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  • James Brown's Funky People Part 1 James Brown's Funky People Part 1 Quick View

    $29.99
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    James Brown's Funky People Part 1

    Some have made the claim that Get On Down may love James Brown just a little too much. To which the label replies, it's not possible to love James Brown too much. The label's welcome obsession with Mr. Brown and the incredible line-up of talent found on his People Record imprint continues with the reissue of Funky People Part 1.


    Long out of print on vinyl, Funky People Part 1 features the top tier of artists from Brown's People Records label, including The J.B.'s, Lyn Collins, Fred Wesley and Maceo Parker. Some of the James Brown organization's all-time best material is collected here, including The J.B.'s "Pass The Peas" and "Hot Pants Road," Fred Wesley's in your face politics through funk statement "Damn Right, I Am Somebody," Lyn Collins smash hit "Think (About It)" and many more.


    Newcomers and diehard fans alike continue to dig into the James Brown and People Records vaults, and the more they do so, the more they realize that it's a nearly never ending source of truly next-level funk and soul music. And you can be sure this aural goodness will keep flowing to the public, thanks to the exhaustive efforts of Get On Down.


    This title is not eligible for discount.

    1. Gimme Some More (The J.B.'s)
    2. Pass The Peas (The J.B.'s)
    3. Lyn Collins Think (About It)
    4. Givin' Up Food For Funk (Part 1) [The J.B.'s]
    5. Mama Feelgood (Lyn Collins)
    6. Hot Pants Road (The J.B.'s)
    7. Rock Me Again & Again & Again & Again & Again & Again (Lyn Collins)
    8. Damn Right, I Am Somebody (Parts 1 & 2) [Fred Wesley & The J.B.'s]
    9. Take Me Just As I Am (Lyn Collins)
    10. If You Don't Get It The First Time, Back Up And Try Again (Party Fred Wesley & The J.B.'s)
    11. Parrty (Part 1) [Maceo & The Macks]
    12. (It's Not The Express) It's The JB's Monaurail (Part 1) [Fred & The New J.B.'s]
    Various Artists
    $29.99
    Vinyl LP - Sealed Buy Now
  • The Funky 16 Corners The Funky 16 Corners Quick View

    $19.99
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    The Funky 16 Corners

    Stones Throw Records presents a glimpse into the lives and music of 16 unsung heroes of the late 60s and early 70s' funk revolution from each corner of the United States. These are musicians that strove to achieve the success of The Meters and James Brown, musicians that played their instruments with a gut-wrenching power unheard in modern music, musicians that testified on wax and have resurfaced some thirty years after disappearing from the music scene. The intensity of their recordings has not lost one ounce of soul with the time passed. Now, finally, the meticulously researched The Funky 16 Corners stands as an historical document to this era in American music.
    1. Intro
    2. Dap Walk
    3. Let's Go (It's Summertime)
    4. Trespasser
    5. The Funky 16 Corners
    6. The Kick
    7. What About You (In the World Today)
    8. Interlude
    9. The Dump
    10. Jody's Freeze
    11. Kashmere
    12. Fish Head
    13. Tighten Up Tighter
    14. Southside Funk
    15. Can We Rap
    16. Beautiful Day
    17. Go to Work
    18. The Phantom
    19. In the Rain
    20. Outro
    21. The Funky Buzzard
    22. Bunky's Pick
    23. Junkie's Pick
    24. Variations of in the Rain
    Various Artists
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dap-Dippin' Dap-Dippin' Quick View

    $15.99
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    Dap-Dippin'

    Remastered From The Original Tapes


    Includes Previously Unreleased Duet With Lee Fields


    It's hard to believe that Sharon Jones' debut LP is a product of the year 2002, for several reasons. Given the excellent singles she recorded for Desco beginning in the late '90s, it seems like she would have gotten the opportunity for a full-length sooner; plus, her brand of raw, heavy, hard-driving funk is such a throwback to the '70s, and she pulls it off so well, that you wonder how she could have escaped that decade without at least a few rare, classic 45s (in the vein of labelmate Lee Fields). It's not hard to believe she once made her living as a prison guard, based on the tough-as-nails, no-nonsense performances she belts out on Dap Dippin' With Sharon Jones & the Dap-Kings, the first full-length release on Desco's descendant, Dap-Tone. Backed by the Dap-Tone house band (a conglomeration of studio pros with connections reaching back to the Desco orbit), Jones delivers a storming set of tunes that would have sounded perfectly at home on the James Brown's Original Funky Divas compilation. The style and quality are pretty consistent all the way through, but it's hard not to single out the nearly unrecognizable cover of Janet Jackson's What Have You Done for Me Lately, which is transformed into a churning blast of funk full of biting guitars (and nary a synth or drum machine in sight). Other highlights include the chunky leadoff track, Got a Thing on My Mind, the would-be dance-craze The Dap Dip, the slow-burning Make It Good to Me, and the trials-and-tribulations tale Ain't It Hard. Plus, label head Gabriel Roth throws in his usual authentic trappings -- the fake live introduction running down Jones' hits, the intentionally dated copy on the back cover -- that make the whole package even more fun. All in all, a terrific debut.

    1. Got A Thing On My Mind
    2. What Have You Done For Me Lately?
    3. The Dap-Dip
    4. Give Me A Chance
    5. Cut The Line
    6. Will You Be True *
    7. Got To Be The Way It Is
    8. Make It Good To Me
    9. Ain't It Hard
    10. Pick It Up, Lay It In The Cut
    11. Casella Walk


    *Previously Unreleased

    Sharon Jones
    $15.99
    Vinyl LP - Sealed Buy Now
  • It Takes A Nation Of Millions To Hold Us Back (Awaiting Repress) It Takes A Nation Of Millions To Hold Us Back (Awaiting Repress) Quick View

    $24.99
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    It Takes A Nation Of Millions To Hold Us Back (Awaiting Repress)

    Ranked 78/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.


    25th Anniversary


    I hated that record, said Public Enemy's Chuck D. Believe it or not, he's referring to Bring the Noise, the frenetic first track of It Takes a Nation of Millions to Hold Us Back, the group's 1988 agit-rap masterpiece and breakthrough album. Public Enemy had recorded the song in October 1987 for the soundtrack of the forgettable Less Than Zero. When Chuck (a.k.a. Carlton Ridenhour) first heard the final version, he said, I practically threw it out the window.


    He changed his mind later that year when Public Enemy were on tour in England. I kept hearing people ask, 'What's this record you've got out? People are going crazy over it,' he remembered. I was like 'OK, pull that acetate out, and let's play it [in concert].' People went berserk.


    Bring the Noise, along with Rebel Without a Pause and Don't Believe the Hype - all conceived in 1987 at the group's Hempstead, Long Island, studio, Spectrum City - would become the foundation of It Takes a Nation of Millions, an album that's loud, obnoxious, funky, avant-garde, political, uncompromising and hilarious all at once. Chuck may have been disgruntled over Bring the Noise, but he always liked Rebel Without a Pause, the track that introduced Public Enemy's trademark sirenlike horn squeals. Hank Shocklee of PE's production team, the Bomb Squad, says that Rebel started out as a response to Eric B. and Rakim's I Know You Got Soul. We were going for something that had the same feel but with more aggression, Shocklee said. Because we were angry.


    For Rebel, PE coupled piercing squeals (a snippet from the J.B.'s' The Grunt played backward) with James Brown's Funky Drummer (Because that song was my milk, said Shocklee). Then it fell on Chuck to write the lyrics. I remember locking myself in the house for 24 hours, Chuck said. He emerged with verses that emulated Rakim's off-the-rhythm flow but stayed true to his own booming-baritone persona (Soul, rock & roll, comin' like a rhino); Chuck also dropped the name of black activist Joanne Chesimard, hinting at the political direction that his rhymes would soon take.


    Don't Believe the Hype, recorded just before Bring the Noise, was Chuck's first foray into full-fledged polemics, in this case against the media. The lyrics were inspired by a slight against Chuck by New York-area radio DJ Mr. Magic. PE had serious doubts about that song, too. We thought 'Hype' was just garbage, said Shocklee. Again, they saw the response the song got when DMC (of the group Run-DMC) blasted the track out of his Bronco in Harlem on a Saturday night. The whole block was grooving to it, says Shocklee.


    In January 1988, it all fit together. You had the combination of the noise from 'Rebel,' says Chuck, the tempo of 'Bring the Noise' and the subject matter of 'Don't Believe the Hype.' It set off Takes a Nation pretty nice.


    - Rolling Stone

    LP 1
    1. Countdown To Armageddon
    2. Bring The Noise
    3. Don't Believe The Hype
    4. Cold Lampin' With Flavor
    5. Terminator X To The Edge Of Panic
    6. Mind Terrorist
    7. Louder Than A Bomb
    8. Caught, Can We Get A Witness?


    LP 2
    1. Show 'Em Whatcha Got
    2. She Watch Channel Zero?!
    3. Night Of The Living Baseheads
    4. Black Steel In The Hour Of Chaos
    5. Security Of The First World
    6. Rebel Without A Pause
    7. Prophets Of Rage
    8. Party For Your Right To Fight

    Public Enemy
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Head Hunters Head Hunters Quick View

    $34.99
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    Head Hunters


    Mastered at Sterling Sound by Ryan Smith


    Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket


    Plated and Pressed at Quality Record Pressings!


    There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.


    In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti and Sorcerer, and later on he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.


    Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973, recorded Head Hunters. Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).


    Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul and hip-hop.


    This title is not eligible for discount.

    1. Chameleon
    2. Watermelon Man
    3. Sly
    4. Vein Melter
    Herbie Hancock
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Head Hunters (45 RPM) Head Hunters (45 RPM) Quick View

    $54.99
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    Head Hunters (45 RPM)

    Herbie Hancock's Masterpiece, Now Cut At 45 RPM!


    The Second Highest-Selling Jazz Album Of All Time!


    Mastered at Sterling Sound by Ryan Smith


    Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket


    Double LP 200-Gram Discs Plated and Pressed at Quality Record Pressings!


    There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.


    In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti, and Sorcerer, and later on, he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.


    Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973 in San Francisco, recorded Head Hunters.


    Head Hunters became not only Hancock's best-selling album but also the second highest selling jazz album of all time (at last RIAA count). It was in 1973 that he gathered a new band to combine electric music with funk, perhaps best exemplified in the pop music of Sly Stone.


    Hancock took over all synthesizer duties, along with Fender Rhodes and clavinet and was backed by bass and drums. The opening bars of Watermelon Man with Bill Summers blowing into a beer bottle, along with the band's funky grooves and new electric sounds, captured the crossover fans who had otherwise avoided buying jazz records.


    Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront of jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).


    Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.


    This title is not eligible for discount.

    1. Chameleon
    2. Watermelon Man
    3. Sly
    4. Vein Melter
    Herbie Hancock
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Micro-Phonies Micro-Phonies Quick View

    $20.99
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    Micro-Phonies

    Following neatly after The Crackdown's aggressive art/funk/electro combination, Micro-Phonies shows the duo taking that combination to a stronger level. Having invented the shadowy, murkier side of industrial/noise experimentation, here Cabaret Voltaire make their equally justified claim at fully kickstarting the beat-heavy crunch such labels as Wax Trax! would pursue shortly thereafter. DAF and the On-U Sound collective deserve as much notice for this, but the Cabs' relatively higher profile in the English/American cultural scheme made them the harbingers as much as anyone. Flood's sympathetic co-production with the band is another feather in his cap, and the album sounds just as strong today as it did upon its release. Micro-Phonies' most noted tracks are the appropriately funky, horn-heavy James Brown, and the gripping Sensoria, which makes for a brilliant album closer, with nervous-tension synth signals and a spare but compelling guitar line over another strong beat combination. Subtler moments abound as well -- there's a nice combination of the Cabs' initially understated approach and the greater opportunities available to them in the album's recording. The Operative is an unheralded highlight of the release, Mallinder's low-key speak/singing sidling alongside the crisp but not overpowering rhythm, controlled funk bass and guitar and touches of dub melodica sneaking through the mix. Other hints of the dub influences that the band has always embraced crop up on songs like (unsurprisingly) Digital Rasta. Throughout the album, Mallinder submerges his vocals into the music rather than calling overt attention to them, the reverse of what a lot of later industrial acts would do (often to their detriment). It's a sharp continuation of the Cabs' similar practice from many earlier numbers, here used in a newer musical style.


    - Ned Raggett (All Music Guide)

    1. Do Right
    2. The Operative
    3. Digital Rasta
    4. Spies in the Wires
    5. Theme From Earthshaker
    6. James Brown
    7. Slammer
    8. Blue Heat
    9. Sensoria
    Cabaret Voltaire
    $20.99
    Vinyl LP - Sealed Buy Now
  • In The Jungle Groove In The Jungle Groove Quick View

    $34.99
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    In The Jungle Groove

    In The Jungle groove is a compilation album by the great James Brown, released in August 1986 on Polydor Records. Originally issued to capitalize on
    the popularity of Brown's music in hip hop circles at the time, it includes the first album release of the much-sampled single Funky Drummer (1969),
    along with a selection of previously unreleased tracks, alternate takes, and remixes. The album's title is taken from a song Brown recorded in the studio in
    August 1970
    LP 1
    1. It's A New Day
    2. Funky Drummer
    3. Give It Up Or Turnit A Loose
    4. I Got To Move
    5. Funky Drummer


    LP 2
    1. Talkin' Loud And Sayin' Nothing
    2. Get Up, Get Into It, Get Involved
    3. Soul Power
    4. Hot Pants (She Got To Use What She Got To Get What She Wants)

    James Brown
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Love Power Peace Love Power Peace Quick View

    $47.99
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    Love Power Peace

    First Release Of 3 LP Set As Envisioned By James Brown


    Includes Deluxe Jacket With Rare Photos And Liner Notes By Alan Leeds


    Mastered From Brown's 1971 Mixdown Reels, Unused Until Now


    James Brown's magnum opus! Love Power Peace is the sound of the Godfather and his youngblood J.B.'s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971. Sequenced and mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued. Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971-a 3-LP set with each disc mastered from the original mixdown reels, and each with a unique name, Love, Power and Peace! Brown and band rip through recent singles like "Sex Machine," "Super Bad," "Give It Up or Turnit a Loose" and "Get Up, Get Into It, Get Involved" with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. "Ain't It Funky Now" - formerly a slow, simmering groove - is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards ("Papa's Got a Brand New Bag"/"I Got You (I Feel Good)"/"I Got the Feelin' ") blazes by faster than the Godfather of Soul's personal Learjet. Interspersed with just the right amount of slow numbers like "Georgia on My Mind," and including tracks from the show's supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show), this document of the funk revolution features rare photos and liner notes by tour director Alan Leeds. The way to jump on board for a trip through James' world at the height of his career!

    LP1
    1. Introduction
    2. Brother Rapp
    3. Ain't It Funky Now
    4. Georgia On My Mind - Part 1
    5. Georgia On My Mind - Part 2
    6. Sunny
    7. Intro: Bobby Byrd
    8. Signed, Sealed, Delivered I'm Yours
    9. I Need Help (I Can't Do It Alone)


    LP2
    1. Introduction: Vicki Anderson
    2. Don't Play That Song (You Lied)
    3. Yesterday
    4. Break & Intro Announcement

    5. Dance & It's A New Day
    6. Bewildered - Part 1
    7. Bewildered - Part 2
    8. There Was A Time

    9. Sex Machine
    10. Try Me - Part 1


    LP3
    1. Try Me - Part 2
    2. Papa's Got A Brand New Bag/I Got You/I Got The Feelin'
    3. Give It Up Or Turnit A Loose
    4. It's A Man's Man's Man's World
    5. Who Am I
    6. Please Please Please
    7. Sex Machine (Reprise)
    8. Super Bad
    9. Get Up, Get Into It, Get Involved
    10. Soul Power
    11. Get Up, Get Into It, Get Involved (Reprise)
    12. Finale

    James Brown
    $47.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Roy Lee Johnson And The Villagers Roy Lee Johnson And The Villagers Quick View

    $19.99
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    Roy Lee Johnson And The Villagers

    Praised by All Music.com as "An unsung monster from the Stax empire," this 1973 LP is a relentlessly funky gem. Full of tight grooves and red-hot guitar licks a la James Brown and the JB's, Roy Lee Johnson and the Villagers has been in high demand by DJs and producers since the late 80s. This reissue marks the first availability of the LP on vinyl since its release in 1973.
    1. Patch It Up
    2. I'll Be Your Doctor Man
    3. Something Special
    4. I Can't Stand This Loneliness
    5. The Dryer Part 2
    6. Don't Tell Me Nothing About My Woman
    7. Razorback Circus
    8. Robot
    9. Midnight At Riley's
    10. The Dryer Part 1
    Roy Lee Johnson And The Villagers
    $19.99
    Vinyl LP - Sealed Buy Now
  • Can't Fight The Feeling Can't Fight The Feeling Quick View

    $8.99
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    Can't Fight The Feeling


    Limited Edition Pressing


    Features Instrumental B-Side


    Presented by Soulside Productions


    No Artwork On Sleeve - Packaged In White Sleeve


    Mississippi born, Los Angeles-based singer and
    songwriter Maurice Smith has a feel for classic soul,
    and he fed that love through his work with artists like Sy
    Smith, Tony Toni Tone, Seal and Beyonce.


    While Maurice claims artists like Bill Withers and Marvin
    Gaye as influences, one can hear an awful lot of Curtis
    Mayfield meets James Brown in his music. And that goes
    for his brand new single, the hot, horn-filled "Can't Fight
    The Feeling." If you are a lover of Southern & Northern
    Soul with a Chicago Funk twist, you're going to love this
    cut. " I really think Maurice Nailed this record and gives
    a great funky soul punch that can be heard on the dance
    floors nationwide," says by Marvyn Mack. President of
    Soulside Productions.

    1. Can't Fight the Feeling
    2. Can't Fight the Feeling
    Maurice Smith
    $8.99
    7 Vinyl Single - Sealed Buy Now
  • The Birth Of Funk The Birth Of Funk Quick View

    $30.99
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    The Birth Of Funk

    Nobody in New Orleans laid into the blues so low down and dirty as Buddy Bol-den, whose Funky Butt became a staple in the repertoire of the city's early jazz bands. Jacksonville, Florida, 1960. Charles 'Hungry' Williams mentors young Clayton Fillyau after he had just joined the James Brown band: 'I don't care where you put it on those drums, remember where '1' is and you'll never lose the time.' Listen to Hungry on Huey Smith's Talk To Me Baby and then listen to how Clayton turns it into a relentless breakbeat on James Brown's I've Got Money. Earl King's Trick Bag, prefiguring the Meters, is as good an example of early New Orleansfunk as can be found. Not everything on here was cut in New Orleans. New York singer Vernon Harrel's Slick Chick is held together by an intriguingly syncopated bass line that hints at late '60s Studio One dub. And in case you think any of this was new, listen to Zutty Singleton's drum break on Victoria Spivey's Funny Feathers from 1929. Or Earl Palmer's sixteenth notes, off-backbeat snare accents and double-tempo hi-hats in 1953 on Professor Longhair's Tipitina and Who's Foolin' You.
    1. Say Yeah Yeah - Yvonne Fair
    2. Check Mr. Popeye - Eddie Bo
    3. The Popeye - Spider Johnson
    4. I'm Leaving You Today - Al Robinson
    5. Say Yeah - Porgy & The Polka Dots
    6. Talk To Me Baby - Huey 'Piano' Smith
    7. Trick Bag - Earl King
    8. What A Wedding Day - Shirley Raymond
    9. R B Special - Bob Bateman
    10. Tell Me The Truth - The Turquinettes
    11. Slick Chick - Vernon Harrel
    12. I've Got Money - James Brown
    13. Hold It - Bill Doggett
    14. Fat Boy - Billy Stewart
    15. Mudd - Roy Montrell
    Various Artists
    $30.99
    Vinyl LP - Sealed Buy Now
  • Lovelite (Discontinued) Lovelite (Discontinued) Quick View

    $15.99
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    Lovelite (Discontinued)

    The Spanish soul/funk outfit The Sweet Vandals' new release Lovelite is a warm, rough but nevertheless determined piece of music full of energy funk and deep black soul surrounded by a touch of groove. Songs like Funky Children or What About Love seem to reflect the magic of Dusty Springfield in Maykas voice. Songs like Againstupidity evoke the spirit of Soul and Funk godfather James Brown. Every Woman Is A Diva highlights the bands uniqueness and their charming ability of self-irony. Another especially tasty piece of music is I Hate To Hate You, structured like a classic '60s-Motown song but decorated with a certain roughness that is typical to the Vandals raw funk sound. Lovelite is an eleven-song-trip through the basic foundations of Soul and Funk. A pure record to commemorate the good old analog world.
    1. Thank You For You
    2. Good Thing
    3. Take Me Now
    4. Let's Have Some Fun
    5. I Hate To Hate You
    6. Funky Children
    7. Againstupidity
    8. What About Love
    9. Every Woman Is A Diva
    10. Speak Music
    11. Opposites
    The Sweet Vandals
    $15.99
    Vinyl LP - Sealed Buy Now
  • Man-Child (Speakers Corner) Man-Child (Speakers Corner) Quick View

    $34.99
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    Man-Child (Speakers Corner)

    After his early avant-garde years with Blue Note Records, Herbie Hancock achieved much success with pop music fans by gradually turning towards a mixture of Afro-American styles in which he combined soul, jazz and funk. Having composed the soundtrack to Bill Cosby's animated children's show Fat Albert and the Cosby Kids and released a popular family-orientated album entitled Fat Albert Rotunda, Hancock stated that instead of looking for jazz musicians who could play funky music, he had searched for funk musicians with a feeling for jazz. That this concept functions only too well is demonstrated in the funky album Man-Child, which features such brilliant jazz musicians as Wayne Shorter, Bennie Maupin and Ernie Watts. But wait! There's no narcissistic showing off here as in a jam session. The whole band performs as one, playing concentrated grooves around Hancock's carefully intertwined electronic sounds. The result is a fast-paced funky style, due to the collective efforts of the band, although each member is given ample opportunity to show off his prowess in short solo interludes and thus delight the listener with his unique style.



    Musicians:



    • Bud Brisbois (trumpet)

    • Garnett Brown (trombone)

    • Dick Hyde (tuba, bass trombone)

    • Wayne Shorter (soprano saxophone)

    • Bennie Maupin (soprano saxophone, tenor saxophone, saxello, bass clarinet, flute)

    • Jim Horn (saxes, flute)

    • Stevie Wonder (harmonica)

    • Herbie Hancock (keyboard)

    • David T. Walker (guitar)

    • Wah Wah Watson (guitar, voice bag, synthesizer)

    • Henry Davis (electric bass)

    • James Gadson (drums)

    • Bill Summers (percussion)



    Recording: July 1975 at Wally Heider Recording Studios, San Francisco / Village Recorders, Los Angeles / Funky Features, San Francisco / Crystal Studios, Los Angeles

    Production: David Rubinson & Friends Inc. and Herbie Hancock



    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    1. Hang Up Your Hang Ups
    2. Sun Touch
    3. The Traito
    4. Bubbles
    5. Steppin' In It
    6. Heartbeat
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live At Carnegie Hall Live At Carnegie Hall Quick View

    $49.99
    Buy Now
    x

    Live At Carnegie Hall

    Stupendous 1973 Concert Set Ranks Alongside James Brown's Live At The Apollo And B.B. King's Live At The Regal


    Easygoing Portrait Of Down-home Soul Singer Coming Into His Own And Establishing An Indelible Bond Between Performer And Audience


    Mastered From The Original Master Tapes: Mobile Fidelity Takes You Inside The Famed Venue And Lets You Be A Part Of The Event


    On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall< is a forgotten classic--an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.


    Mastered from the original master tapes and pressed on 180g 2LP at RTI, Mobile Fidelity's 180g 2LP set of this extraordinary 1973 record provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.


    Moreover, aspects that really make this concert document unique--the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans--are brought into fuller relief. While most live albums give you the sense of what transpired, Mobile Fidelity's reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.


    The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply on.


    One more time? Withers asks in response to a request for another stanza during Use Me, and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar Ain't No Sunshine, poignant Grandma's Hands, and all-time favorite Lean On Me are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there. Mobile Fidelity makes it happen.


    This title is not eligible for discount.

    1. Use Me
    2. Friend of Mine
    3. Ain't No Sunshine
    4. Grandma's Hands
    5. World Keeps Going Around
    6. Let Me In Your Life
    7. Better Off Dead
    8. For My Friend
    9. I Can't Write Left Handed
    10. Lean on Me
    11. Lonely Town, Lonely Street
    12. Hope She'll Be Happier
    13. Let Us Love
    14. Harlem/Cold Baloney
    Bill Withers
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • You're Tuff Enough You're Tuff Enough Quick View

    $25.99
    Buy Now
    x

    You're Tuff Enough

    Vinyl reissue of the 1968 album by blues legend Junior Wells that collects his recordings from the Blue Rock label that found Wells experimenting with a funky, James Brown-inspired sound - includes the title track which was a Top 40 hit on the R&B singles chart!
    1. You're Tuff Enough

    2. It's All Soul

    3. Gonna Cramp Your Style

    4. Where Did I Go Wrong

    5. That'll Hold Me

    6. Sweet Darling, Think It Over

    7. Up In Heah

    8. You're The One

    9. You Out To Quit That

    10. Messing With The Kid

    11. The Hippies Are Trying

    12. Junior's Groove

    Junior Wells
    $25.99
    Vinyl LP Reissue - Sealed Buy Now
  • Belly of the Sun (Pure Pleasure) Belly of the Sun (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Belly of the Sun (Pure Pleasure)

    Cassandra Wilson continues to move down a highly eclectic path on Belly Of The Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky Show Me a Love, and the octogenarian pianist Boogaloo Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic Darkness on the Delta. Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying Road So Clear), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's You Gotta Move and a brief yet dynamic rendition of Robert Johnson's Hot Tamales. But the best tracks are the rock/pop covers: the Band's The Weight, Bob Dylan's Shelter From the Storm, James Taylor's Only a Dream in Rio, Jobim's Waters of March, and Jimmy Webb's Wichita Lineman (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals Justice, Just a Parade (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged Cooter Brown.



    Musicians:



    • Cassandra Wilson (guitar)

    • Kevin Breit (vocal, mandolin, guitar, banjo, bouzouki)

    • Olu Dara (trumpet)

    • Rhonda Richmond (vocal, piano)

    • Mark Peterson (bass)

    • Xavyon Jamison (drums)

    • Jeffrey Haynes (percussion)




    About Pure Pleasure



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



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



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



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



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



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



    1. The Weight
    2. Justice
    3. Darkness On the Delta
    4. Waters of March
    5. You Gotta Move
    6. Only A Dream In Rio
    7. Just Another Parade
    8. Wichita Lineman
    9. Shelter From the Storm
    10. Drunk As Cooter Brown
    11. Show Me A Love
    12. Road So Clear
    13. Hot Tamales
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Pleading The Blues (Pure Pleasure) Pleading The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Pleading The Blues (Pure Pleasure)

    The year was 1959. The occasion was a 'Battle of the Blues' at the Blue Flame Club in Chicago. A young harmonica player Junior Wells - who got his start as Little Walter Jacobs' replacement in Muddy Waters' band back in '52 - probably didn't imagine he would come in second. After all, he had already put down both Otis Rush and Magic Sam. Still to come, though, was this fleet-fingered, skinny young Louisiana cat - Buddy Guy, who came first. As the climax to his blistering solo, Guy tossed his guitar in the air, then caught it by the neck one handed. As it slid through his fingers, Buddy created this high levee moan. Crowd gone wild. It was the beginning of a beautiful friendship.



    That chance meeting set in motion more than a relationship. This early, and profound, respect translated into a partnership that somehow superceded Wells' early work with one of the most important people in the blues. Wells and Guy would produce some of the most unabashed and deeply cool West Side blues recordings.
    This album recorded for the French Isabel label, in 1979 is a companion piece to Guy's "Blues Giant" recording of the same year. There's the gentle blues shuffle of "It Hurts Me Too", made famous by Elmore James. There's the electric-blues muscle of the title tune. Finally, as a bonus track, there's the funky, clearly James Brown-influenced "I Smell Something". This is a fine recording - and certainly one of Junior's best little-known releases.



    Musicians:



    • Buddy Guy (guitar, vocals)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)




    Recording: October 1979 at Condorcet Studio, Toulouse (France), by Francois Porterie

    Production: Didier Tricard




    About Pure Pleasure



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



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



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



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



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



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

    1. Pleading The Blues
    2. It Hurts Me Too
    3. Cut Out The Lights
    4. Just For My Baby
    5. Quit Teasing My Baby
    6. I'll Take Care Of You
    7. Take Your Time Baby
    Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • I Do Not Want What I Haven't Got (Out Of Stock) I Do Not Want What I Haven't Got (Out Of Stock) Quick View

    $21.99
    x

    I Do Not Want What I Haven't Got (Out Of Stock)

    I Do Not Want What I Haven't Got became SinÉad O'Connor's popular breakthrough on the strength of the stunning Prince cover Nothing Compares 2 U, which topped the pop charts for a month. But even its remarkable intimacy wasn't adequate preparation for the harrowing confessionals that composed the majority of the album. Informed by her stormy relationship with drummer John Reynolds, who fathered O'Connor's first child before the couple broke up, I Do Not Want What I Haven't Got lays the singer's psyche startlingly and sometimes uncomfortably bare. The songs mostly address relationships with parents, children, and (especially) lovers, through which O'Connor weaves a stubborn refusal to be defined by anyone but herself. In fact, the album is almost too personal and cathartic to draw the listener in close, since O'Connor projects such turmoil and offers such specific detail. Her confrontational openness makes it easy to overlook O'Connor's musical versatility. Granted, not all of the music is as brilliantly audacious as I Am Stretched on Your Grave, which marries a Frank O'Connor poem to eerie Celtic melodies and a James Brown Funky Drummer sample. But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent.

    - Steve Huey (All Music Guide)
    1. Feel So Different (2009 Remastered Version)
    2. I Am Stretched On Your Grave (2009 Remastered Version)
    3. Three Babies (2009 Remastered Version)
    4. The Emperor's New Clothes (2009 Remastered Version)
    5. Black Boys On Mopeds (2009 Remastered Version)
    6. Nothing Compares 2 U (2009 Remastered Version)
    7. Jump In The River (2009 Remastered Version)
    8. You Cause As Much Sorrow (2009 Remastered Version)
    9. The Last Day Of Our Acquaintance (2009 Remastered Version)
    10. I Do Not Want What I Haven't Got (2009 Remastered Version)
    Sinead O'Connor
    $21.99
    Vinyl LP - Sealed Temporarily out of stock
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