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  • Legion: XX Legion: XX Quick View

    $19.99
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    Legion: XX

    Pressed On Green Smoke-Colored Vinyl


    RIAA-certified, Billboard chart-topping, Richmond, VA band LAMB OF GOD may be one of the biggest bands in modern metal, but they will never forget where they came from. Mark Morton (guitar), John Campbell (bass), and Chris Adler (drums) formed the first incarnation of the band, BURN THE PRIEST, in the winter of 1994 after meeting four years earlier as students at Virginia Commonwealth University. Less than a year later, in the summer of 1995, they met vocalist Randy Blythe before adding Chris Adler's brother, Willie Adler (guitar), prior to transitioning to LAMB OF GOD - and the rest is global metal history.


    Guitarist Mark Morton says, "To truly understand the essence of the band BURN THE PRIEST, one must first consider the landscape in which it began: the mid-90s. Grunge and alternative music ruled the airwaves. Social media and the internet had yet to assume their role as our collective sources for entertainment and cultural exchange. It was a time when DIY 'zines turned us onto new bands and regional scenes, and 'copy and paste' still implied a print shop and a glue stick."


    BURN THE PRIEST's self-titled debut album, released via Philadelphia-based Legion Records, documented what was, in essence, a primal punk band performing metal. Ultimately, as they grew in local popularity, the five-piece chose to stray away from their name to avoid being associated with satanic metal, choosing the name LAMB OF GOD.


    Morton continues, "As our sound and songs developed, so did our goals we began playing basement parties and warehouse shows and in doing so, we realized that the energy we were creating was transferable. The shows we played in those squats and warehouses [in Philadelphia] and the people we met there are forever embedded in our collective consciousness and the DNA of our band."


    As they enter their 20th year since releasing their first self-titled album as BURN THE PRIEST, the band will release a full-length covers album that reflects on the greatness of classic punk, hardcore, crossover and noise - rock subgenres that contributed to what LAMB OF GOD - and indeed, the world - now view as modern heavy metal.


    As BURN THE PRIEST, the band presents Legion: XX - featuring tracks originally performed by CRO-MAGS, AGNOSTIC FRONT, QUICKSAND, MINISTRY, BAD BRAINS, MELVINS, S.O.D., THE ACCUSED, BIG BLACK and Richmond punk band SLIANG LAOS. The tracks are performed with the unmistakable precision that has kept the band vital for two decades, but ultimately harks back to the raw, punk-driven sound first explored by four unsuspecting college students and a line cook-turned-vocalist in their formative years. Produced with Josh Wilbur at the helm, Legion: XX exhibits BURN THE PRIEST in their true element.


    "Our inauspicious beginnings somehow grew into something none of us had ever even imagined possible, let alone aspired to, however, this is the story of BURN THE PRIEST," adds Morton. "The songs we chose to cover on this album reflect that story. They are touchstones from that point in time. The inspiration we gleaned from these bands and these songs carries through our work and our creative pursuits, even to this day. Many thanks to these bands for lighting our fire and endless gratitude to our fans around the world for keeping it lit."


    "I've been an ACCUSED fan since I was 14 when they were on the »Thrasher Skate Rock Volume 3« compilation with C.O.C. and all these amazing crossover bands," says frontman Randy Blythe. "Their singer Blaine Cook was a huge influence on me, vocally."


    Drummer Chris Adler recalls, "'Inherit The Earth' hit me in the face soon after I managed to get my grubby mitts on the album sometime around '88. I got the ACCUSED record at a "Yellow Banana" record store on Route 1 south of DC while in route back from my "counselor" to my home in Woodbridge, Virginia. I got home and grabbed my board and I rocked it on my Discman. At about 2:12 into the tune the clouds parted above me and on a loudspeaker, God bellowed down to me, 'RECEIVE YOUR PURPOSE.' That was the moment I knew that if I tried hard enough, I could convey myself and how I felt - with music. It will never be "ours," and we know that about all the tunes we've covered, but hopefully one of them hit you in the face as I had been, and God will part the clouds for you, too."


    Blythe adds, "I have a radio show on Gimmie Radio, and [the station] is all metal shows except for mine. I do the punk rock show because I want to show the direct correlation between my band, and the punk scene going back to THE MC5 and THE STOOGES. There is a direct link - look at old pictures of METALLICA, SLAYER and ANTHRAX, and they're wearing MISFITS, D.R.I., and C.O.C. t-shirts. They fused the technicality of metal with the intensity of punk rock. Before them, metal was like in slow motion. Speed metal bands were listening to DISCHARGE. I beat that drum all the time when I talk to kids."


    Legion: XX is a sonic tribute to metal's dark, dirty secret - the punk inspiration of all future heavy music to come.

    1. Inherit The Earth (originally performed by THE ACCUSED)
    2. Honey Bucket (originally performed by MELVINS)
    3. Kerosene (originally performed by BIG BLACK)
    4. Kill Yourself (originally performed by S.O.D.)
    5. I Against I (originally performed by BAD BRAINS)
    6. Axis Rot (originally performed by SLIANG LAOS)
    7. Jesus Built My Hotrod (originally performed by MINISTRY)
    8. One Voice (originally performed by AGNOSTIC FRONT)
    9. Dine Alone (originally performed by QUICKSAND)
    10. We Gotta Know (originally performed by CRO-MAGS)
    Burn The Priest (Lamb Of God)
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • The Nat King Cole Story The Nat King Cole Story Quick View

    $149.99
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    The Nat King Cole Story

    Analogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
    ...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52



    The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle



    ...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010



    One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.



    His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.



    A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.



    Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.



    Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.



    There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.



    This title is not eligible for discount.

    1. Straighten Up And Fly Right
    2. Sweet Lorraine
    3. It's Only A Paper Moon
    4. (Get Your Kicks On) Route 66
    5. (I Love You) For Sentimental Reasons
    6. The Christmas Song (Merry Christmas To You)
    7. Nature Boy
    8. Lush Life
    9. Calypso Blues
    10. Mona Lisa
    11. Orange Colored Sky
    12. Too Young
    13. Unforgettable
    14. Somewhere Along The Way
    15. Walkin' My Baby Back Home
    16. Pretend
    17. Blue Gardenia
    18. I Am In Love
    19. Answer Me, My Love
    20. Smile
    21. Darling, Je Vous Aime Beaucoup
    22. The Sand And The Sea
    23. If I May
    24. A Blossom Fell
    25. To The Ends Of The Earth
    26. Night Lights
    27. Ballerina
    28. Stardust
    29. Send For Me
    30. St. Louis Blues
    31. Looking Back
    32. Non Dimenticar (Don't Forget)
    33. Paradise
    34. Oh, Mary, Don't You Weep
    35. Ay, Cosita Linda
    36. Wild Is Love (spoken intro and song)
    37. Ramblin' Rose
    38. Those Lazy-Hazy-Crazy Days Of Summer
    Nat King Cole
    $149.99
    200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
  • ZEBRA (Pre-Order) ZEBRA (Pre-Order) Quick View

    $24.99
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    ZEBRA (Pre-Order)

    Release Date: June 22, 2018*


    With ZEBRA, the fourth Arp long-player, NY-based artist/producer/DJ, Alexis
    Georgopoulos has boldly stepped into vastly new musical territory - blurring the lines
    between electronic and acoustic, between the experimental impulse and the addictive pop
    sensibility. Reaching across genres - colliding modern composition with post-pop
    structures, dub techniques and three-dimensional geometries - Georgopoulos creates a
    delirious m lange of sound, spellbinding in its range.


    Using forward-looking production techniques and an idiosyncratic instrumental palette -
    analog synthesizers, double bass, Fender Rhodes, electronic and acoustic drums, flute,
    harmonizers and tape delay - Georgopoulos paints a topography of sound, hinting at an
    astonishing range of styles - 4th world tremors, vibey cosmic jazz, forward-looking 80s
    Japanese production, floating kosmische drum atmospherics. Like transmissions through a
    medium wave receiver, it moves, liquid-like, in flow motion. A mutant offspring of diverse
    stylings, unlikely convergences, unfixed constellations, stretching ... into new mutations. All
    that's solid melts to air, all that's air crystallizes into rhythm, shifting through multiple
    atmospheres, telling a complicated story that compels repeat listens.


    ZEBRA emphasizes 'points of connectivity' in a time when reactive and fractious isolationism
    threaten to emphasize division.


    *Please note that release dates are subject to change.

    1. Halflight Visions
    2. Nzuku
    3. Fluorescences
    4. Folding Water
    5. Foam
    6. Parallelism
    7. Moving Target
    8. A Clearing
    9. Ozu
    10. Reading A Wave
    11. Fiji
    Arp
    $24.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Sound Of Change Sound Of Change Quick View

    $18.99
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    Sound Of Change

    The Sound of Change can't come from external forces, it has to emanate from within. For Dirty Heads, evolution beyond their reggae-rock roots has developed over time and is manifested on their new album "Sound of Change." Due out summer 2014 via Five Seven Music, the album boasts some of the groups' most diverse and ambitious work to date. "Sound of Change" takes a literal meaning with the production of this album, as the band links up with Grammy award winning producer Supa Dups (Nina Sky, Bruno Mars), Buddah Shampoo (Ty Dolla $ign), Niles (of hip hop duo, The Cataracs), Ward 21 (311, Major Lazer reggae collaborators) and long-time friend and collaborator, Rome (Sublime).


    The feel-good vibe associated with their sound was not forgotten. Sonically, "Sound of Change" amps up the groundwork laid by previous albums. Fine-tuned alternative choruses work harmoniously with hip-hop influenced production that seams the songs together. Universal themes of compassion, reflection and happiness are at the core of "Sound of Change." "We wanted the songs on this album to touch on the things we deeply care about and the people we are inside" front man Jared (Dirty J) Watson asserts, "but then we want to address the other side - when the weekend comes and we need to let go and just rage." Who can't relate to that feeling?


    Vocalist/Guitarist Dustin Bushnell (Duddy B) is constantly looking to connect the dots between the live show with the album tracks, often mentally mapping out the live elements as the songs are being recorded. For the touring cycle surrounding the release "Sound of Change" the band plans to bring a live show that will energetically compliment each new track. Dirty Heads have racked up their miles bringing that live experience to fans across the globe for over a decade. "Now that our lives are touring we get to see the world," both Watson and Bushnell agree, "we're taking stories and vibes from around the world and making this album is the culmination of that."


    The band's breakout 2008 album "Any Port In The Storm" included the chart-topping hit track "Lay Me Down" which features current Sublime frontman, Rome. The track had an incredible run for eleven weeks at #1 on the Billboard charts, laying a solid foundation for their follow up sophomore album "Cabin By The Sea" which was released in 2012. Dirty Heads then began their musical metamorphosis with their 2013 acoustic album "Home - Phantoms Of Summer," allowing time for their metamorphosis embodied in "Sound of Change." Their previous work featured contributions from talent such as Del The Funky Homosapien, Matisyahu, Rome (Sublime) and guitar legend Slash.


    "Sound of Change" is a melting pot of all the band members' experiences and musical persuasions, addressing both serious and lighthearted subject matter in their signature way. On the lighter side of the spectrum, "Burn Slow" (Produced by Rome, featuring rapper, Tech N9ne) showcases the hip-hop oriented side of the band. With anthemic choruses and a feel-good aura, Watson boasts the song is the perfect soundtrack for those times when you're "having a good time, going out with friends and realize that sometimes you just need to chill." The retro sound and sexy lyrics of "Hear You Comin," highlights Watson's soaring vocals in its hook. The first single, the metaphorical "My Sweet Summer" (produced by Niles from The Cataracs) is, in reality, a song for all seasons. An undeniable groove underlines the lyrical lament. The title track "Sound of Change" is the key manifestation of the artistic maturation of the band. "The world is always changing political and social outlooks and on a broader scale, look at the changes within yourself" Watson reflects, "the song is about embracing the change life is going to bring no matter what, because that change is inevitable." Though there is diversity on "Sound of Change," as a body of work, it is cohesive in a way only Dirty Heads can achieve.


    As a full six-piece unit, frontmen Watson and Bushnell are joined by keyboardist/vocalist Shawn Hagood, percussionist Jon Olazabal, drummer Matt Ochoa and bassist David Foral. This lineup is hell-bent on grabbing new ears with "Sound of Change." Their own journey can be heard within the album- all you have to do is sit back and listen.

    1. Sound Of Change
    2. My Sweet Summer
    3. Medusa (feat. Ward 21)
    4. Burn Slow (feat. Tech N9ne)
    5. Franco Eyed (feat. B-Real of Cypress Hill)
    6. End Of The World
    7. One Hand
    8. Radio
    9. Burials
    10. Hear You Coming
    11. Silence
    12. Dark Days
    13. Running For Your Life
    The Dirty Heads
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Third The Third Quick View

    $16.99
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    The Third

    Kitty, Daisy & Lewis return with their new album, three years on since their hugely acclaimed Smoking In Heaven . An early fan, Mick Jones of The Clash, was keen to get involved as producer and spent four months rehearsing in their home for the new album.

    Kitty, Daisy & Lewis The Third was recorded and finished in the summer of 2014 and sets them apart,embracing a spread of influences from blues to disco, but always sounding unmistakably Kitty Daisy& Lewis. The stories in this album resonate with moods and melodies that touch you in ways that are both uplifting and unnerving. With three different writers and multi-instrumentalists in the band, each track is a sparkling gem that reflects a different facet of experience.

    1. Whenever You See Me
    2. Baby Bye Bye
    3. Feeling Of Wonder ( Feat. Mick Jones)
    4. No Action
    5. Good Looking Woman
    6. Turkish Delight
    7. It Ain t Your Business
    8. Ain t Always Better Your Way
    9. Never Get Back
    10. Bitchin' In The Kitchen
    11. Whiskey
    12. Developer s Disease
    13. I Should Have Known
    Kitty, Daisy & Lewis
    $16.99
    Vinyl LP - Sealed Buy Now
  • Forever Changes Forever Changes Quick View

    $24.99
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    Forever Changes

    Ranked 40/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The third and final album by the original Love lineup, Forever Changes has consistently drawn epic praise both upon its 1968 release on Elektra Records and to this very day. Rolling Stone described Forever Changes as "elegant armageddon" when listing it as #40 in the 500 Greatest Albums Of All Time while another rave review considered it, "one of the most distinctive masterpieces in that era of masterpieces." A landmark work that is without question the L.A.-based psychedelic folk-rock pioneers' most fully realized studio effort, Forever Changes was produced by band co-founder/frontman Arthur Lee and The Doors' engineer/producer Bruce Botnick.


    Lee's metaphysically super-logical lyrics, warbled sweetly over the band's full-bloom psychedelia, a swirling current of guitars, strings, and horns layered into a mind-expanding wall of beauty. The album's song titles read like signs along the long and winding road to Nirvana: "Andmoreagain," "Maybe The People Would Be The Times Or Between Clark And Hilldale," "The Good Humor Man He Sees Everything Like This," "You Set The Scene." Forever Changes exploded the personal into the universal and uncovered the eternal tucked away inside the familiar.


    "In the summer of 1967 a billboard appeared on Los Angeles' legendary Sunset Strip telling all who looked skyward to 'watch for the third coming of LOVE.' Emblazoned with an image of the group painted in oozing pink, purple, blue, and green meant to resemble an organic heart, Love were barely recognizable in their collective obscurity. Though they had followed hot on the heels of The Byrds to rule the L.A. club scene a year earlier, the band (at the time perhaps the most progressive and uncompromising in pop) never made the leap to mainstream acceptance or the Billboard Top 10. Ironically, that same summer their Elektra labelmates and former opening act, The Doors hit #1 with 'Light My Fire.' Meanwhile, the five members of Love (Arthur Lee, Johnny Echols, Bryan MacLean, Ken Forssi, and Michael Stuart) struggled to complete an album that would barely chart on initial release. In most stories Love would be the group that promised more than they delivered. That would be had 'the third coming' not been Forever Changes, a long-player widely rated above any other waxing of that idyllic era." - Andrew Sandoval/liner notes for the 2008 reissue

    1. Alone Again Or
    2. A House Is Not A Motel
    3. Andmoreagain
    4. The Daily Planet
    5. Old Man
    6. The Red Telephone
    7. Maybe The People Would Be The Times Or Between Clark And Hilldale
    8. Live And Let Live
    9. The Good Humor Man He Sees Everything Like This
    10. Bummer In The Summer
    11. You Set The Scene

    Love
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Spreading Rumours Spreading Rumours Quick View

    $20.99
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    Spreading Rumours

    Spreading Rumors is Grouplove's second full-length album.


    Hannah Hooper met Christian Zucconi late one evening on the lower east side of Manhattan. They had both been living in New York for years and had never crossed paths before. But from that night forward the two could hardly be pulled apart. Soon after their connection Hooper was invited to an art residency in Greece on the island of Crete and Hooper insists without any hesitation she invited Zucconi to join her on this journey. Seriously, we had only known one another for a few days but are both so inspired and alive when we are together that going to Greece seemed like a magical and natural thing to do recalls Zucconi.


    On Crete, in a small remote mountain village, Hooper and Zucconi met the members of their future band Grouplove a year before it was officially formed. Sean Gadd, a natural songwriter and guitar player, born and bred in London instantly bonded with the two eccentric New Yorkers. Their relationship became apparent through the music they were making day in and day out. Andrew Wessen, a pro surfer and musician from Los Angeles and his childhood friend Ryan Rabin, an accomplished drummer and producer, were also at the residency and quickly joined in with the musical trio. These five musicians make up the members of what we now know as Grouplove.


    Like all good things, the summer and the residency came to an end and the five friends scattered back to their homes all over the globe. With Sean in London, Christian and Hannah in Brooklyn and Ryan and Andrew in Los Angeles Grouplove was faced with the challenge of what to do now. We all understood how rare it is for five strangers to feel as close as family and create passionate music together. We couldn't just return to Brooklyn and let the music we all made fade into a memory of that summer we had in Greece, explains Zucconi. Everyone pulled their funds together and Sean, Christian and Hannah made their way to Ryan Rabin's studio in LA to record their album. We seriously had the best time of our lives doing that record, says Zucconi. And the result is an incredibly special album where soaring harmonies coupled with sweeping anthems lead you through their powerful journey. Like the members of Grouplove, their music is diverse in influence and style but bonded together by an undeniably creative kinship.


    Their experience back together and recording together was so potent that Hooper and Zucconi packed up their lives in Brooklyn and moved to LA to live and play their music.


    We never could have dreamt this up says Zucconi, but at the same time we're not at all surprised - GROUPLOVE is meant to be. Our story a testament to fate, and our music is something we are ready to share.

    1. I'm With You
    2. Borderlines And Aliens
    3. Schoolboy
    4. Ways To Go
    5. Shark Attack
    6. Sit Still
    7. Hippy Hill
    8. What I Know
    9. Didn't Have To Go
    10. Bitin' The Bullet
    11. News To Me
    12. Raspberry
    13. Save The Party For Me
    Grouplove
    $20.99
    Vinyl LP - Sealed Buy Now
  • Glowing Mouth Glowing Mouth Quick View

    $14.99
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    Glowing Mouth

    New York was wearing on Kyle Wilson, lead singer & songwriter for the Brooklyn-based quintet Milagres. So he took off, away from the city and his band and his issues all the way to the coldest, most remote part of British Columbia where he could get some space and breathe. Upon his return to NYC, Wilson drafted Fraser McCulloch (bass, backing vocals, keys) into his new vision of Milagres, sharing with him the arrangements that he dreamt of while recovering from his injury sustained while in British Columbia. These demos were then refined with the addition of Eric Schwortz (guitar, backing vocals, percussion), Chris Brazee (piano/keys) and Steven Leventhal (drums, percussion), evolving into what would become the new group's first LP, Glowing Mouth.


    The musical scope of the album is big and due to the piano-based melodies and soaring falsettos, early press has compared the band to artists as diverse as Grizzly Bear and Prince, demonstrating the wide breadth of Milagres material. The first single, Glowing Mouth, is a slow-burner made for dancing close on a hot summer night, whereas Here To Stay has a keyboard hook that won't let you sleep. Kyle Wilson has a knack for writing dreamy story songs that also pack a punch in both chorus and melody. Songs like Gentle Beast and Gone suck you in and then haunt you for days afterwards this is an album that stays with you.

    1.Halfway
    2.Here to Stay
    3.Glowing Mouth
    4.Gentle Beast
    5.Lost In the Dark
    6.Fright of Thee
    7.Moon On the Seas Gate
    8.Gone
    9.For Disposal
    10.To Be Imagined
    11.Doubted
    Milagres
    $14.99
    Vinyl LP - Sealed Buy Now
  • Mr. Clean: Winfield Parker At Ru-Jac Mr. Clean: Winfield Parker At Ru-Jac Quick View

    $19.99
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    Mr. Clean: Winfield Parker At Ru-Jac

    First Ever Collection Of Parker's Classic Singles


    Pressed On Yellow Vinyl


    Ru-Jac Records, one of the nation's first African-American owned record labels, was formed in Baltimore in the early 1960s by Rufus Mitchell, who booked East Coast entertainment venues including Carr's Beach, a segregated summer resort near Annapolis. Ru-Jac was active into the 1970s and featured R&B, soul, funk, jazz and even rock acts. The most frequently recorded Ru-Jac artist was Winfield Parker.


    Parker cut 17 recordings for Ru-Jac, the 45s of which have fetched top dollar on the collectors market, as people have hungered for this vintage sound. When Omnivore Recordings acquired Ru-Jac in 2015, even more recordings were discovered. The original singles, along with six previously unissued tracks, are finally available as Mr. Clean: Winfield Parker At Ru-Jac. Omnivore Recordings will release the collection March 25, 2016, on CD and digital. The LP will be available June 10, first limited-edition pressing on orange vinyl.


    From "My Love" to "I Love You Just The Same" to the collection's title track, "Mr. Clean," this compilation presents Parker at his most soulful, along with alternate takes, demos, backing tracks and songs unheard since they were first laid to tape over five decades ago. With mastering and restoration from Grammy® Award-winner Michael Graves, they sound better than ever.


    In 2013, the Global Entertainment Media Association honored Winfield with a Golden Mic Honor, alongside contemporaries like Gamble & Huff, the Three Degrees, Barbara Mason, and others. He is celebrating 58 years in the music business in 2016, and the material on Mr. Clean: Winfield Parker At Ru-Jac showcases the root of that legendary career, paving the way for a new generation of appreciation, re-examination, and soul.


    The Winfield Parker release is the first to be realized out of Omnivore's acquisition of Ru-Jac Records and its publishing assets. Omnivore Recordings' Cheryl Pawelski says, "Omnivore is so pleased to have acquired Ru-Jac Records and its accompanying publishing entities, Diddy Bop and Ru-Jac. Authentic East Coast '60s soul is impossible to resist, and we're looking forward to the first release, Winfield Parker's Mr. Clean: Winfield Parker At Ru-Jac with more to follow. By the end of the year we're hoping to have at least one additional artist collection available, as well as a label overview. The Ru-Jac story centers around its founder, Rufus Mitchell, a promoter of live shows in the Baltimore area, including one of the first African American-controlled beaches, Carr's Beach. The 45s that spun out of Ru-Jac offer a tantalizing, never-before told, audio history of a time and place that we can't wait for everyone to hear."

    1. My Love For You - Little Winfield Parker
    2. One Of These Mornings - Little Winfield Parker
    3. When I'm Alone
    4. Rockin' In The Barnyard
    5. I Love You Just The Same (Version 1) - Winfield Parker with The Shyndells Band
    6. My Love - Winfield Parker with The Shyndells Band
    7. Go Away Playgirl
    8. Wondering
    9. Sweet Little Girl - Winfield Parker with The Shyndells Band
    10. What Do You Say? - Winfield Parker with The Shyndells Band
    11. She's So Pretty
    12. Oh My Love
    13. I Love You Just The Same (Version 2)
    14. A Fallen Star
    15. Mr. Clean (Part 1)
    16. Mr. Clean (Part 2)
    17. Funkey Party
    Winfield Parker
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • The Mountain The Mountain Quick View

    $19.99
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    The Mountain



    Dierks Bentley will release his highly anticipated ninth studio album, THE MOUNTAIN via Capitol Records Nashville. Reaching a new creative high, Bentley co-wrote 10 of the 13 new tracks that are unified by themes of presence and positivity, and range in style from textured rock to acoustic folk, feeling both rooted and expansive at the same time.


    THE MOUNTAIN's story begins in the Rocky Mountain resort town of Telluride, Colorado, which every summer plays host to a celebrated bluegrass festival. Owing to his well-documented love of the genre, Bentley has attended the festival multiple times over the years, always making a point to slow down and tune back into the world around him. But after performing on the festival's main stage in 2017, the idyllic surroundings became more than a much-needed getaway.


    "I found myself there, constantly reaching for my guitar," Bentley said. "It was like a gravitational pull. That town and those people just make you want to be creative, I couldn't describe it. I was like 'How do I tell everyone in Nashville this is what I want to write about?' I realized I couldn't bring it back, so I had to take everyone out there."


    Returning that August with six of his most trusted songwriting collaborators, Bentley and his fellow 'Telluwriters' all bunked up in a small house, explored the area and dug deep into the peaceful, reflective vibes he was feeling. They had five days to work with and were hoping to write eight songs but ended up with nearly twice that number, forming the core of the record. Bentley returned to Telluride with his production team Ross Copperman, Jon Randall Stewart and Arturo Buenahora Jr to a tucked-away hideout called Studio in the Clouds last November to record. Perched high on a mesa, its tracking room overlooking the endless Rocky Mountain landscape, THE MOUNTAIN rose up in earnest.


    "For me it's the best of both worlds, and it feels like something new. It's powerful but also happy, with acoustic sensibility mixed in with the big sounds I like to have for the road," Bentley added. "They are the songs I'd play for somebody to say, 'This is who I am right now.'"

    1. Burning Man (feat. Brothers Osborne)
    2. The Mountain
    3. Living
    4. Woman, Amen
    5. You Can't Bring Me Down
    6. Nothing On But The Stars
    7. Goodbye In Telluride
    8. My Religion
    9. One Way
    10. Son Of The Sun
    11. Stranger To Myself
    12. Travelin' Light (feat. Brandi Carlile)
    13. How I'm Going Out
    Dierks Bentley
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Volume 1: Frozen Ropes and Dying Quails (Awaiting Repress) Volume 1: Frozen Ropes and Dying Quails (Awaiting Repress) Quick View

    $19.99
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    Volume 1: Frozen Ropes and Dying Quails (Awaiting Repress)

    Rock n' roll vets Scott McCaughey (The Minus 5, R.E.M., Young Fresh Fellows) and Steve Wynn (The Dream Syndicate, Gutterball, Danny & Dusty, Miracle 3) have an unhealthy love for music undermined only by an even more unhealthy love of baseball. The compatriots blend their two passions with The Baseball Project Volume 1: Frozen Ropes and Dying Quails, an album of buzzing guitars and baseball back stories.


    The heroes and villains of America's (in)famous pastime are explored with cutting wit and fanboy detail in songs that satisfy both the summer's need for rock anthems and sweltering afternoon double-headers. Drummer Linda Pitmon (Miracle 3, Golden Smog) and R.E.M.'s Peter Buck round out the squad, as they spin tales of ill-fated drinking binges (The Yankee Flipper, The Death of Big Ed Delahanty), near mythical icons (Ted Fucking Williams), folk heroes (Fernando, Satchel Paige Said) and on Gratitude (For Curt Flood), the overlooked man who changed the game.


    A passionately funny and sarcastically reverent commentary on the state of the sport, The Baseball Project provides a hip soundtrack to the backstage party at America's game

    1. Past Time
    2. Ted Fucking Williams
    3. Gratitude
    4. Broken Man
    5. Satchel Paige Said
    6. Fernando
    7. Long Before My Time
    8. Jackie's Lament
    9. Sometimes I Dream Of Willie Mays
    10. The Death Of Big Ed Delahanty
    11. Harvey Haddix
    12. The Yankee Flipper
    13. The Closer
    The Baseball Project
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Say It Like You Mean It Say It Like You Mean It Quick View

    $34.99
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    Say It Like You Mean It

    180 Gram Blue/Green Haze Vinyl


    Limited To 750 Copies


    Etched D Side



    Not many 17-year-olds could say that they are already living
    out their dreams, but for The Starting Line's singer/bass
    player, Ken Vasoli, life is one big dream. After signing to
    Drive-Thru at the tender age of 16, Ken took night and
    summer classes so that he could graduate from High School a
    year early. What was supposed to be his senior year of school
    turned into every kid's fantasy: ayear of touring, traveling the
    country, meeting new people, making new friends,and flying
    to the U.K. for the first time to play with label mates and new found friends New Found Glory.


    The Starting Line's first release in July 2001 was the 5-song EP With Hopes of Starting
    Over, which proved to be more rewarding than the band could
    have ever imagined.Twenty-five thousand copies later,TSL is
    selling out 300-800 capacity venues across the country on
    their first-ever headlining tour.Say It Like You MeanIt, TSL's
    debut full-length showcases a more mature style of song writing well beyond their years, without compromising the sense of
    untainted youth and freshness. The charm of this band is over-
    flowing in the story-style lyrics,the urgency and the sincerity.
    The buzz is strong, and is only getting bigger.

    LP 1
    1. Up & Go
    2. Given The Chance
    3. Leaving
    4. The Best Of Me
    5. A Good Night's Sleep
    6. Almost There, Going Nowhere
    7. Cheek To Cheek
    8. Hello Houston
    9. Decisions, Decisions
    10. Saddest Girl Story


    LP 2
    1. Left Coast Envy
    2. The Drama Summer
    3. This Ride
    4. The Best Of Me (Acoustic)
    5. Greg's Last Day

    The Starting Line
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Music Is Painting In The Air 1974-1977 Music Is Painting In The Air 1974-1977 Quick View

    $34.99
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    Music Is Painting In The Air 1974-1977

    Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.



    The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.



    Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.



    Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.



    The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.



    Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.



    Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.



    For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.



    Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.

    LP1
    1. Barnhause Effect
    2. Cold Nose Part 3, 4th Movement
    3. Leave My Chemistry
    4. Acudreaming
    5. Grow On You

    6. Scraping Delay
    7. Warped Notions Of A Practical Joke (Instrumental)
    8. Dark Side of Religion
    9. Cosmic Saudade
    10. Cold Nose Part 3, Movement 2
    11. Fragments of Light
    12. Into The Memory


    LP2

    1. Cold Nose Part 3, Movement 5
    2. C'e Nessuno
    3. Map
    4. Moving Particles
    5. Cold Nose Part 3, Movement 3
    6. Music Is Painting
    7. Left Side Of Green

    8. Chelsea Hotel (Room 625)
    9. Fix A Water Fountain (Instrumental)
    10. Leave My Chemistry
    11. Overflowing Ashtrays
    12. Strangelands
    13. Cold Nose Story
    14. Slow Motion Movie
    15. Fortune Teller
    16. Fortune Teller Coda

    Sensations' Fix
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Smile Sessions Box Set The Smile Sessions Box Set Quick View

    $169.99
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    The Smile Sessions Box Set

    With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album.


    In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world.


    This expanded, boxed edition of The SMiLE Sessions features the main SMiLE album tracks, plus four CDs of additional audio from the legendary sessions, a double vinyl LP set, and two 7 vinyl singles. The deluxe box also contains a 60-page hardbound book with rare and previously unseen photos and memorabilia from The Beach Boys archive and newly-written essays by Beach Boys Al Jardine, Mike Love, Brian Wilson, and Bruce Johnston, as well as by Beach Boys historian and author Domenic Priore and many other inner-circle participants.


    Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions box set includes an assembled collection of core session tracks. It also delves much deeper into the sessions, adding early song drafts, alternate takes, instrumental and vocals-only mixes, and studio chatter. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions.


    Artwork for all of The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album. With its three-dimensional shadowbox lid, The SMiLE Sessions box set offers a whimsical peek inside the storied SMiLE Shop.


    When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, The Beach Boys SMiLE is quite possibly the most storied album in rock history, Billboard proclaimed the upcoming release an event that pop music fans have been waiting for since the Summer of Love, and The Washington Post called SMiLE the most legendary unreleased album of all time.


    The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose.


    Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE.


    In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics.


    The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album.

    LP 1
    Side 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence


    Side 2
    1. Wonderful
    2. Look (Song for Children)
    3. Child Is Father Of the Man
    4. Surf's Up


    LP 2
    Side 3
    1. I Wanna Be Around / Workshop
    2. Vega-Tables
    3. Holidays
    4. Wind Chimes
    5. The Elements: Fire (Mrs. O'Leary's Cow)
    6. Love to Say Dada
    7. Good Vibrations


    Side 4
    1. You're Welcome (stereo mix)
    2. Vega-Tables (stereo mix)
    3. Wind Chimes (stereo mix)
    4. Cabin Essence (Session highlights and stereo backing track)
    5. Surf's Up (Session Excerpt and Stereo mix)


    Heroes and Villains Smile 7 single:
    Side A: Heroes and Villains Part One
    Side B: Heroes and Villains Part Two


    Vega-Tables 7 single:
    Side A: Vega-Tables
    Side B: Surf's Up


    CD 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence
    9. Wonderful
    10. Look (Song for Children)
    11. Child Is Father Of the Man
    12. Surf's Up
    13. I Wanna Be Around / Workshop
    14. Vega-Tables
    15. Holidays
    16. Wind Chimes
    17. The Elements: Fire (Mrs. O'Leary's Cow)
    18. Love to Say Dada
    19. Good Vibrations
    Bonus Tracks:
    20. You're Welcome
    21. Heroes and Villains (Stereo mix)
    22. Heroes and Villains Sections (Stereo mix)
    23. Vega-Tables Demo
    24. He Gives Speeches
    25. Smile Backing Vocals Montage
    26. Surf's Up 1967 (solo version)
    27. Psycodelic Sounds: Brian Falls Into A Piano


    CD 2 - Session Highlights:
    Our Prayer
    1. Our Prayer Dialog (9/19/66)
    2. Our Prayer (10/14/66)
    Heroes and Villains
    Heroes and Villains Session (10/20/66)
    3. Heroes and Villains: Verse (Master take)
    4. Heroes and Villains: Barnyard (Master take)
    5. Heroes and Villains: I'm In Great Shape (10/27/66)
    6. Heroes and Villains: Intro (Early version - circa 12/66)
    Heroes and Villains Session (1/3/67)
    7. Heroes and Villains: Do A Lot
    8. Heroes and Villains: Back of Tricks
    9. Heroes and Villains: Mission Pak
    10. Heroes and Villains: Bridge To Indians
    11. Heroes and Villains: Part 1 Tag
    12. Heroes and Villains: Pickup To 3rd Verse
    Heroes and Villains (1/27/67)
    13. Heroes and Villains: Children Were Raised
    14. Heroes and Villains: Part 2 (Cantina track)
    15. Heroes and Villains: Whistling Bridge
    16. Heroes and Villains: Cantina
    17. Heroes and Villains: All Day
    18. Heroes and Villains: Verse Edit Experiment
    Heroes and Villains Session (2/15/67)
    19. Heroes and Villains: Prelude to Fade
    20. Heroes and Villains: Piano Theme
    Heroes and Villains Session (2/20/67)
    21. Heroes and Villains: Part 2
    22. Heroes and Villains: Part 2 (Gee)(Master take)
    23. Heroes and Villains: Part 2 Revised
    24. Heroes and Villains: Part 2 Revised (Master take)
    25. Heroes and Villains: Part 3 (Animals)(Master take)
    26. Heroes and Villains: Part 4
    27. Heroes and Villains: Part Two (Master take) (2/27/67)
    28. Heroes and Villains: Fade (2/28/67)
    Heroes and Villains Session (3/1/67)
    29. Heroes and Villains: Verse Remake
    30. Heroes and Villains: Organ Waltz / Intro
    Heroes and Villains Session (6/14/67)
    31. Heroes and Villains: Chorus Vocals
    32. Heroes and Villains: Barbershop
    33. Heroes and Villains: Children Were Raised (Remake)
    34. Heroes and Villains: Children Were Raised (Master take Overdubs Mix 1)
    35. Heroes and Villains: Children Were Raised (Master take A Capella)
    Bonus Tracks:
    36. Heroes and Villains Piano Demo (incorporating I'm In Great Shape and Barnyard) Brian with Van Dyke Parks and Humble Harve Miller, KHJ Radio (11/4/66)
    37. Psycodelic Sounds: Brian Falls Into A Microphone (11/4/66)
    38. Psycodelic Sounds: Moaning Laughing (11/4/66)


    CD 3 - Session Highlights
    Do You Like Worms (Roll Plymouth Rock)
    Do You Like Worms Session (10/18/66)
    1. Do You Like Worms: Part 1
    2. Do You Like Worms: Part 2 (Bicycle Rider)
    3. Do You Like Worms: Part 3
    4. Do You Like Worms: Part 4 (Bicycle Rider)
    5. Do You Like Worms: Bicycle Rider Overdubs (Heroes And Villains Part 2) (1/5/67)
    My Only Sunshine (The Old Master Painter / You Are My Sunshine)
    6. My Only Sunshine: Parts 1 & 2 (11/14/66)
    7. My Only Sunshine: Part 2 (Master Take With Vocal Overdubs) (2/10/67)
    Cabin Essence
    Cabin Essence Session (10/3/66)
    8. Cabin Essence: Verse
    9. Cabin Essence: Chorus
    10. Cabin Essence: Tag
    Wonderful
    11. Wonderful (Version 1) (8/25/66)
    Wonderful (Version 2 Rock With Me, Henry) Session (1/9/67)
    12. Wonderful (Version 2)
    13. Wonderful (Version 2 Tag)
    14. Wonderful (Version 3) (4/10/67?)
    Look (Song For Children)
    15. Look (8/12/66)
    Child Is Father Of The Man
    16. Child Is Father Of The Man (Version 1) (10/7/66)
    17. Child Is Father Of The Man (Version 2) (10/11/66)
    Surf's Up
    18. Surf's Up: 1st Movement (11/4/66)
    19. Surf's Up: Talking Horns (11/7/66)
    20. Surfs Up: Piano Demo (Master Take) (12/15/66)
    I Wanna Be Around / Workshop (Friday Night)
    21. I Wanna Be Around (11/29/66)
    Vega-Tables (Vegetables)
    Vegetables Sessions (4/4/67 4/11/67)
    22. Vegetables: Verse (Master Take Track) (4/4 4/11/67)
    23. Vegetables: Sleep A Lot (Chorus)
    24. Vegetables: Chorus 1 (Master Take)
    25. Vegetables: 2nd Chorus (Master Take Track And Backing Vocals)
    26. Vegetables: Insert (Part 4) (Master Take)


    CD 4
    Session Highlights
    Vega-Tables (Vegetables) (continued)
    1. Vegetables: Fade (4/12/67)
    2. Vegetables: Ballad Insert (4/14/67)
    Holidays
    3. Holidays (9/8/66)
    Wind Chimes
    4. Wind Chimes (Version 1) (8/3/66)
    Wind Chimes (Version 2) Session (10/5/66)
    5. Wind Chimes (Version 2)
    6. Wind Chimes (Version 2 Tag)
    The Elements: Fire (Mrs. O'Leary's Cow)
    7. The Elements (Fire) (11/28/66)
    Love to Say Dada / Cool, Cool Water
    Da Da Session (12/22/66)
    8. Da Da (Taped Piano Strings)
    9. Da Da (Fender Rhodes)
    Love To Say Dada Sessions (5/16/67 - 5/18/67)
    10. Love To Say Dada: Part 1 (5/16/67)
    11. Love To Say Dada: Part 2 (5/17/67)
    12. Love To Say Dada: Part 2 (Master Take) (5/17/67)
    13. Love To Say Dada: Part 2 (Second Day) (5/18/67)
    Cool, Cool Water
    14. Cool, Cool Water (Version 1) (6/7/67)
    15. Cool, Cool Water (Version 2) (10/26/67 & 10/29/67)
    Smile Additional Sessions
    16. You're Welcome (12/15/66)
    17. You're With Me Tonight (6/66/7/67)
    18. Tune X (3/3/673/31/67)
    19. I Don't Know (1/12/67)
    20. Three Blind Mice (10/15/65)
    21. Teeter Totter Love (Jasper Dailey) (1/25/67 & 2/9/67)
    Bonus Tracks:
    22. Psycodelic Sounds - Underwater Chant (11/4/66)
    23. Hal Blaine Vega-Tables Promo Session (11/16/66)
    24. Heroes And Villains: Early Version Outtake Sections (1/67 2/67)


    CD 5
    Session Highlights
    Good Vibrations Sessions
    1. Good Vibrations: Gold Star 2/18/66 (The Pet Sounds Session)
    2. Good Vibrations: Gold Star 4/9/66
    3. Good Vibrations: Western 5/4/66 (First Chorus)
    4. Good Vibrations: Western 5/4/66 (Second Chorus & Fade)
    5. Good Vibrations: Sunset Sound 5/24/66 (Part 1)
    6. Good Vibrations: Sunset Sound 5/24/66 (Parts 2 & 3)
    7. Good Vibrations: Sunset Sound 5/24/66 (Part 4)
    8. Good Vibrations: Western 5/27/66 (Part C)
    9. Good Vibrations: Western 5/27/66 (Chorus)
    10. Good Vibrations: Western 5/27/66 (Fade Sequence)
    11. Good Vibrations (Inspiration): Western 6/2/66 (Part 1)
    12. Good Vibrations (Inspiration): Western 6/2/66 (Part 3)
    13. Good Vibrations (Inspiration): Western 6/2/66 (Part 4)
    14. Good Vibrations: Western 6/16/66 (Part 1)
    15. Good Vibrations: Western 6/16/66 (Part 2 & Verse)
    16. Good Vibrations: Western 6/16/66 (Part 2 Continued)
    17. Good Vibrations: Western 6/18/66 (Part 1)
    18. Good Vibrations: Western 6/18/66 (Part 2)
    19. Good Vibrations (Persuasion): Western 9/1/66
    20. Good Vibrations: Western 9/1/66 (New Bridge)
    21. Good Vibrations: Session Masters
    22. Good Vibrations: Single Version Stereo Track
    23. Good Good Good Vibrations (First Version With Overdubs) 3/66
    24. Good Vibrations: Alternate Edit 8/24/66

    The Beach Boys
    $169.99
    2 7 Vinyl LP + 5 CD - 2 LPs Sealed Buy Now
  • V V Quick View

    $19.99
    Buy Now
    x

    V

    The emergence of Swedish duo JJ in March 2009 was both meaningful and mysterious. A debut single, 'jj no.1', enchanted the music press, simultaneously existing across indie-pop and hip-hop spectrums, excitingly new and yet frustratingly vague in its presentation. This was a taste, a scent, something intangible, an impression made without force. The music was here, but little else - its makers remained anonymous. Pitchfork's Best New Music review for the band's debut album, summer 2009's 'jj no.2', spoke first of their enigmatic qualities, rather than precisely what this music was: another sumptuous menagerie of styles, blended by an expert hand, intoxicating and otherworldly. Both Elin Kastlander and Joakim Benon appeared in the Marcus Söderlund-directed video to 'Let Go'. Cover, broken.


    We didn't mean to be anonymous, to begin with, says Kastlander. We just knew we needed to put our music out.


    I'd say we've been working on this album our whole lives, says Benon of 'V', the band's third long-player. It's the thing I've always wanted to do. I feel that we've been working on this album ever since we began to record music. We have never really had any other plan than to make this V shit happen and at the same time we never knew what it was - the story presented itself to us - and it's a story that's always been clear. It's only grown in its own way. And now we're finished, we look at it and back at it, and can begin to realize what it really is, what we have done, because it's something you don't necessarily decide for yourself, even though you've made it. And the songs... we don't write them, we just do our best to catch them forever, for real. JJ have, with new album 'V', realised the definitive expression of their experiences to date, and are finally comfortable with being a press-welcoming, tour-ready outfit.


    As Benon explains, everything the pair has produced in the past has been part of this journey, to a zenith that they always sought to reach. But just as 'My Boyz' exists exclusively in and of itself, so too does the new album's material, always envisioned as a whole, separate from other projects despite carrying over select DNA from its pop progenitors.


    Tracks like the gorgeously understated 'Be Here Now' and subtle strings of 'When I Need You' float into clarity, coming together from vaporous beginnings. The latter number is one of several on 'V' that showcase how Kastlander has grown as a vocalist. Hers is no indiscernible mumble, no vulnerable presence set to music that fizzes like a beachside cocktail on 'Fågelsången' and soars on digital wings on 'All White Everything'; rather, it's a mix-spearing confirmation that, whatever the bruised heart or open sexuality behind the lyrics, she's intent on connecting without compromise. Words are crisp, intonation perfect. There's still a hard thud on occasion, too: 'Hold Me' opens with lean-flavoured raps, before twisting into a stained-glass confessional of absolute gravity, and 'All Ways, Always' packs substantial swagger beside its rock riffs.


    We do it now, sings Kastlander on 'I'. And now really is the time for JJ, as acknowledged by Benon. At last I have music that I really want to listen to, that I want to hear from a stage. In a way, we've made this music quite selfishly, to appeal primarily to ourselves and I really haven't felt this way about our material before. This is the moment. It's for real now.


    And why do anything to restrict the sharing of that joy? Evidently at the top of their game in 2014, JJ are ready to, in Benon's words, communicate with the world, quite unlike they've ever done so before. They're embracing, not retreating. Besides, mysteries are more frustrating than fascinating without resolution.

    1. V
    2. Dynasti
    3. Dean & Me
    4. All White Everything
    5. When I Need You
    6. Fågelsången
    7. Full
    8. Inner Light
    9. Hold Me
    10. I
    11. Be Here Now
    12. All Ways, Always
    JJ
    $19.99
    Vinyl LP - Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
    Buy Now
    x

    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
    x

    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • The Smile Sessions The Smile Sessions Quick View

    $34.99
    Buy Now
    x

    The Smile Sessions

    With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album.


    In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world.


    The SMiLE Sessions double vinyl LP features an approximation of what was intended to be the completed SMiLE album, compiled from The Beach Boys original session masters. Additional session highlights and bonus tracks are also included, including demos and stereo mixes.


    Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions 2LP Set includes an assembled collection of core session tracks. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions.


    Artwork for The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album.


    When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, The Beach Boys SMiLE is quite possibly the most storied album in rock history, Billboard proclaimed the upcoming release an event that pop music fans have been waiting for since the Summer of Love, and The Washington Post called SMiLE the most legendary unreleased album of all time.


    The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose.


    Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE.


    In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics.


    The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album.

    LP 1
    Side 1
    1. Our Prayer
    2. Gee
    3. Heroes and Villains
    4. Do You Like Worms (Roll Plymouth Rock)
    5. I'm In Great Shape
    6. Barnyard
    7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)
    8. Cabin Essence


    Side 2
    1. Wonderful
    2. Look (Song for Children)
    3. Child Is Father Of the Man
    4. Surf's Up


    LP 2
    Side 3
    1. I Wanna Be Around / Workshop
    2. Vega-Tables
    3. Holidays
    4. Wind Chimes
    5. The Elements: Fire (Mrs. O'Leary's Cow)
    6. Love to Say Dada
    7. Good Vibrations


    Side 4
    1. You're Welcome (stereo mix)
    2. Vega-Tables (stereo mix)
    3. Wind Chimes (stereo mix)
    4. Cabin Essence (Session highlights and stereo backing track)
    5. Surf's Up (Session Excerpt and Stereo mix)

    The Beach Boys
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bad Blood Bad Blood Quick View

    $29.99
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    Bad Blood

    US Version Includes Three Bonus Tracks


    Bad Blood, the full-length debut from Bastilleis released by Virgin Records. Bastille is the top-selling debut act of 2013 in the U.K., where Bad Blood entered the albums chart at No. 1 earlier this year and has remained in the Top 20 ever since.


    The U.S. version of the album will include three bonus tracks - "The Silence," "Weight of Living, PT. I" and "Laughter Lines."


    Bastille will made its U.S. television debut on "Conan" July 24. The U.K. band played a sold-out show at the Troubadour in Los Angeles and will return to the States in the fall of 2013 for its first North American tour.


    Haunt, Bastille's four-song EP debuted at No. 1 on Billboard's Heatseekers Albums chart after being released digitally. "Pompeii," the lead single, is already Top 20 at Modern Rock, and has been added by numerous stations, including KROQ-Los Angeles, 98/7-Los Angeles, Live 105-San Francisco, Q877-Chicago, KTCL-Denver, WRFF-Philadelphia, KTBZ-Houston, DC101-Washington DC and SiriusXM's Alt Nation. The "Pompeii" video has more than 30 million views.


    Dan Smith, the founder of Bastille, envisioned the "Pompeii" clip as the novel I Am Legend if it were shot by the director of Drive, which hints at how inextricably intertwined music, film and literature are in his creative process. Rounding out Bastille's lineup are Will Farquarson, Kyle Simmons and Chris "Woody" Wood. The four musicians have been playing and touring together for more than two years and while each has his main role in Bastille, they effortlessly trade places on vocals, keyboards and percussion. The band's spring 2013 U.K. headline tour sold out immediately, with all 44,000 tickets gone in a day, and they are playing major festivals in the U.K, Europe and Japan this summer. Bastille's performance of "Pompeii" at Glastonbury can be seen here.


    While Bad Blood sounds lush, it was actually recorded in a tiny room on limited equipment - apart from a day spent recording strings in the legendary Abbey Road Studios. Smith, working with producer Mark Crew, aimed to approach each song differently.


    "I wanted each to be its own story with its own atmosphere which brings in different sounds and elements of production, incorporating aspects of the different genres and styles that I love: hip hop, indie, pop and folk," he explains. "Film soundtracks can be broad and varied, but tied together by the film itself. I hope the album will be something like that, but held together by my voice and the songwriting, each song a scene or part of a bigger picture."


    "Pompeii" is an epic in miniature, a conversation between two charred bodies, frozen in time, caught in the ash that engulfed the Roman city of sin while songs like the title track and "Things We Lost in Fire" touch on the changing dynamics of relationships. "'Bad Blood' is an album crafted in one of modern pop's greatest refineries," observed Artrocker, awarding it five stars, while BBC Music said, "Bastille really deliver." Q named "Overjoyed" as "Track of the Day," noting, "[Bastille's] bewitching mixture of softly delivered vocals and glitchy tracks creates an impressive atmosphere."

    1. Pompeii
    2. Things We Lost in the Fire
    3. Bad Blood
    4. Overjoyed
    5. These Streets
    6. Weight of Living, Pt. II
    7. Icarus
    8. Oblivion
    9. Flaws
    10. Daniel in the Den
    11. Laura Palmer
    12. Get Home


    Bonus Tracks
    13. The Silence
    14. Weight of Living, PT. I
    15. Laughter Lines

    Bastille
    $29.99
    Vinyl LP - Sealed Buy Now
  • Daydream Daydream Quick View

    $28.99
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    Daydream

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian. The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents. By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men. The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Daydream
    2. There She Is
    3. It's Not Time Now
    4. Warm Baby
    5. Day Blues
    6. Let The Boy Rock N Roll
    7. Jug Band Music
    8. Didn't Want To Have To Do It
    9. You Didn't Have To Be So Nice
    10. Bald Headed Lena
    11. Butchie's Tune
    12. Big Noise From Speonk
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Do You Believe In Magic Do You Believe In Magic Quick View

    $28.99
    Buy Now
    x

    Do You Believe In Magic

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian.


    The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents.


    By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men.


    The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Do You Believe In Magic
    2. Blues In The Bottle
    3. Sportin Life
    4. My Gal
    5. You Baby
    6. Fishin Blues
    7. Did You Ever Have To Make Up Your Mind
    8. Wild About My Lovin
    9. Other Side Of This Life
    10. Younger Girl
    11. On The Road Again
    12. Night Owl Blues
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Hums Of The Lovin' Spoonful Hums Of The Lovin' Spoonful Quick View

    $28.99
    Buy Now
    x

    Hums Of The Lovin' Spoonful

    180 Gram R.T.I. Vinyl Pressing


    From the Original Kama Sutra Mono Masters


    Greenwich Village, 1964: While the folk boom is still in progress, other musics began seeping into the corners and clubs of lower Manhattan. Rock, once down for the count, came back with a vengeance, largely thanks to a klatch of young British bands. Roots music, especially blues, grew rapidly in popularity as folk enthusiasts expanded their horizons. In this intoxicating milieu, John Sebastian, Zal Yanovsky, Joe Butler and Steve Boone united to form the Lovin' Spoonful. Originally a jug band with folk roots, they readily incorporated the sounds they heard all around them. Combining British Invasion jangle with the blues' growl and folk's attention to lyrical detail, they forged a sound completely their own. Accomplished musicians all, they had two secret weapons: the guitar virtuosity of Zal Yanovsky and the rising songwriting talent of John Sebastian.


    The first Spoonful single, "Do You Believe in Magic," took AM radio by storm in June of that year, reaching #9 on the Billboard Hot 100. Featuring an irrepressible melody, a chiming autoharp and Yanovsky's tasteful fills, it was an audacious debut. Their inaugural Kama Sutra LP, also titled Do You Believe in Magic, followed in November 1965. Containing three other Sebastian originals and one song credited to the band, the balance of the LP contained traditional blues covers and songs by contemporary writers. Reaching #32 on the Billboard Top 200, it established the band as one of country's brightest new talents.


    By the release of their second album, Daydream, in March 1966, the band's songwriting chops had fully blossomed, particularly Sebastian's, who wrote or co-wrote all but one of the songs. The album's first single, "You Didn't Have to Be So Nice" reached #10 on the Hot 100 and married a signature Yanovsky riff with a galloping piano part to form an indelible hook. The title track, a mid-tempo reverie with an ace whistling solo, did even better, soaring to #2. Skipping ahead a few decades, the album cut "Butchie's Tune" was used to great effect in season five of Mad Men.


    The band soon returned with Hums of the Lovin' Spoonful. Consciously working in different styles, the band essayed country ("Nashville Cats"), folk balladry ("Rain on the Roof") and psych- tinged rock ("Summer in the City"), among other sounds. This time, all the songs were originals and it was the last full album recorded by the original quartet. It stands as a triumphant ending to one of the most exciting chapters in the American rock story of the 1960s, a perfect encapsulation of a time when it seemed anything was possible in music. Sourced from the original Kama Sutra mono masters, these masterpieces are pressed at RTI on 180gm vinyl.

    1. Lovin You
    2. Bes' Friends
    3. Voodoo In My Basement
    4. Darlin' Companion
    5. Henry Thomas
    6. Full Measure
    7. Rain On The Roof
    8. Coconut Grove
    9. Nashville Cats
    10. Four Eyes
    11. Summer In The City
    Lovin' Spoonful
    $28.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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