolved into the Fab Four counted original member Pete Best on drums and largely supplied Sheridan with rhythmic foundations for traditional cuts such as Ray Charles' "What'd I Say" and Lieber-Stoller's "Ruby Baby," as well as a batch of originals.


    Most importantly, the date also produced the rare jazzy instrumental "Cry for a Shadow," the only Beatles track ever credited to Lennon-Harrison. Another essential gem is "Ain't She Sweet," an early 20th century hit covered here with lead vocals by John Lennon. Most importantly, this treasured LP affords music fans from around the world an early glimpse into the instrumental abilities and harmonic sound of a band that would, within two years, become the most important and popular ensemble in history.


    Historians and collectors, take note: These performances occurred long before the quartet's similarly prized artifact Live at the Hamburg Club 1962, making this album the earliest official recording of the Beatles available.


    Featuring dead-quiet surfaces, this Wax Cathedral LP is pressed at RTI, America's best record plant.


    Music sounds better on vinyl. Especially when it's experienced on new pressings from RTI, America's finest record plant. Introducing Wax Cathedral, an imprint focused on reissuing great albums on LP, complete with dead-quiet surfaces and authentically replicated artwork. Wax Cathedral goes where few other labels dare, restoring titles from diverse genres, myriad eras, and recognizable artists beloved by generations of listeners. Wax Cathedral is all about bringing back quality vinyl titles that have been out-of-print on LP for decades, and having fun in the process. Get your turntables ready.

    1. Ain't She Sweet
    2. Cry for a Shadow
    3. Let's Dance
    4. My Bonnie
    5. Take Out Some Insurance on Me, Baby
    6. What'd I Say
    7. Sweet Georgia Brown
    8. When the Saints Go Marching In
    9. Ruby Baby
    10. Why
    11. Nobody's Child
    12. Ya Ya, Pts. 1-2
    The Beatles
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Ted Nugent (45 RPM) Ted Nugent (45 RPM) Quick View

    $54.99
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    Ted Nugent (45 RPM)

    The Best-Sounding Track - Stranglehold - Has Side 1 All To Itself! Cut At 45 RPM, Spread Over One Whole Side - Unbelievable Sound! Stranglehold Indeed!


    Gatefold Jacket!


    Mastered By Ryan Smith At Sterling Sound Using Legendary Mastering Engineer George Marino's Notes From His Original Mastering Sessions With The Original Analog Tapes!


    Remastered By Smith In George's Mixing Room Using Marino's VMS 80 Lathe


    200-Gram Vinyl Plated By Gary Salstrom And Pressed At Quality Record Pressings, The World's Finest Lp Maker!


    Self-Titled Album Made Nugent And His Gonzo Guitar A Rock Icon!


    There was a moment, in 1975 to be exact, when Ted Nugent was taken very seriously. As a musician. Before he decided to become whatever it is that he is now. ... Let's think back to 1975 when Ted was just a sex-crazed rock star who made a killer self-titled debut solo record that has now been remastered and reissued as a gatefold, by Chad Kassem's Analogue Productions and Quality Record Pressings. While his songwriting interests have never really changed, these were the best takes on all those ideas that Nugent would from this point on build his career on. ... on Ted Nugent his guitar riffs were never sharper, his playing never less indulgent. This is a record where even the inner cuts like 'Just What the Doctor Ordered' and 'Queen of the Forest' were good to great. - Robert Baird, Stereophile, May 2014


    We were fortunate with this one. Fortunate you say? How so? Well for starters, the late and lauded mastering engineer George Marino at Sterling Sound mastered and cut the original 1975 release of Ted Nugent. Almost 40 years later, after some digging by George's protege, Ryan Smith, on behalf of this Analogue Productions reissue - lo and behold - George's mastering notes resurfaced as well as the original analog tape masters.


    With the release of Ted Nugent, the self-proclaimed Motor City Madman and god of gonzo guitar became not just a star, but one of rock 'n' roll's icons. The songs Motor City Madhouse and Just What The Doctor Ordered would become two of many of Ted's road anthems. These and the other 10 monster tracks on Ted Nugent were clear evidence that Ted was an artist to be reckoned with.


    Ted Nugent still likes to reflect back on what his critics were saying as he put his band, the Amboy Dukes, to rest and started the next phase of his career-one that would be under his own vision, his own direction and most importantly, his own name.


    I remember some of the more creative writers of the ilk claimed it would be 'the final nail in my coffin' - quote, unquote, Nugent says with a redemptive laugh. I knew better.


    The mention of Ted's name elicits different reactions from rock fans today in different parts of the country. Nods of familiarity on both coasts, and clenched fists and knowing grins in the vast Midwest and South. He's sold millions of albums. Rock radio couldn't play enough of him - and neither could promoters, who made him the hardest-working and top-grossing gunslinger of the mid- and late-'70s. While most other rockers posed with their sleek Stratocasters and Les Pauls, there was Nugent, whipping his mane of hair around his head as he cranked out sound on his big Gibson Birdland, a hog of a guitar with rich, thick and creamy tones - clearly not something to be trusted to amateurs. But in Nugent's hands it screamed, squealed and cried, providing a vivid 3-D voice for the monster crunch of Stranglehold, the menacing stomp of Stormtroopin and the fiery boogie of Hey Baby, Motor City Madhouse and Snakeskin Cowboys.


    We feel this is Ted's finest recording by far. And here, you'll hear this classic more clearly and vividly than ever before. This reissue was remastered by Smith in the late George Marino's mixing room at Sterling Sound using Marino's VMS 80 lathe and an ATR 102 tape machine modified by Mike Spitz-the only one of its kind in the world.. Then this 200-gram vinyl beauty was pressed by Quality Record Pressings, makers of the world's finest LPs, where it was plated for vinyl by Gary Salstrom, QRP's master plating technician and general manager. The power burned into these grooves is difficult to find anywhere else this side of the Atlantic, and indeed it remains a rare commodity anywhere in the world.


    As Ted himself proclaims: If anyone wanted to know what rock 'n' roll was all about, this is the only album they'll need.


    This title is not eligible for discount.

    LP 1
    1. Stranglehold
    2. Stormtroopin'
    3. Hey Baby
    4. Just What the Doctor Ordered


    LP 2
    1. Snakeskin Cowboys
    2. Motor City Madhouse
    3. Where Have You Been All My Life
    4. You Make Me Feel Right at Home
    5. Queen of the Forest

    Ted Nugent
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Ted Nugent (Out Of Stock) Ted Nugent (Out Of Stock) Quick View

    $34.99
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    Ted Nugent (Out Of Stock)

    Mastered By Ryan Smith At Sterling Sound Using Legendary Mastering Engineer George Marino's Notes From His Original Mastering Sessions With The Original Analog Tapes!


    Remastered By Smith In George's Mixing Room Using Marino's VMS 80 Lathe


    200-Gram Vinyl Plated By Gary Salstrom And Pressed At Quality Record Pressings, The World's Finest Lp Maker!


    Self-Titled Album Made Nugent And His Gonzo Guitar A Rock Icon!


    There was a moment, in 1975 to be exact, when Ted Nugent was taken very seriously. As a musician. Before he decided to become whatever it is that he is now. ... Let's think back to 1975 when Ted was just a sex-crazed rock star who made a killer self-titled debut solo record that has now been remastered and reissued as a gatefold, by Chad Kassem's Analogue Productions and Quality Record Pressings. While his songwriting interests have never really changed, these were the best takes on all those ideas that Nugent would from this point on build his career on. ... on Ted Nugent his guitar riffs were never sharper, his playing never less indulgent. This is a record where even the inner cuts like 'Just What the Doctor Ordered' and 'Queen of the Forest' were good to great. - Robert Baird, Stereophile, May 2014


    We were fortunate with this one. Fortunate you say? How so? Well for starters, the late and lauded mastering engineer George Marino at Sterling Sound mastered and cut the original 1975 release of Ted Nugent. Almost 40 years later, after some digging by George's protege, Ryan Smith, on behalf of this Analogue Productions reissue - lo and behold - George's mastering notes resurfaced as well as the original analog tape masters.


    With the release of Ted Nugent, the self-proclaimed Motor City Madman and god of gonzo guitar became not just a star, but one of rock 'n' roll's icons. The songs Motor City Madhouse and Just What The Doctor Ordered would become two of many of Ted's road anthems. These and the other 10 monster tracks on Ted Nugent were clear evidence that Ted was an artist to be reckoned with.


    Ted Nugent still likes to reflect back on what his critics were saying as he put his band, the Amboy Dukes, to rest and started the next phase of his career-one that would be under his own vision, his own direction and most importantly, his own name.


    I remember some of the more creative writers of the ilk claimed it would be 'the final nail in my coffin' - quote, unquote, Nugent says with a redemptive laugh. I knew better.


    The mention of Ted's name elicits different reactions from rock fans today in different parts of the country. Nods of familiarity on both coasts, and clenched fists and knowing grins in the vast Midwest and South. He's sold millions of albums. Rock radio couldn't play enough of him - and neither could promoters, who made him the hardest-working and top-grossing gunslinger of the mid- and late-'70s. While most other rockers posed with their sleek Stratocasters and Les Pauls, there was Nugent, whipping his mane of hair around his head as he cranked out sound on his big Gibson Birdland, a hog of a guitar with rich, thick and creamy tones - clearly not something to be trusted to amateurs. But in Nugent's hands it screamed, squealed and cried, providing a vivid 3-D voice for the monster crunch of Stranglehold, the menacing stomp of Stormtroopin and the fiery boogie of Hey Baby, Motor City Madhouse and Snakeskin Cowboys.


    We feel this is Ted's finest recording by far. And here, you'll hear this classic more clearly and vividly than ever before. This reissue was remastered by Smith in the late George Marino's mixing room at Sterling Sound using Marino's VMS 80 lathe and an ATR 102 tape machine modified by Mike Spitz-the only one of its kind in the world.. Then this 200-gram vinyl beauty was pressed by Quality Record Pressings, makers of the world's finest LPs, where it was plated for vinyl by Gary Salstrom, QRP's master plating technician and general manager. The power burned into these grooves is difficult to find anywhere else this side of the Atlantic, and indeed it remains a rare commodity anywhere in the world.


    As Ted himself proclaims: If anyone wanted to know what rock 'n' roll was all about, this is the only album they'll need.


    This title is not eligible for discount.

    1. Stranglehold
    2. Stormtroopin'
    3. Hey Baby
    4. Just What the Doctor Ordered
    5. Snakeskin Cowboys
    6. Motor City Madhouse
    7. Where Have You Been All My Life
    8. You Make Me Feel Right at Home
    9. Queen of the Forest
    Ted Nugent
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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