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Screaming TargetClassic 1973 reggae album re-issued on 180 gram vinyl in it's original 12 track Trojan form. This album follows on from the Gussie presenting I Roy album released earlier this year the first of the new groundbreaking deejay albums. These albums revolutionized the whole reggae genre and are highly collectible. This album stands out with his observations on life in the ghetto, Rastafarian evangelism, children's rhymes and cinema references. Comes with a double sided insert featuring track by track breakdown and biography.1. Screaming Target
2. Pride And Joy Rock
3. Be Careful
4. Tippertone Rock
5. One Of These Fine Days
6. Screaming Target (Version 2)
7. The Killer
8. Solomon A Gunday
10. I Am Alright
11. Lee A Low
12. Concrete Jungle$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Keep It To Myself - The Best Of Wilko JohnsonI Keep It To Myself - The Best Of Wilko Johnson draws together 25 tracks recorded between 2008 and 2012 by the legendary guitarist and songwriter with backing largely provided by Blockheads Norman Watt-Roy (bass) and Dylan Howe (drums), the same rhythm section that performed on Wilko's enormously successful Going Back Home album with Roger Daltrey.
Including re-workings of Wilko penned Dr Feelgood favorites 'She Does It Right', 'Twenty Yards Behind', 'Sneaking Suspicion' and 'Roxette', alongside further dynamic numbers such as 'Turned 21', 'Some Kind Of Hero', 'Out In The Traffic', 'Barbed Wire Blues', 'Down By The Waterside' and 'I Really Love Your Rock 'n' Roll' I Keep It To Myself - The Best Of Wilko Johnson is a splendid collection of high-octane rhythm & blues with that unmistakable Wilko Johnson Fender greatness stamped all over it. Songs that are sung from the heart and played from the soul.LP 1
2. She Does It Right
3. I Keep It To Myself
4. Ice On The Motorway
5. Back In The Night
6. Turned 21
8. Barbed Wire Blues
9. Dr Dupree
10. Sneaking Suspicion
11. Living In The Heart Of Love
12. Some Kind Of Hero
13. Twenty Yards Behind
1. Out In The Traffic
2. Cairo Blues
3. The Hook
4. Keep On Loving You
5. All Right
6. When I'm Gone
7. Come Back And Love Me
8. She's Good Like That
9. The Beautiful Madrilena
10. Underneath Orion
11. Down By The Waterside
12. I Really Love Your Rock 'n' Roll$34.99Vinyl LP - 2 LPs Sealed Buy Now
Milestones180 Gram Vinyl Includes Fully Restored Original Artwork
Milestones was originally released on September 24, 1973 and was Roy Orbison's final album from The MGM
Years. The singles were 'Blue Rain' and 'I Wanna Live,' but other standouts include Roy's renditions of
contemporary hits 'Sweet Caroline' and 'Drift Away.' This re-issue is fully remixed and remastered to return the
audio to its original glory.1. I Wanna Live
2. You Don't Know Me
3. California Sunshine Girl
5. Blue Rain (Coming Down)
6. Drift Away
7. You Lay So Easy On My Mind
8. The World You Live In
9. Sweet Caroline
10. I've Been Loving You Too Long
11. The Morning After$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
(I Can't Get No) Stevie JacksonDespite having been responsible for some of Belle and Sebastian's best known songs (Jonathan David, Chickfactor, Seymour Stein and I'm Not Living In the Real World), it has taken Stevie Jackson sixteen years for his first collection of solo recordings.
Recorded over the last three years in Glasgow and Vancouver, (I Can't Get No) features a range of friends and musical collaborators including members of Belle and Sebastian, The Pastels, Trembling Bells and the songwriting triumvirate, The Company (Jackson, Roy Moller and Gary Thom), and the New Pornographers' rhythm section of Kurt Dahle and John Collins.
Deluxe edition LP is pressed on heavyweight vinyl and is housed in a gatefold sleeve with download code. Released on Belle & Sebastian's Banchory record label.1. Pure of Heart
2. Just, Just So To The Point
3. Try Me
4. Richie Now
5. Dead Man's Fall
6. Bird's Eye View
7. Man of God
9. Where Do All The Good Girls Go?
10. Telephone Song
11. Press Send
12. Feel The Morning$17.99Vinyl LP - Sealed Buy Now
Mystery Girl ExpandedEveryone involved with Mystery Girl sensed the magic in Roy Orbison, who, in 1988, was enjoying a full creative renaissance and resurgence of popularity. One of Roy's classic recordings, "In Dreams," memorably lip-synched into a hurricane lamp by Dean Stockwell, had served as a key thematic element in David Lynch's "Blue Velvet," igniting a renewed interest in the Big O.
In a series of bold aesthetic moves, Orbison directly addressed his legacy, first with Class of '55 (a 1986 reunion album with fellow Sun Records alumni Johnny Cash, Jerry Lee Lewis and Carl Perkins) and then, In Dreams: The Greatest Hits, where Orbison recut many of his biggest songs, using 1980s technology to produce results often surpassing his original recordings.
At this same time, Roy Orbison became a founding member of the Traveling Wilburys, the roots rock supergroup also featuring Bob Dylan, George Harrison, Jeff Lynne, and Tom Petty. It was during work with the Wilburys that the vision for Mystery Girl, a new Roy Orbison album made of original songs from a variety of writers-including Roy Orbison, Diane Warren, Elvis Costello, Wesley Orbison and U2s Bono and the Edge (among others)-began taking shape.
"When he sang it, it was absolutely magnificent," said Jeff Lynne, who would produce tracks for Mystery Girl. "His voice, I had never heard a voice like that live, you know, in the studio, ever . He had this wonderful spirit, almost like a kid in many ways.
He was just a happy guy. I love him . One of the proudest things I've ever done is to have become his friend. I'd look at him and just go, 'Wow, it's him. The Big O.'"
Roy's core group of musicians on the original Mystery Girl recordings included Jeff Lynne (guitar, piano, bass, backing vocals), Tom Petty (acoustic guitar, backing vocals), Mike Campbell (guitar, bass, mandolin), Jim Keltner (drums), Howie Epstein (bass, backing vocals), and Benmont Tench (piano, organ, cheap strings). Contributing artists on the album include Barbara Orbison, Roy Orbison, Jr., Al Kooper, George Harrison, Bono, T Bone Burnett, Steve Cropper, The Memphis Horns, and more.
"I was just taken by how amazing this guy was. Just sitting, singing softly, sitting on the sofa with an acoustic guitar, his voice was unbelievable." remembers Tom Petty. "The music will live on, you know; it's very timeless music."
Mike Campbell added, "Any time I hear one of Roy's songs, wherever I am, I just stop and listen to it and he's there, you know. His artistry and his voice and his spirit and the depth of his soul is so unique and it just connects with you in such a deep way . He just had a way of getting into your heart."
"He was a real innovator, truly a great singer," said Bono. "The real rebels to me always had manners. Elvis, you know, and Roy, Roy was a true gentleman. And that's a scary thing in a man, do you know what I mean? A man that's so sure in himself that he can be polite."
The legendary guitarist Steve Cropper confided that, "I've only met basically three, maybe three-and-a-half, of what I call 'light bulbs' in my life. And what I mean by 'light bulbs' is they're the brightest one in the room and when they walk in the door every head turns. Every head. Not just a few, not some people still talking in the corner. It's like everyone stops what they are doing. Elvis Presley, Otis Redding and Roy Orbison. And I saw that happen to Bill Clinton. So, there you go and I've never seen that happen to anybody else, ever."LP1
1. You Got It
2. In the Real World
3. (All I Can Do Is) Dream You
4. A Love So Beautiful
5. California Blue
6. She's a Mystery to Me
7. The Comedians
8. The Only One
10. Careless Heart
1. The Way Is Love
2. She's a Mystery to Me (Studio Demo)
3. (All I Can Do Is) Dream You (Studio Demo)
4. The Only One (Studio Demo)
5. The Comedians (Studio Demo)
6. In the Real World (Studio Demo)
7. California Blue (Studio Demo)
8. Windsurfer (Work-Tape Demo)
9. You Are My Love (Work-Tape Demo)$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Double SevenFirst 750 Numbered Copies Pressed On 180 Gram Orange Vinyl, Black Vinyl Thereafter
This classic album from 1973 saw its creator, Lee 'Scratch' Perry exploring synths and starting to develop his Black Ark sound - the enigmatic producer was at the time in the process of building his famous studio and honing his ideas about dub as a musical form.
The LP opens with the eerie Kentucky Skank, Perry's ode to KFC, complete with frying chicken sounds, spliced between winding tapes, a ghostly trumpet, and futuristic Moog synthesizer, overdubbed at London's Chalk Farm studios.
U Roy's Double Six and I Roy's High Fashion and Hail Stones illustrate just how strong The Upsetter's deejay material had become, while versions of the Chi-Lites' We Are Neighbours, Sam & Dave's Soul Man and a re-working of Al Green's Love and Happiness (retitled Jungle Lion) all betray the funky soul influence that was increasingly shaping his work.
The backing tracks illustrate the producer at his best; the audio spectrum is fully differentiated while spatial placement an important component - something it would take years for him to achieve at the Black Ark.1. Kentucky Skank
2. Double Six (U Roy)
3. Just Enough To Keep Me Hanging On (David Isaacs)
4. In The Iaah
5. Jungle Lion
6. We Are The Neighbours (David Isaacs)
7. Soul Man
8. Stick Together (U Roy)
9. High Fashion (I Roy)
10. Long Sentence
11. Hail Stones
13. Cold Weather
14. Waap You Waa$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lies & WishesEdward David Anderson is an artist as ancient as he is modern. In a time when the music business desperately flails about, grasping at any new trend that will save its sinking ship, he exists far beyond its confines. Best known for his work with the revered Midwestern rock band Backyard Tire Fire who released a string of acclaimed albums in the previous decade, Anderson returns to the national stage with his highly anticipated solo debut, Lies & Wishes. Produced by Los Lobos' Steve Berlin, it finds Anderson creating his own mythology through a collection of songs that embrace vulnerability, while remaining grounded in his working class roots. Anderson sings, I'm the son of a plumber, from a God fearing mother. The lyric says much about where his story begins as an artist. He was born and raised just west of Chicago and lives a simple life, spending winters in an RV alongside the Gulf of Mexico in lower Alabama. Anderson's an American songwriter on an existential quest who seeks and who searches through song.
I feel like every experience, every mile, every interaction, every tune, sort of got me to where I am at this moment, Anderson recounts while shedding light on the over-arching theme that ties together the 10-track collection. The songs on the record are confessional by nature. They are songs about loss and love and living and hope. Halfway through my life, it's an honest look in the mirror.
Anderson's journey over the last five years and his response to the challenges he faced is what sets the lifers apart from those that concede the artistic pursuit. The dissolution of Backyard Tire in 2011 was the first obstacle to overcome. The band had built a devout cult following around the U.S., counting Cracker, Reverend Horton Heat and Clutch among their fans, all of whom took BTF on the road exposing them to a wider audience. It was around this time that Steve Berlin of Los Lobos was first drawn to Anderson's songwriting.
"Backyard Tire Fire opened a show for us and I remember being backstage and listening to their music and I was like, 'Wow, that song sounds really familiar. Whose cover is that? It's a classic tune,'" says Berlin. "It turns out that they were all Ed's originals. They just had that instantly memorable quality to them. So, I introduced myself at the show and we became buddies and then collaborators. Ed's music is so evocative, so well written. I honestly think he is as talented as anyone in the songwriting world and it is important that he be heard."
Anderson adds: I was just starting to get back on the road again after Tire Fire split, touring with my friend Johnny Hickman and I got inspired to get back in the studio. I had these songs and had something pretty interesting to say based on the experiences I just went through. I knew if I could get Steve Berlin involved, who is an old friend that I've worked with in the past, it could be something special."
It was just prior to this that Anderson's mother passed away, while the previous winter his wife lost her mother, both to extended illnesses. It was a defining moment for the 40-year old artist and culminated in a torrent of songwriting. Indeed, songs like Lies & Wishes Lost & Found and Chain Reaction delve deep into the human condition, asking difficult questions of both himself and his loved ones.
"A lot of the subject matter on this record came from reflecting on these painful experiences" says Anderson. After losing my mom, I decided I've got to make a record and dedicate it to her and make a statement here on my own.
Musically speaking, the core of Lies & Wishes is built around refined melodies, acoustic guitars and sparse arrangements, yet Berlin's production colors the tracks with squalls of electric guitar, affected vocals, drum loops and assorted analog keyboard flourishes. It should also be noted that fans of Anderson's vintage rock and roll songwriting from his Backyard Tire Fire days will find plenty to love on tunes like "Nothing Lasts Forever," "Taking It Out On You" and "The Next Melody," which deliver the big hooks and classic refrains on which he so effortlessly hangs his hat.
This is where we find Edward David Anderson today. His heart's on his sleeve and it's that of an artist. Nobody ever said it was going to be easy, but as the songs on Lies & Wishes bare out, when the muse calls, he will be there to answer.
I needed to make this album, he concludes. I feel like it's undoubtedly my finest work to date, the beginning of the next chapter for me.1. Lies & Wishes
2. Lost & Found
3. Son Of A Plumber
4. Pins & Needles
5. Taking It Out On You
6. I Missed You
7. Nothing Lasts Forever
8. Chain Reaction
10. The Next Melody$16.99Vinyl LP - Sealed Buy Now
FramesThe debut Brian Haas & Matt Chamberlain album Frames features 11 instrumental compositions that spiral through the tempered scale. A through-composed work for piano and percussion, it was written entirely by Haas, the internationally renowned pianist and founder of Jacob Fred Jazz Odyssey. Now based in Santa Fe, Haas wrote Frames as a suite, equally influenced by stride piano masters Earl Hines, James P. Johnson and Fats Waller; the early minimalist works of Philip Glass and Steve Reich; and the lush aesthetic of modernists James Blake, Flying Lotus and Nigel Godrich. The music is pastoral, intensely melodic and tells the story of an imagined human life.
"After several years of non-stop touring with my band Jacob Fred Jazz Odyssey I felt completely drained," explains Haas. "I was pulled to move to the high desert and mountains of Sante Fe; the space/distance from the road, the unearthly view from my house and the strange hum of my new surroundings inspired this music. What started as an exercise in all 12 keys turned into Frames."
Brian Haas has recorded 21 albums and toured the world for two decades with Jacob Fred Jazz Odyssey, a band he started while a student at The University of Tulsa. Grammy Award-winning drummer Matt Chamberlain is one of the most revered musicians of his time having toured and recorded with the likes of Brad Mehldau, Edie Brickell & The New Bohemians, Critters Buggin, Tori Amos, Bill Frisell and Frank Ocean among others.1. Birth
2. Open Windows
3. Death: An Introduction
5. Of Many, One
8. Death: An Observation
9. Closing Window
10. An Empty House
11. From Nothing, Infinite$16.99Vinyl LP - Sealed Buy Now
Willie SugarcappsIt didn't take long for Willie Sugarcapps to have a self titled 10 song album made, mixed, pressed, and packaged up to serve to their ever increasing fan base. Songs include Grayson Capps' 'Willie Sugarcapps' (written about the band and their lives as traveling musicians) and a cleverly rewritten 'Poison' (a song about the result of the BP oil spill), Will Kimbrough's 'Mud Bottom' (depicting life along the rivers of the Gulf Coast) as well as co-write with Sara Jean Kelley's 'Oh Colorado' (sung by Savana that gloriously paints the landscape of Colorado and a longing to return), to Anthony Crawford's 'Energy' (that decribes day to day life as people struggle to maintain) as well as a few other hand picked gems.
Everyone takes turns singing lead while the rest of the band adds harmonies and whatever instrument they feel like picking up. It was recorded at the home of Anthony and Savana on their dogtrot and produced and recorded by grammy winning engineer Trina Shoemaker (Sheryl Crow, Emmylou Harris, Dixie Chicks) all in about 8 hours. It's basically a live recording although there were several overdubs done for added ear candy. It's already been picked up for national distribution by Capp's label, The Royal Potato Family. To have bandmates spread out from Nashville to the Gulf Coast, it is amazing how fast this came together. I guess where there's a Will, there's a way, said Savana (knowing that Kimbrough had to leave after the 8 hour recording session to be back in Nashville for family duties. It takes a lot of effort to make this happen but it is something that we all wanted to do because it was just destined to happen. We all have our own individual careers but Willie Sugarcapps is definitely bigger than the individual parts. It's such a rare thing to have this many great songwriter/musicians in a band with such easy going personalities. We are all having a blast and are just looking forward to every show. It's just a lot of fun, really.)1. Willie Sugarcapps
2. Mr. Lee
3. Oh, Colorado
5. Mud Bottom
7. Gypsy Train
10. Up To The Sky$17.99Vinyl LP - Sealed Buy Now
SwiftMarco Benevento is used to doing things for himself. Since launching his solo career six years ago, Benevento has co-founded the label that releases his music, The Royal Potato Family, and built the studio, Fred Short Sound, where he works whenever he's not on the road. He's written, arranged and played his largely instrumental anthems, leading a band from behind his customized piano and a tiny armada of drum-machines and sequencers, keyboards and pedals. But until Benevento set out to complete his fifth solo album, he'd never sung his own songs, a strange omission for music that's so often been lyrical. That changes-decisively, assuredly, triumphantly-on Swift, the boldest and most bracing album of Benevento's career.
Abetted by producer Richard Swift (Shins, Damien Jurado, Foxygen) and featuring Benevento's core touring band: Dave Drewitz on bass (Ween) and Andy Borger on drums (Tom Waits, Norah Jones), an ease and energy radiate throughout Swift, its nine tracks every bit as delightful and kinetic as the title suggests. Opener "At the Show" is a handclap invocation, the big-bottomed drums and fleet keyboard line motioning toward the dance floor. "Eye to Eye" moves with an indomitable swagger, while closer "Free Us All" prompts eyes-closed, mouths-open bliss. Even "No One is to Blame," the album's ostensible down-tempo drift, can't suppress the excitement of the new setting, the new singer or the new approach. Its climax offers arching catharsis, Benevento's multi-tracked harmonies curving like a rainbow. On "If I Get to See You At All," Dreiwitz's bass dances atop the track, his rich fuzz-tone affording the melody the feeling of a sinister carousel. And on "The Saint," he and Borger emerge as powerhouse, the viscous bass line rumbling over drums that slow and spring, stutter and stomp. A minute into the track, Benevento has to wait for just the perfect moment in which to slide his silvery piano.
An album of crisp, strange pop songs, sliced through with a wholly original approach to piano, electronics and songwriting, Swift is the singular artistic statement Benevento was destined to create at this point in his continually evolving body of work.1. At The Show
2. If I Get To See You At All
3. Witches Of Ulster
4. Eye To Eye
5. Coyote Hearing
6. One And One Is Two
7. The Saint
8. No One Is To Blame
9. Free Us All$18.99Vinyl LP - Sealed Buy Now
If You Knew My MindCapps is a southern rock troubadour with an eye on the human condition and a pen to write about it. -- OffBeat Magazine
Grayson Capps is like a whiskey-soaked, back-alley poet sired by Tom Waits and Robert Johnson. -- Razor Magazine
It takes less than 30 seconds for the debut album from this New Orleans-based singer/songwriter to pull you in. A lone harmonica blows over a softly strummed electric guitar as a lazy rhythm section props up the beat. Grayson Capps' weathered voice then enters: Yesterday was a very fine day indeed, I got a pint of beer, went outside and brushed my teeth. That about sums up this impressive yet unassuming bluesy debut from one of the many musicians who sound like what New Orleans feels like: languid, a little grimy and dangerous, but with a sense of history and self that wafts up from the streets. Those who listened closely to the soundtrack of the movie A Love Song for Bobby Long will recognize Capps, as his music was used to excellent effect in that rather obscure flick. In fact, Lorraine's Song, the most recognizable tune on that soundtrack, is a Capps composition and gets a suitably impressive and subtle performance here, as does the song whose title inspired the movie. He has a way with a drowsy melody, and after a few spins, these tracks gradually take hold. Certainly anyone who has explored the back streets of New Orleans will recognize the downtrodden characters who populate this album. Capps mythologizes their misery and sadness in songs that are heartfelt and edgy, but he never shortchanges melodies in exchange for gritty, often poetic lyrics. Guitar solos, such as the one in the Crazy Horse-styled Buckshot, are short, tight, and succinct, just like the band that ably supports Capps. His voice sounds like he just woke up and started singing before his first cup of coffee, but that adds to the effect. The album loses a little steam as it winds down, yet this is still a stirring first effort. It conveys the sense, sounds, and dark allure of New Orleans and many of its residents more effectively than a stroll through the French Quarter.
- Hal Horowitz (All Music)1. Get Back Up
2. If You Knew My Mind
4. I Can't Hear You
5. A Love Song For Bobby Long
8. Lorraine's Song
9. Washboard Lisa
11. How Was I To Know
12. I See You$24.99Vinyl LP - Sealed Buy Now
Field NotesWil Blades Field Notes features guitarist Jeff Parker of Tortoise and drummer Simon Lott from New Orleans.
"He is the future to carry on the legend, the legacy of the organ, of the B-3." - Dr. Lonnie Smith
When Wil Blades sits down at the Hammond B3, count on inspired music to follow. The 34-year old, Chicago-native, Berkeley-based artist is a cornerstone organist of his generation-a modern voice in a lineage that includes giants like Richard "Groove" Holmes, Charles Earland and Brother Jack McDuff.
Having studied at the feet of the legendary Dr. Lonnie Smith and played alongside the likes of John Lee Hooker, Melvin Sparks and Idris Muhammad, Blades has absorbed the spirit of the masters. His extensive collaborations also reflect the high regard in which he's held by contemporaries, including Stanton Moore, Anders Osborne and Nicholas Payton.
Having released a critically acclaimed co-led duo album Shimmy with Medeski Martin & Wood drummer Billy Martin in 2012, Blades returns with a deeply soulful and sinuous nine-track effort, Field Notes, on which he's found fronting his own trio featuring Tortoise guitarist Jeff Parker and New Orleans' drummer Simon Lott.
From the recording's outset, it's easy to picture Blades fingers free-flowing across the keys, feet gliding along the bass pedals in a continuous dance. Syncopation drives songs like "Miller's Time" and "Addis" as the trio locks in tight to a relentless groove. But there's also a refined harmonic vision and deep affection for melody on tracks like "(I Can't Stand) The Whole Lott of You" and "Dewey" where Blades' Clavinet adds a fresh sonic dimension to the proceedings. Shades of psychedelia are weaved within "Parks 'N' Wreck," while a tip of the hat to vintage soul jazz balladry informs "Forgetful" and classic pop swing is at the heart of "I Get The Blues When It Rains."
In its sum, Field Notes is a masterful statement from an artist who's poised to keep the timeless sound of the Hammond B3 organ as vital and compelling today as it's ever been in the history of modern jazz and rock.1. Miller's Time
2. (I Can't Stand) The Whole Lott of You
6. Park N' Wreck
8. Red Lanterns Are Blue
10. I Get The Blues When It Rains$17.99Vinyl LP - Sealed Buy Now
Rolling Stone 500 Greatest Songs of All Time - Rated 319/500!
Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!
Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!
Roy Orbison's 1963 album on the Monument label takes its name from the hit single which has been named one of the 500 Greatest Songs of All Time by Rolling Stone.
Besides the title track, the album also includes Blue Bayou and All I Have To Do Is Dream.
• Numbered Deluxe Laminated Double Gatefold Jackets
• Only 2500 Numbered Limited Edition Copies Worldwide!
• Audiophile 180g, 45rpm Vinyl
• Double LP
• Pressed at RTI
• Mastered by Bernie Grundman from the Original Analog Master Tapes!
This title is not eligible for discount.1. In Dreams
2. Lonely Wine
4. No One Will Ever Know
6. House Without Windows
8. Blue Bayou
9. (They Call You) Gigolette
10. All I Have To Do Is Dream
11. Beautiful Dreamer
12. My Prayer$54.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
Sings Lonely And Blue
Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!
Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!
Roy Orbison's first album recorded for Monument was released in 1961 and features Come Back To me (My Love) and Only The Lonely.
• Numbered Deluxe Laminated Double Gatefold Jackets
• Only 2500 Numbered Limited Edition Copies Worldwide!
• Audiophile 180g, 45rpm Vinyl
• Double LP
• Pressed at RTI
• Mastered by Bernie Grundman from the Original Analog Master Tapes!
Time and familiarity -- through multiple reissues -- may have muted the seeming significance of some of what's here, but in 1960 Sings Lonely and Blue was not only a breakthrough for Roy Orbison as his debut LP, but also for rock & roll. Up to that point, apart from Elvis Presley -- who was in a class by himself -- few white rock & rollers had even tried to make as bold a use of the LP as what we hear on this record. Orbison, his collaborator Joe Melson, and producer Fred Foster turned the singer's debut long-player into a huge canvas for a sound that combined rock & roll's beat, Nashville's countrypolitan sound, and the singer's unique multi-octave range and operatic intensity into something unique in music.
The single Only the Lonely may have been the most accessible and commercial side of this new sound, but the whole album was packed with great moments and different permutations of that sound: the powerful lead vocal and the Boots Randolph sax break on I'll Say It's My Fault; the haunting Orbison-Melson Come Back to Me (My Love), which was like a mini-movie script, a vest-pocket romantic melodrama sung with operatic depth and played to a light rock & roll beat; Don Gibson's I'd Be a Legend in My Time, and I Can't Stop Loving You, both filled with larger-than-life musical attributes and emotions behind Orbison's extraordinary singing, Orbison treating the former almost like a Verdi aria while a sax solo, the Anita Kerr Singers, and a dense string section hold it in the realm of pop music; and Bye Bye Love given the new Orbison treatment and sounding like a country-pop symphony.
The material was uniformly strong and consistent, probably due, in part, to the fact that Fred Foster was able to draw from nearly a year's worth of recording activity to assemble the contents of the album, and he also took advantage of the album's stereo release to devise a crisp, discreet, two-channel mix that brought out all of the details of this sound in notably sharp relief, creating one of the earliest stereo rock & roll albums that was actually superior to its mono equivalent. Indeed, Sings Lonely and Blue was among the first rock & roll LPs to attract the interest of serious audiophile enthusiasts.
- Bruce Eder (All Music Guide)
This title is not eligible for discount.1. Only the Lonely
2. Bye Bye Love
4. Blue Avenue
5. I Can't Stop Loving You
6. Come Back To Me (My Love)
7. Blue Angel
9. (I'd Be) A Legend In My Time
10. I'm Hurtin'
11. 22 Days
12. I'll Say It's My Fault$54.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs 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
Lukas Nelson & Promise Of The RealSince their formation as teenagers 10 years ago, Lukas Nelson & Promise of the Real have quietly developed into one of America's most dazzling new live acts, playing hundreds of shows and major festivals all over the world, attracting a deeply devoted underground following.
Still, with a bounty of invaluable experience under their belts, nothing foretold the artistic leap of Lukas Nelson & Promise of the Real their new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work of cosmic country soul set for release via Fantasy Records.
Recorded at The Village Studios in West Los Angeles Lukas Nelson & Promise of the Real was produced by John Alagia (Dave Matthews Band, John Mayer) and features the band's new six-piece line-up: Lukas Nelson (guitar, vocals), Tato Melgar (percussion), Anthony LoGerfo (drums), Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, B3). Jess Wolfe and Holly Lessig of the indie-pop group Lucius contribute background vocals on five tracks evoking Exile on Main St.'s ecstatic, gospel-rooted harmonies, and Lady Gaga added stirring background vocals to Carolina and Find Yourself. Elsewhere, the lilting, Glen Campbell inspired gem, Just Outside of Austin features a guitar solo from Lukas' dad, country music icon Willie Nelson, and piano from his 86-year-old Aunt Bobbi.
The new album includes 12 Lukas Nelson originals that draw on his country and rock lineage including literate Texas songsmiths like his father and 'uncles' Kris Kristofferson and Waylon Jennings, along with the enduring influence of J.J. Cale, The Band, Clapton-era Delaney & Bonnie and of course, his mentor Neil Young.
Young, an essential member of the POTR family, met the band after he caught them at Farm Aid several years back. Neil got in touch after that, and we started talking by email, Lukas recounts. Eventually, he asked us to record with him. We fell in love with each other musically, one thing led to another and we became Neil's band.
I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country, Lukas says of his vision for the album. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil's been mentoring us, and we've been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. I wanted to get the songs as pure as they could be. We've grown.
Set Me Down on a Cloud, the soulful, country-rock epic that opens the album features Lucious' angelic background vocals and Lukas' lovely, lyrical guitar solo as the band stretches out behind him. Forget About Georgia unfolds to a Layla-like outpouring of yearning, as it vividly retraces the turbulent, bittersweet final stages of a doomed love affair. Lukas delivers a full-throttle vocal on the closing track, If I Started Over, a Roy Orbison-inspired rumination of tender devotion. The R&B grind of Find Yourself is a particular triumph as Lukas and Lady Gaga weave an impassioned, romantic ultimatum.1. Set Me Down On A Cloud
2. Die Alone
3. Fool Me Once
4. Just Outside Of Austin
6. Runnin' Shine
7. Find Yourself
8. Four Letter Word
9. High Times
10. Breath Of My Baby
11. Forget About Georgia
12. If I Started Over$34.99Vinyl LP - 2 LPs Sealed Buy Now
Class of '55 Memphis Rock and Roll Homecoming1986's Class of '55 Memphis Rock and Roll Homecoming reunites the four music superstars Johnny Cash, Jerry Lee Lewis, Roy Orbison and Carl Perkins who had all famously recorded for the legendary Sun Records label circa 1955. Reminiscent of the Million Dollar Quartet from three decades earlier with the exception of Elvis who is replaced by Orbison here, the iconic collective runs through a vintage 10-song set that includes Perkins' own Birth of Rock and Roll, Cash's I Will Rock and Roll With You, Orbison's Coming Home, Waylon Jennings' Waymore Blues, John Fogerty's Big Train and the Cash/Lewis/Orbison/Perkins original We Remember the King.1. Birth of Rock and Roll
2. Sixteen Candles
3. Class of '55
4. Waymore Blues
5. We Remember the King
6. Coming Home
7. Rock and Roll (Fais Do Do)
8. Keep My Motor Running
9. I Will Rock and Roll With You
10. Big Train From Memphis$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Common GroundAvailable on audiophile 180 gram double vinyl for the first time courtesy of Mack Avenue Records.
On Common Ground, Gary Burton's debut release on Mack Avenue Records, the Grammy-winning pioneer of the four-mallet technique of playing the vibes is not only delivering his first studio album since 2005, but is also introducing his latest band. Well-known throughout his five-decade career for his quartets (beginning with his 1967 group featuring Larry Coryell, Roy Haynes and Steve Swallow), Burton is returning to the configuration for the first time since the mid-90s.
He expresses great enthusiasm for the new band's alchemy. "I've always liked the vibraphone-guitar sound," says Burton, whose masterful vibes glisten throughout Common Ground. "It's something that I discovered when Nashville country guitarist Hank Garland invited me in the '60s to record with him. The sound of the two instruments together has an ideal timbre and coolness."
- Gary Burton (vibes)
- Scott Colley (bass)
- Julian Lage (guitar)
- Antonio Sanchez (drums)LP1
1. Late Night Sunrise
2. Never The Same Way
3. Common Ground
4. Was It So Long Ago?
1. Last Snow
2. Did You Get It?
3. My Funny Valentine
5. In Your Quiet Place$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Jumping The SharkMy name is Alex Cameron and I won't waste your time. When you're talking about me and my business partner, Roy Molloy, you're talking about the online cowboys in the wild-west days of the World Wide Web. And if you want to know what we're really about just look at all the things you wish you'd done differently. All the things you stopped yourself from doing on account of the fear of failure, or rejection. Weigh that up against your ambitions. Think about your work ethic. We're reclaiming failure as an act of progress. An act of learning. Something to celebrate.
A word's meaning can change depending on who utters the thing; and so we present characters - shapes are morphed and stories are delivered. This is a collection of 4-minute tales written to provide you with insight into the inner workings of failed ambitions and self-destruction. Unedited, uncensored, and without inhibition. I've learned to reveal what I want to unlearn. I cast a light on the darkness and in doing so understand love and compassion. Fear is to be confronted, and to learn requires failure - over and over. Celebrate failure with Jumping The Shark.1. Happy Ending
2. Gone South
3. Real Bad Lookin'
4. The Comeback
5. She's Mine
6. The Internet
8. Take Care of Business$17.99Vinyl LP - Sealed Buy Now
American V: A Hundred HighwaysThe ethical questions surrounding this final album in the American Recordings series are as unavoidable as they are, ultimately, peripheral. While the
vocal tracks were recorded in the months just prior to Johnny Cash's passing in September 2003, the arrangements weren't undertaken until two years
later. And though producer Rick Rubin had become a trusted friend, the Man in Black wasn't around to approve or disapprove, let alone guide, the final
sessions. However, if the pure power of these recordings doesn't quiet the skeptics, nothing will. With Heartbreakers Mike Campbell and Benmont Tench
and slide guitar session pro Smokey Hormel on board (all three of whom appear on earlier Cash albums), along with guitarists Matt Sweeney and Johnny
Polansky, the sound is stately and acoustic, but rarely staid, even as the dynamics of earlier recordings in the series are absent. Instead, the songs have
a measured, elegiac intensity, the sound of musicians choosing their notes carefully and making just the right choices.
The songs Cash sings are, unsurprisingly, confessional and reflective: his mortality and his mistakes, his maker and his salvation, and the loss of his wife
June and the end of his career may have weighed on his mind, but in these songs he both embodies and transcends his personal history. On God's
Gonna Cut You Down, as the musicians clap and stomp behind him, his voice cuts through the air like that same avenging hand. On the new original
Like the 309--the last song Cash ever wrote--he cops to being short of breath, and that voice becomes a metaphor for what each of us will one day face.
On Gordon Lightfoot's If You Read My Mind, Rubin flirts with overwhelming the damp bittersweetness of Cash's phrasing in tasteful atmospherics, but
the voice is implacable, hitting and finding notes one never expected he'd have the will to find. Likewise, it's hard to believe this is his first recording of Ian
Tyson's Four Strong Winds; the elemental narrative seems to have been written for him. Two songs, however, Cash has recorded before: the bornagain
hymn I Came to Believe and the final spiritual, I'm Free from the Chain Gang Now. The latter especially is a definitive testament, as is his version
of Bruce Springsteen's Further On (Up the Road). One sunny morning we'll rise, I know / And I'll meet you further on up the road, he sings. If only,
John, if only. --Roy Kasten1. Help Me (Album Version)
2. God's Gonna Cut You Down (Album Version)
3. Like The 309 (Album Version)
4. If You Could Read My Mind (Album Version)
5. Further On Up The Road (Album Version)
6. On The Evening Train (Album Version)
7. I Came To Believe (Album Version)
8. Love's Been Good To Me (Album Version)
9. A Legend In My Time (Album Version)
10. Rose Of My Heart (Album Version)
11. Four Strong Winds (Album Version)
12. I'm Free From The Chain Gang Now (Album Version)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SONM-COL-4216xJeff Lynne's ELO
Wembley or Bust3x 180-Gram Vinyl
Wembley or Bust is a special release commemorating the June 24th, 2017 performance by Jeff Lynne's ELO at the famed Wembley Stadium in London, England. The Wembley or Bust album is available in a 3 LP vinyl package and serves as a soundtrack for Paul Dugdale's concert film of the same name.
In Wembley or Bust, we see Jeff and his remarkable musical ensemble filling Wembley Stadium with one of the greatest rock & roll spectacles of all time, complete with bells, whistles and spaceships in front of a 60,000 capacity crowd. As Jeff says himself 'It's the best time I ever had in music... It is beyond anything I could have imagined'. More popular than ever, Jeff Lynne's ELO have always been known for their epic live shows and with a distinct style that seamlessly and innovatively blends rock, pop and classical music.
The Wembley or Bust audio and film includes performances of many of the most beloved songs of our lifetime, from vintage ELO classics like Mr. Blue Sky, Livin' Thing and Evil Woman to Do Ya from his days with The Move, Handle With Care which he recorded with the Traveling Wilburys, right through When I Was A Boy from his latest ELO masterpiece, Alone In The Universe.
Jeff Lynne is widely regarded as one of the greatest record producers in music history. In addition to his storied career in ELO, Lynne was a co-founder and member of The Travelling Wilburys together with Bob Dylan, Roy Orbison, George Harrison and Tom Petty as well as a producer and collaborator with some of the biggest names in music including The Beatles, Paul McCartney, Ringo Starr, Joe Walsh, and most recently, Bryan Adams.1. Standin' In The Rain
2. Evil Woman
3. All Over The World
5. Livin' Thing
6. Do Ya
7. When I Was A Boy
8. Handle With Care
9. Last Train to London
12. Can't Get It Out Of My Head
13. 10538 Overture
15. Ma-Ma-Ma Belle
16. Shine A Little Love
17. Wild West Hero
18. Sweet Talkin' Woman
19. Telephone Line
20. Turn To Stone
21. Don't Bring Me Down
22. Mr. Blue Sky
23. Roll Over Beethoven$54.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Live In San Francisco 1971The closing of the Fillmore West (actually, the Carousel Ballroom) put a big dent in the 'City By the Bay'. This performance was taken from the closing concerts for the venue. The list of bands that Bill Graham didn't want was also big, and the Flamin' Groovies were on it, for years. Our first manager was Bill's right-hand man and when he quit working for Bill to manage the Flamin' Groovies this did not sit well with Bill, so the Groovies went up and down in Bill's eyes. So it came as a big surprise when we discovered he wanted us for this big and important event, to participate in a series of shows leading up to the closing of this legendary venue. I remember the show well. The difference in playing this gig as opposed to the Whisky-A-Go-Go in L.A. was like night and day. At the Whisky, we were the house band (two summers in a row); att the Fillmore, we were up for grabs. Oh yeah, this was our last show with my good buddy, Roy Loney.
- Cyril Jordan (Flamin' Groovies)1. Bill Graham Intro
2. I Can'T Explain
3. Sweet Little Rock And Roller
4. Have You Seen My Baby'
5. Road House
6. Shakin' All Over
7. Teenage Head
8. Louie, Louie
9. Walkin' The Dog$19.99Vinyl LP - Sealed Buy Now
FanfareJonathan Wilson returns in 2013 with Fanfare, an epic, grandiose and highly ambitious production that builds upon the success of his Bella Union debut.
With 2011's critically-lauded Gentle Spirit, audiences worldwide were introduced to the prodigious talents of singer, songwriter, multi-instrumentalist, record producer and unrivalled guitar hero Jonathan Wilson. Gentle Spirit's authentic exploration and modern updating of the Laurel Canyon sound earned it high marks on many year-end lists, including those of MOJO (#4), Uncut (#16) and The Guardian (#28). The eagerly-awaited follow-up, Fanfare, is an even more ambitious production that instantly conjures thoughts of Dennis Wilson's Pacific Ocean Blue.
'Fanfare as a word represents a fanciful showing, a bodacious movement of energy, a celebration of sound, Wilson explains. Something to signify an arrival, a special occasion. In this case, it's also the immense opening song that builds into a multilayered cinematic poem from the artist to channel the perfect love song through his piano. As a declaration of intent, it's a powerful statement.
From the initial idea of the record, I knew I wanted a concert Steinway piano to be the centerpiece--the beating heart--of Fanfare. I was going for this sort of widescreen sound. I wanted strings, horns, vibes, voices, solos, improvisation and a full orchestra on some of the tunes. Having that 9-foot Steinway was central to achieving the sound that I wanted.
Fanfare was made in Los Angeles over a 9-month period. Featuring vocal and instrumental contributions from heavy friends like Graham Nash, David Crosby, Jackson Browne, Josh Tillman (aka Father John Misty), Wilco's Patrick Sansone, Dawes' Taylor Goldsmith and Mike Campbell and Benmont Tench from Tom Petty and The Heartbreakers, the album is a celebration of friends and family. Additionally, Wilson and British folk legend Roy Harper co-wrote several songs on the record.
Sometimes Wilson seems to need a pinch to believe his good fortune: There are an awful lot of wizards on this album. Wizards of all ages and life experiences. All these amazing voices and musicians. There is a high degree of musical prowess and pedigree here. Cross-generational musical sharing and passing down traditions is very important to me and something that must continue. This is the way you keep the Fanfare's blowing, this is how you keep the energies interacting.
- Contact Music1. Fanfare
2. Dear Friend
3. Her Hair Is Growing Long
4. Love To Love
5. Future Vision
6. Moses Pain
7. Cecil Taylor
9. Desert Trip
11. New Mexico
13. All the Way Down$24.99Vinyl LP - 2 LPs Sealed Buy Now
Live From Austin, TX (Jerry Lee Lewis)"Rock and Roll's the thing and Jerry Lee's the King " or so said an English fan once upon a time somewhere. Elvis fans might dispute that title, but nobody else in the history of popular music would dare call himself "The Killer." Of all the legends who came out of Sun Records in the 1950s - Elvis, Johnny Cash, Carl Perkins, Roy Orbison - no one would have bet the last one standing would be the pill-popping, whiskey-guzzling, gun-waving hellion from Ferriday, LA except The Killer, of course. Jerry Lee Lewis took black rhythm & blues, white gospel, and other funky Mississippi sounds and turned them into rock and roll. But Jerry Lee's life also is, and has always been, his piano; he has kicked and banged and set on fire (literally) many of them over the course of six-plus decades. He almost never made it to Austin City Limits. He canceled one appearance and, only weeks before this recording on October 17, 1983, his wife died in a freak swimming pool accident at their home. But he did make it, and what we have here is one of the most amazing performances ever to go down on the ACL stage. Throughout the day he was a perfect gentleman, showing up on time and acting very graciously to one and all, but once he hit the stage, all hell broke loose. The songs speak for themselves; they're ALL here. For many years later, Jerry Lee would carry a tape of this show to play for friends (and himself, many times). When I tried to book him again for a return performance, the response was, "Jerry Lee doesn't think he could possibly do a better show."
- Terry Lickona (producer Austin City Limits)1. Keep My Motor Runnin'
2. You Win Again
3. Sweet Little 16
4. 39 And Holding
5. Think About It Darlin'
6. Rock & Roll Over (Teenage Queen)
7. Boogie Woogie Country Man
8. C C Rider
9. Chantilly Lace
10. I'll Find It Where I Can
11. In The Garden
12. No Headstone On My Grave
13. What'd I Say
14. Great Balls Of Fire
15. Whole Lotta Shakin' Goin' On$30.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now