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Sing-A-Longs and Lullabies For The Film Curious GeorgeSing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Jack Johnson and friends for the 2006 film Curious George. Along with Johnson, it features Adam Topol, Ben Harper, G. Love, Kawika Kahiapo, Matt Costa, Merlo Podlewski and Zach Gill. It was released on February 7, 2006, topping the U.S. Billboard Top 200, selling 149,000 copies in the process, and reaching #1 in the Australian albums (ARIA) chart in its debut week and in Canada on the Nielson Soundcan chart on the following February 25, remaining there for four consecutive weeks.
This was the first soundtrack to make it to #1 since the Bad Boys II soundtrack in August 2003 and was the first soundtrack to an animated film to top the Billboard 200 since the Pocahontas soundtrack reigned for one week in July 1995.1. Upside Down
3. People Watching
4. Wrong Turn
5. Talk of The Town
6. Jungle Gym
7. We're Going To Be Friends
8. The Sharing Song
9. The 3 R's
11. My Own Two Hands
13. Supposed To Be$24.99Vinyl LP - Sealed Buy Now
As Time Goes By: The Very Best Of Little FeatAs Time Goes By: The Very Best of Little Feat is an extraordinary collection that contains almost every essential Little Feat song from their 70s heyday with Lowell George, plus the two hits (Let It Roll, Hate to Lose Your Lovin') from their late-80s comeback. Most of the band's albums are worth hearing, but this is a great introduction for the curious and -- since it features Dixie Chicken, Willin', Two Trains, Fat Man in the Bathtub, Sailin' Shoes, Oh Atlanta and All That You Dream in one place -- it's a great summation of the group's achievements, and George's songwriting talent in particular.
-Stephen Thomas Erlewine (allmusic.com)1. Dixie Chicken
3. Rock 'N' Roll Doctor
5. Sailin' Shoes
6. Spanish Moon
7. Feats Don't Fail Me Now
8. All That You Dream
9. Long Distance Love
10. Mercenary Territory
11. Old Folks Boogie
12. 20 Million Things$19.99Vinyl LP - Sealed Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Take Ten (Speakers Corner)
No, not Take Five but Take Ten is the title of this LP and its very first number. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. At the recording session, the guitarist Jim Hall was more than a substitute for the piano - he contributed to the quartet a whole new sound colouring which was tinged with the influences of bossa nova.
The numbers are all easy-going and airy, the melodic lines and sound are filled with transparency. All the while one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. This does not only apply to the old favourites Alone Together, Nancy and The One I Love, all three of them arrangements made ad hoc in the studio and which demonstrate how familiar the musicians were with one another, how they listened to one another, answered, and kept the dialogue flowing. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century.
RCA's recording and reproduction technology was ahead of its time. The music of these South-American-sounding gems comes out of the loudspeakers with brilliance, clarity and - at last - without the frustrating crackle of a second-hand LP.
- Paul Desmond (alto saxophone)
- Jim Hall (guitar)
- Gene Cherico, Gene Wright (bass)
- Connie Kay (drums)
Recording: 1963 in Webster Hall, New York, by Ray Hall
Production: George Avakian
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. Take Ten
2. El Prince
3. Alone Together
5. Theme from ''Black Orpheus''
6. Nancy (With the Laughing Face)
7. Samba de Orfeu
8. The One I Love (Belongs to Somebody Else)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
We Must Become The Pitless Censors Of Ourselves (Out Of Stock)John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science, he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for Johns deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenagers wall. Its this curious conflux of influences that partially helps to describe Johns music. Its a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of '80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.
Johns debut album proper entitled Songs was released through Upset The Rhythm in 2006. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. Its awe-inspired follow-up Love Is Real (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Maus returned last year to the heavy snows of the Midwest to finish album number three, We Must Become The Pitiless Censors Of Ourselves.
We Must Become The Pitiless Censors Of Ourselves breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space that wasnt as apparent on his previous albums. Its a record where promise takes the lead for the first time, providing a counterpoint to Johns default existential calling.1. Streetlight
2. Quantum Leap
3. And The Rain
4. Hey Moon
5. Keep Pushing On
6. The Crucifix
7. Head for the Country
8. Cop Killer
9. Matter of Fact
10. We Can Breakthrough
11. Believer$20.99Vinyl LP - Sealed Temporarily out of stock
A Collection Of Rarities And Previously Unreleased Material (Out Of Stock)Ribbon Music's inaugural signing was Minnesotan pop enigma John Maus and his album We Must Become the Pitiless Censors of Ourselves was released in June of 2011 in North America. They will now release on behalf of John Maus, throughout the world, a sixteen song collection of music spanning eleven years of creative output titled A Collection of Rarities and Previously Unreleased Material.
Of the sixteen songs showcased, five: "This is the Beat," "Castles in the Grave," "No Title (Molly)," "Bennington" and "My Hatred is Magnificent" have appeared on previous compilations, while two of the songs "Angel of the Night" and "Lost" have never been released on any format, nor across any media. The same can not be said of the remaining nine songs, the majority of which initially appeared on Demos 2011, a bundle of tracks originating from mausspace.com where they had been uploaded by their creator to be appreciated, if not reviewed, by those eager enough to search them out.
A Collection of Rarities and Previously Unreleased Material has been entirely remixed and remastered and features artwork and design by Turner Prize winning artist Wolfgang Tillmans. This LP version is limited to a one time worldwide pressing of 3000 hand numbered copies and includes an MP3 download card.
John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science, he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager's wall. It's this curious conflux of influences that partially helps to describe John's music. It's a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80's movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.1. North Star (2008)
2. The Law (2003)
3. Castles in the Grave (2010)
4. Angel of the Night (2010)
5. Mental Breakdown (2004)
6. Bennington (2007)
7. Big Dumb Man (2003)
8. No Title (Molly) (2008)
9. Lost (2003)
10. All Aboard (2007)
11. This is The Beat (2005)
12. My Hatred is Magnificent (2008)
13. The Fear (2003)
14. Fish With Broken Dreams (1999)
15. Rock the Bone (2008)
16. I Don't Eat Human Beings (2008)$20.99Vinyl LP - Sealed Temporarily out of stock