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Heart Like A Wheel'
Heart Like A Wheel (Pre-Order)
Linda Ronstadt's 1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting: Heart Like a Wheel Features an All-Star Instrumental Cast and Singer at Her Best
Audiophile Clarity, Profound Depth, Lifelike Naturalism, and Transfixing Warmth: Numbered, Limited-Edition Mobile Fidelity 180g LP Meticulously Mastered for Supreme Sound
How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance - Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance - a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180g vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.
Yet the advantages of this limited, numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180g LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.
While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple - and a lasting example of the period's laid-back West Coast sound - cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.
The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses - the edge between vulnerability and willfulness that I find totally, irresistibly sexy.
Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s You're No Good, harmony-rich treatment of Hank Williams' I Can't Help It (If I'm Still in Love with You), folk-rock lilt of Lowell George's Willin', or soulful send-up of Phil Everly's When Will I Be Loved? Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort - the kind of record they just don't make anymore.
This title is not eligible for discount.1. You're No Good
2. It Doesn't Matter Anymore
3. Faithless Love
4. The Dark End of the Street
5. Heart Like a Wheel
6. When Will I Be Loved
8. I Can't Help It (If I'm Still in Love with You)
9. Keep Me from Blowing Away
10. You Can Close Your Eyes$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Heart Like A WheelRonstadt comes into her own on this mix of oldies and contemporary classics. Backed by a fleet of Los Angeles
musicians, Ronstadt sings with vigor and passion, helping bring the music alive. All-star musicians include Glenn
Frey, Don Henley, Tim Schmit, Peter Asher and Emmylou Harris and songs written by Paul Anka, JD Souther, Phil
Everly and James Taylor.
This standard weight vinyl is being reissued in celebration of Capitol Records' 75th anniversary.1. You're No Good
2. It Doesn't Matter Anymore
3. Faithless Love
4. The Dark End of the Street
5. Heart Like a Wheel
6. When Will I Be Loved
8. I Can't Help It (If I'm Still in Love with You)
9. Keep Me from Blowing Away
10. You Can Close Your Eyes$19.99Vinyl LP - Sealed Buy Now
His Hand In Mine (Speakers Corner)
Almost everyone loves gospel songs. After all - it is inspirational music about good news and hope and warms the heart without demanding religious belief. But what in God's name makes these songs so enjoyable? Why are they music to one's ears? Is it because of the simple yet unique melodies, the soft or rocking grooves, or the prayer wheel-like verses that are sung alternately by a soloist and chorus? Elvis fans might well be able to answer this question just by taking a quick look at the cover, while other more undiscerning lovers of black folk spirituality would say that this is a well-produced, professional album that cannot be equalled.
Elvis lets his young, flexible voice swing sonorously here, lightly and airily there, all the while supported by a top-notch vocal backing group. The rich vocal harmonies are sung with true passion, and it is certainly no coincidence that one is reminded of the sound of the Golden Gate Quartet. In one moment the voices soar to celestial heights, in another they plunge down to a deep rumbling bass, not to forget the soft and springy rhythm section. For John Bush (allmusic.com), »this LP isn't just one of Elvis' best LPs, it's one of the best (and best-recorded) gospel sessions of all time.«
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.1. His Hand In Mine
2. I'm Gonna Walk Dem Golden Stairs
3. In My Father's House
4. Milky White Way
5. Known Only to Him
6. I Believe in the Man in the Sky
7. Joshua Fit the Battle Traditional
8. He Knows Just What I Need
9. Swing Down Sweet Chariot
10. Mansion Over the Hilltop
11. If We Never Meet Again
12. Working on the Building$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Undivided Heart & SoulUndivided Heart & Soul, produced by Dan Molad (Lucius) and
McPherson, and developed largely in the studio (that studio being the historic
RCA Studio B in Nashville), carries a sense of immediacy and irreverence.
"In writing this record, I threw several handfuls of caution to the wind.
Lyrically, I was allowing myself to be exposed in a way I never have before.
Concurrently, maybe as some sort of a self-defense mechanism, the guitars
got fuzzier and louder. The first day at RCA was like being in church...
by the second day, it was a high school band's rehearsal space."
Putting the hands of Dan Molad on the wheel of the record ensured that
the music didn't take too many expected turns. "Having toured with
Lucius and befriended Dan, I knew he was the guy to push my buttons
and challenge me to try new things. He's a tireless worker. He's constantly
tinkering away on something... and music just falls out of him."
The vintage recording equipment and instruments still housed
in RCA Studio B greatly informed the direction of the record. "Each night,
at the end of tracking, someone would invariably say, 'You wanna put vibes
on this?', speaking of the old RCA Vibraphone. I mean, you can hear THAT
vibraphone on Roy Orbison's 'Crying'... we couldn't keep our hands off of it.
It guided some of the songs into some strange and wonderful places.
'Lucky Penny' took such a cool turn once Ray (Jacildo, keys) added some to it.
We wrote several songs on the piano that Floyd Cramer played 'Last
Date' on. We were soaking up so much of the phantom energy in
that room, it led to some incredible sonic territory."
"Most folks know us for our take on vintage R&B and early Rock N' Roll.
The past year, I've been digging so much into the heavier, brasher sounds of
early Rock N' Roll... from bands like The Sonics, Link Wray, and into some
early British Rock such as The Creation... these influences feature heavily in
these songs. The tunes that showed up weren't exactly always in familiar
territory, and... we greeted them as welcome strangers. They have a lot
of heart... and that's what Rock N' Roll should always have."1. Desperate Love
2. Crying's Just A Thing You Do
3. Lucky Penny
4. Hunting For Sugar
5. On The Lips
6. Undivided Heart & Soul
7. Bloodhound Rock
8. Style (Is A Losing Game)
10. Under The Spell Of City Lights
11. Let's Get Out Of Here While We're Young$19.99Vinyl LP - Sealed Buy Now
Prisoner In DisguiseAfter the success of Heart Like A Wheel, Linda Ronstadt released Prisoner In Disguise in 1975, which further fortified her standing as one of America's most popular interpretive singers. The album yielded two strong singles, her beautiful renditions of the Motown classics Heat Wave and Tracks of My Tears. In addition the album included a banjo-strumming version of Neil Young's Love Is a Rose, a plaintive pop reading of Jimmy Cliff's reggae classic Many Rivers to Cross and a lovely cover of Dolly Parton's I Will Always Love You. On Prisoner In Disguise Ronstadt delivers another collection of well-crafted, carefully arranged rock, pop and country songs that wonderfully exemplify her fine talent and taste. Now available on Mobile Fidelity Numbered Limited Edition 180g Vinyl!
This title is not eligible for discount.1. Love Is A Rose
2. Hey Mister, That's Me Up On The Jukebox
3. Roll Um Easy
4. Tracks Of My Tears
5. Prisoner In Disguise
6. Heat Wave
7. Many Rivers To Cross
8. The Sweetest Gift
9. You Tell Me That I'M Falling Down
10. I Will Always Love You
11. Silver Blue$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-RYK-2417xKate And Anna McGarrigle
The McGarrigle HourKate and Anna McGarrigle are Canadian songwriting sisters whose talents came to global recognition in 1974 when Linda Ronstadt recorded Annas Heart Like a Wheel. The McGarrigle sisters were signed to Warner Brothers and recorded three albums. The sisters then recorded two albums for Joe Boyds label, Hannibal, in the early 80s. During this time Kate and Anna raised families and toured on occasion. In 1998 the sisters rejoined Joe Boyd along with family and friends to record, The McGarrigle Hour.
Ryko, which became home to Hannibal in the early 90s, celebrates The McGarrigle Hour as part of the Ryko Analogue Vinyl Series. Ryko Analogue is committed to releasing classic albums, cult favorites, and audiophile titles on vinyl. The LP package for The McGarrigle Hour includes a set of liner notes from album producer, Joe Boyd, that he penned especially for this LP release.
Featuring appearances by family and friends: Emmylou Harris, Loudon Wainwright, Linda Ronstadt, Rufus Wainwright, Martha Wainwright, Chaim Tannenbaum
Jane McGarrigle and Lily Lanken.
1. Schooldays (Loudon Wainwright)
2. Skip Rope Song (Jesse Winchester)
3. Gentle Annie (Stephen Foster)
4. Alice Blue Gown (McCarthy & Tierney)
5. Porte En ArriÉre (D.L. Menard)
6. What'll I Do (Irving Berlin)
1. Dig My Grave (Traditional)
2. Cool River (Anna McGarrigle & Audrey Bean)
3. Heartburn (Rufus Wainwright)
4. NaCl (Sodium Chloride) (Kate McGarrigle)
5. Bon Voyage (J. Laure / Small)
6. Allez-Vous-En (Cole Porter)
1. Green Green Rocky Road (Traditional)
2. Young Love (Cartey & Joyner)
3. Year Of The Dragon (Martha Wainwright)
4. Forever And The Same (Phillippe Tatartcheff & Anna McGarrigle)
1. Talk To Me Of Mendocino (Kate McGarrigle)
2. Baltimore Fire (Traditional)
3. Johnny's Gone To Hilo (Traditional)
4. Time On My Hands (Chaim Tannenbaum)
5. Goodnight Sweetheart (Campbell, Connelly & Noble)$18.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Bebe Le StrangeThe Heart / Friday Music 180 Gram Audiophile Vinyl Series Continues
First Time 180 Gram White Vinyl & Gatefold Cover Presentation
Features The Hard Rock Smashes Silver Wheels & Bebe Le Strange
Mastered By Joe Reagoso & Nancy Wilson From Heart At Capitol Studios, Hollywood, CA
Manufactured At R.T.I.
Ann and Nancy Wilson have been continually hammering out some of the greatest rock recordings over the last several decades. Their staying power is second to none, and their status as one of classic rock's premier icon acts is legendary.
After a major explosion with their releases Little Queen & Dog And Butterfly, Heart bounced back to the top of the charts again in 1980 with their astounding hard rocker Bebe Le Strange. This platinum smash contained some of their most successful hit singles and rock tracks like the guitar blazing Even It Up ( featuring the Tower Of Power horns), the shouter Bebe Le Strange and the acoustic rock power ballad Silver Wheels.
It is with much respect and honor to announce the Friday Music 180 Gram Audiophile Vinyl release of this incredible masterwork. Mastered impeccably by Joe Reagoso and Nancy Wilson at Capitol Records, Bebe Le Strange is truly a classic masterpiece now impeccably revisited in the audiophile domain.
For this limited edition release, we are manufacturing it on 180 Gram WHITE Audiophile Vinyl, and to further enhance your listening pleasure, we are also including a first time gatefold cover, which includes all of the original graphics as you remember them.
Heart- Bebe Le Strange from your friends at Friday Music 180 Gram WHITE Audiophile Vinyl EVEN IT UP!!!!!1. Bebe Le Strange
2. Down On Me
3. Silver Wheels
5. Rockin Heaven Down
6. Even It Up
7. Strange Night
8. Raised On You
10. Sweet Darlin'$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Falling Faster Than You Can RunWell, it doesn't take long for Falling Faster Than You Can Run to reveal that Nathaniel Rateliff isn't in a very good place. His deep funk is revealed very quickly on the opening track 'Still Trying': "If you roll in it long enough/your shit won't even smell" sings Rateliff, in between crying out, unaccompanied, "I don't know/I don't know/a god damned thing".
And that's the feeling that sticks throughout this, often very fine, new record from Denver, Colorado's Missouri-born Rateliff. On his second full-length album (dropping the & the Wheel from his name) loneliness is writ large: not the kind of loneliness from actually being along, but the kind that comes from being constantly surrounded by people yet unable to shake the feeling of complete isolation. Rateliff has toured with many, many acts over the past few years and most recently has spent time with Dr Dog and fellow Denver act (and friends) The Lumineers. Thankfully, Rateliff rarely sounds like his friends (you might say I'm not a fan) and instead writes and plays music with a lot of heart and soul. It's often his voice that's the star of the show thanks to the subtly-arranged instrumentation: part matured Kurt Wagner burr and part throat-ravaged bluesman ( a bit The Tallest Man on Earth) it's a voice you could listen to all day. But good voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.
"Still Trying" is an arresting opener; while Rateliff's heart-wrenching roars are the highlight, the backing isn't too shabby either - acoustic guitar and bass drum battle for the spotlight on a ragged country song, and it sounds authentic, like Rateliff has lived what he's singing. And things get better quickly: "I Am" is mostly just Rateliff and his guitar, as broaches his isolation singing: "you'll never know what's buried there / less you dig around". The music swells as he sings the title over and over, following a similar pattern to the album opener. But before things get too familiar, Rateliff picks up the pace with a couple of full band numbers that could almost be considered jaunty, if we were to ignore the lyrics. "Don't Get Too Close" is fine enough and ticks over nicely like a quickstep, but "Laborman" is even better. Like Wilco at their poppiest, it flies off on crunchy and bright electric guitars which belies the lyrical content: "I got a feelin' / a sleepin' depression / that somebody's gonna get hurt", sings Rateliff, followed by "you got the harness/so where you gonna drag me now?" You can see a pattern developing here; Rateliff's stuck somewhere he doesn't want to be, lonely, but how does he get out of it? Take another look at that album cover too - a couple share a bed, an arm reaches out yet it doesn't touch the other person. It's basically a visual encapsulation of what's being sung about.
The epic electric storm of "Forgetting Is Believing" leads a trio of great closing tracks, ending with the Lambchop-murmur of the title track. Rateliff's baritone is exposed and dusty as he sings "leave me alone/you can see me fall/faster than you can run", ending as he started the record - alone and isolated.
Falling Faster Than You Can Run feels, through the dirt, the shit and the whisky, and despite the loneliness, like a hard-earned triumph for Nathaniel Rateliff.
- Andrew Hannah (The Line Of Best Fit)1. Still Trying
2. I Am
3. Don't Get Too Close
5. How To Win
6. Nothing To Show For
7. Right On
8. Three Fingers
9. Forgetting Is Believing
10. When Do You See
11. Falling Faster Than You Can Run$18.99Vinyl LP - Sealed Buy Now
Saturday Night SweetheartMore street-grit than surfside, Thee Tsunamis are a rock'n'roll joyride
with Tura Satana at the wheel. On their debut full-length Saturday Night
Sweetheart, the trio (Betsy on guitar, Jenna on bass, and Sharlene on
beats) blend girl-group bubblegum with feral punk, hugging every hairpen
turn of Kim Fowley's twisted, trashbucket heart along the way. With
jagged harmonies over fuzz-crusted pop hooks, theirs is the sound of
Brill Building teen-sploitation with bloodier results. From
heart-in-a-blender tales to drag-race party anthems, these 12 tracks are
as catchy as they are cutting and together they tell a story as old as time:
what the men don't know, the little girls understand. Like Thee Tsunamis'
tape A Goodbad Man Is Hard To Find (2013) and horror-concept EP
Delirium and Dark Waters (2014), Saturday Night Sweetheart (May,
2015) was recorded to tape in the basement studio of Magnetic South
and has all the signature fidelity of a subterranean rock'n'roll
echo-chamber. So play it loud, and hold on to your seat!1. Female Trouble
2. Trash Talk
3. I Know
6. Cry Baby
7. Kill, Kill, Kill
8. Skip Tracer
9. Shakee Jake
11. Teenage Dream
12. Saturday Night Love$18.99Vinyl LP - Sealed Buy Now
Garden Of ArmsPeter Wolf Criers second album Garden of Arms is a document that paints a vivid portrait of all the pain and beauty of growth. Written with the at-home repose demanded by performing a hundred shows in six months, these eleven tracks were nurtured from their hushed origins with a new-found footing of confidence and experimentation. Adapting the tenets of the grinding live show, the duo of Peter Pisano and Brian Moen transformed the fuzzy distortion, rolling and crashing drums, and laser-focused purposefulness into an intensely dynamic yet supremely polished album.
The lead off track, Right Away, best exemplifies the bands new direction, a dense and jarring embrace of the immediacy of real personal connection. Later on in the album, restraint is more readily apparent, in tracks like Settling it Off, where the sonics do not threaten to overwhelm but are instead peeled back to reveal a more subdued, secure sense of direction.
The notion that any one of these songs could be your favorite depending on where your head and heart reside, moment to moment, is the most appealing aspect of this album. Throughout Garden of Arms, swagger is juxtaposed against an icy delicacy, making the scope of the record complex but somehow an easily digestible statement of how Peter Wolf Crier are rolling: a wheel, rusted with unrestrained hope.1. Right Away
3. Having It Out
5. Cut a Hand
6. Settling It Off
7. Hard Heart
8. Haunt You
9. Loud Enough to Know
10. Never Meant to Love You
11. Wheel$16.99Vinyl LP - Sealed Buy Now
WARB-NON-8273xAmadou & Mariam
Welcome To MaliWelcome to Mali, the second Nonesuch effort from Malian duo Amadou & Mariam has already garnered rapturous reviews from critics in Europe, where it was released in late 2008. The album appeared on many year-end best-of lists; Londons Sunday Mirror declared, African pop doesnt get more effervescent and joyful than the sound of this blind couple dueling together and sending their message of love around the globe. Simply wonderful.
American audiences were introduced to the married pair, who met at a Malian school for the blind, with its Nonesuch debut Dimanche à Bamako, produced by the Paris-based world-music provocateur Manu Chao. With Chao behind the wheel, the album was like an exhilaratingly bumpy taxi ride straight into the heart of the Malian capital; cacophonous sounds of the streets mixed in with the spare, propulsive rhythms of the songs, making it all sound thrillingly immediate. Amadou & Mariam, already into the second decade of their overseas career, attracted an impressively wide-ranging state side audience, from world music stalwarts to clubgoers to indie rockers.
Welcome to Mali, recorded in Bamako, Dakar, Paris and London and produced with longtime manager Marc-Antoine Moreau, is less high-concept travelogue than straightforward set, yet it proves to be even more adventurous and exuberantly rocking. Damon Albarn briefly joins the pair, co-producing and co-writing the opening track Sabali, as ingeniously arranged as the best of his work with the Gorillaz and featuring Mariams almost otherworldly vocals over swirls of disco-style keyboards. Amadou has long spoken of his affection for classic rock and it shows in his playing; Londons Independent calls Welcome to Mali a rock album with an African Heart. Theres a bit of Yardbirds-era swinging London, keyboard arrangements that wouldnt be out of place in a Parisian disco, hip hop breaks from Toronto-based Somalian rapper Knaan and the occasional garage-rock riff, as well as traditional touches courtesy of fellow Malian Toumani DiabatÉ and his magical kora playing. A deep undercurrent of the blues, an arguably indigenous Malian sound that migrated to the Mississippi delta, runs through the disc. Says Uncut, Amadous slithering, grinding guitar riffs sound dark and spiky, the missing link between Ali Farka TourÉ and Steve Cropper.1. Sabali (prod. Damon Albarn)
2. Ce Nest Pas Bon (w/ Damon Albarn)
6. Je Te Kiffe (feat. Juan Rozoff)
7. Masiteladi (feat. M)
8. Africa (feat. Knaan)
9. Compagnon de la Vie
10. Unissons Nous (feat. Keziah Jones)
12. I Follow You (Nia Na Fin)
13. Welcome to Mali
15. Sebeke$24.99Vinyl LP w/ CD - 2 LPs Sealed Buy Now
American BeautyThe Most American Folk-Rock Ever Made: Indelible Harmonies, Spare Playing, and Gorgeous Textures Surround Masterfully Crafted Songs
Close Your Eyes As the Dead Serenade You in Your Room: MoFi Edition of American Beauty Epitomizes Realistic Space, Vocals, Instrumentation, and Ambience
Ranked #261 on Rolling Stone's List of the 500 Greatest Albums of All Time: Includes "Truckin'," "Sugar Magnolia," "Friend of the Devil," "Ripple"
American Beauty is the most perfectly realized, superbly played, and openly natural folk-rock record ever released. They don't make albums like this anymore, but thankfully, Mobile Fidelity's extraordinary 180g 45RPM 2LP set allows you to experience this 1970 masterpiece with unrivaled intimacy, realism, detail, and perspective. The Dead might as well be sitting on a Persian carpet right in your living room.
The pinnacle of the Dead's studio output, American Beauty lives up to its name-as well as that of the "American Reality" ambigram on the iconic cover. Airy vocal harmonies blow like fresh breezes. Strummed acoustic guitars amicably intermingle with plaintive percussive beats. Warmth, relaxation, and poignancy envelop the performances and create sensations of bliss, peace, and honesty. Songs flower with majestic melodies and emotionally direct lyrics. It's a rare album that invites and makes you feel, restores one's faith, and renews one's appreciation for all life offers.
Mastered from the original master tapes and pressed on 180g LP at RTI, this deluxe analog set possesses seemingly limitless dynamics, reference-grade presence, and expansive soundstages. The seamless, effortless integration of the group's vocals has always been a high point of American Beauty, and when you hear it here, you'll want every record you own to sound half as good. Every member's distinctive singing resounds with tube-like clarity; the intended expressionism is as plain as day. Instruments, too, resonate in glorious Technicolor. The supple tension of Phil Lesh's bass lines, charismatic timbres of Jerry Garcia's pedal-steel fills, and interwoven dialogue between the pianos and percussion are rendered with lifelike scale and tone.
Made just months after its companion release, Workingman's Dead, the San Francisco legends' second 1970 masterpiece furthers the former work's close-knit relationship between country and folk while adding extra rock and bluegrass currents. Understated amplified passages, graceful melodies, layered singing, and old-time string flavors-including mandolin work from masterful guest David Grisman-bestow the material with easygoing, comfortable vibes. Again taking advantage of the best songwriting of Robert Hunter's career, the Dead turns in its most collective studio performance, with every individual contributing equally and focusing on nothing but the songs at hand.
Indeed, Garcia doesn't even indulge in a single guitar solo on the record. A majority of fare lacks any significant instrumental breaks. The Dead recorded the foundations (drums, bass, acoustic guitars) of nearly every track live, which helps explain why American Beauty sounds so powerfully rich and clear. Coupled with the band's personal reflections of the circumstances surrounding them-Bob Weir's parents had died, Garcia's mother and Lesh's father were in the process of passing, Ron "Pigpen" McKernan's health was in decline-these characteristics combined to yield a purity of heart that exceeds that managed by Dead peers (and roots revivalist leaders) The Band and Bob Dylan.
From Garcia's breathtaking gospel-laden homage to his mother ("Brokedown Palace") to Lesh's healing salve in the form of the groove-based "Box of Rain," from Weir's jaunty and free-wheeling summer escape "Sugar Magnolia" to McKernan's eloquently simple homespun plea "Operator," all the way to the closing autobiographical anthem "Truckin'," American Beauty feels like the warm, spirit-infusing embrace of a loved one after a long journey away. Welcome home.
This title is not eligible for discount.1. Box of Rain
2. Friend of the Devil
3. Sugar Magnolia
7. Brokedown Palace
8. Till the Morning Comes
9. Attics of My Life
10. Truckin'$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
If The Roses Don't Kill UsIf The Roses Don't Kill Us was made with Grammy-winning producer Dave Sanger (Asleep at the Wheel) and his partners PJ Herrington and Jay Reynolds. They created a relaxed atmosphere in the studio that gaveDenny's vocals a sharp, visceral presence. The album opener, "Happy Sad" sets the stage for all that follows. When Denny strums a minor chord and sings the word "sad," you're pulled into his world of intense melancholy.
The descending melody line and bluesy guitar lines of "God's Height" gives the tune a sense of anguished longing, mitigated by Denny's playful vocal. "I was laughing about the thoughts you get at the end of a relationship when you think you're not good enough, but you know you're going to survive." The churchy B3 organ on "Our Kind of Love" suggests Memphis in the early 60s, a feeling echoed in Denny's crooning. "No matter how bad it seems, we only have this moment. When I wrote, 'It's our love, darlin', and we beat ourselves black and blue,' I was realizing how much I love my dark feelings."
Denny's jubilant vocal dominates "Watch Me Shine" with chiming acoustic guitar and sustained bell-like synthesizer notes adding to the track's righteous mood. "If the Roses Don't Kill Us" is pure country funk with a New Orleans brass band supporting Denny's lively vocal. "Sometimes you have to go crazy to figure out what's important to you," Denny explains. "This is about leaving a relationship when you know the situation isn't really resolved." That ambivalence is the thread that holds the songs on If The Roses Don't Kill Us together. Denny's barely restrained vocals have the ability to describe contradictory feelings with an intensity that gives every word he sings the ring of painful truth. His shimmering, one-of-a-kind voice reaches you on a deep emotional level, touching your heart and soul to deliver his hard won insights with an honesty that makes his singing and songwriting something unique and rare.1 Happy Sad
2 God's Height
3 Our Kind Of Love
5 Million Little Thoughts
6 Watch Me Shine
7 If The Roses Don't Kill Us
8 Love Is A Code Word
9 Man A Fool
10 Ride On
12 Some Things
$16.99Vinyl LP - Sealed Buy Now
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-NET-0914xOld Crow Medicine Show
Deluxe Vinyl Gatefold Package Includes Bonus Red Colored 7" Vinyl
Featuring The Platinum Single "Wagon Wheel" Plus Two Previously Unreleased Tracks
Two-time Grammy Award winners and Grand Ole Opry members Old Crow Medicine Show release Best Of, which features
12 of the most memorable and beloved songs from O.C.M.S. (2004), Big Iron World (2006), Tennessee Pusher (2008) - as well
as two previously unreleased tracks: "Black Haired Quebecoise" and "Heart Up In The Sky." The album will be made
available on vinyl, a format on which none of these songs are currently available and many have never been.
Over the past 15 years, Old Crow Medicine Show has cultivated a diverse fan base that thrives on the band's energetic
performances. They have earned the respect of both their peers and influences while also influencing the new guard of
folk rock revivalists. While trends have come and gone, Old Crow Medicine Show continues to be a strong and steady
force in roots music. The Best Of is a nostalgic walk down memory lane for those who have been with the band since
the beginning, and a nice overview for those fans who have only discovered the band recently.
Old Crow Medicine Show got their start by busking on street corners up and down the east coast and Canada, eventually
catching the attention of folk icon Doc Watson while playing in front of a pharmacy in Boone, North Carolina. He invited
them to play Merlefest and helped set the course of their successful career.
Similarly, just a few years later, Nettwerk discovered the band by crashing a house party in Nashville. The band was signed
shortly after, and in 2004, Nettwerk released O.C.M.S., which featured the now Platinum-selling anthem "Wagon Wheel," one
of the most covered recordings in recent history, most famously by Darius Rucker who got the track to #1 on the Hot Country
Songs chart in 2013.
Old Crow Medicine Show has won over audiences across the world with their boundless energy and spirit, playing renowned
festivals like Bonnaroo, Coachella, New Orleans Jazz Fest, the Newport Folk Festival, and many more. They've also shared
the stage with such artists as Mumford & Sons, The Lumineers, Willie Nelson, John Prine and The Avett Brothers and others.
The Best Of features "Wagon Wheel" along with other live show fan favorites like "Tell It To Me," "Down Home Girl," "CC Rider"
and "I Hear Them All." The two previously unreleased tracks, "Black Haired Quebecoise" and "Heart Up in the Sky" were
recorded in 2006 while the band was making Big Iron World.1. Wagon Wheel (from O.C.M.S. album)
2. Tell It To Me (from O.C.M.S. album)
3. Down Home Girl (from Big Iron World album)
4. Alabama High-Test (from Tennessee Pusher album)
5. Big Time In The Jungle (from O.C.M.S. album)
6. CC Rider (from O.C.M.S. album)
7. Take 'em Away (from O.C.M.S. album)
8. Humdinger (from Tennessee Pusher album)
9. Fall On My Knees (from Down Home Girl EP)
10. My Good Gal (from Big Iron World album)
11. I Hear Them All (from Big Iron World album)
12. Caroline (from Tennessee Pusher album)
1. Heart Up In The Sky (previously unreleased)
2. Black Haired QuÉbÉcoise (previously unreleased)$24.99180 Gram Audiophile Virgin Vinyl LP + 7 Single - Sealed Buy Now