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James Brown Live'
Live At The ApolloRanked 24/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Live At The Apollo left no doubt in anyone's mind that James Brown was a live, dynamic performer without peers and that his talent could come across just as strongly on tape as in person. It was a watershed album, both for the 'hardest working man in show business' and for the burgeoning soul music movement. Reissued here on Vinyl LP by Universal Records.1. I'll Go Crazy
2. Try Me
4. I Don't Mind
5. Lost Someone
6. Medley: Please Please Please, You've Got The Power, I Found Someone, Why Do You Do Me, I Want You So Bad, I Love You, Yes I Do, Why Does Everything Happen To Me, Bewildered
7. Please Don't Go
8. Night Train$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Get On Up - The James Brown Story - Soundtrack"The Godfather of Soul." "The Hardest Working Man in Show Business." "Mr. Dynamite." "Soul Brother Number One." For more than 50 years, these and
other honorifics have described American music icon James Brown.
GET ON UP: The James Brown Story - Original Motion Picture Soundtrack features studio and standout live versions of many of Brown's top soul/funk
hits-from his first, 1956's "Please Please Please" to "Out Of Sight," "I Got You (I Feel Good)," "Try Me," "Papa's Got A Brand New Bag," "It's A Man's
Man's Man's World," and "Get Up (I Feel Like Being A) Sex Machine." Also included are two previously unreleased concert recordings heard in the new
film that is in theaters nationwide on August 1. These live, spine-tingling performances of "Please Please Please" and "It's A Man's Man's Man's World"
were recorded at the historic Fort Homer W. Hesterly Armory in Tampa, Florida on April 23, 1966.
In 1986, James Brown was inducted into the Rock and Roll Hall of Fame as a charter member. A multiple GRAMMY® Award winner, Brown was honored
with the Recording Academy's Lifetime Achievement Award in 1992, and in 2003 he received the prestigious Kennedy Center Honors. Brown died on
Christmas Day 2006 at the age of 73.1. Get Up (I Feel Like Being A) Sex Machine
2. The Payback. Pt. 1
3. Out Of Sight
4. I Got You (I Feel Good)
6. Please Please Please (Live)
7. Night Train (Live)
8. Papa's Got A Brand New Bag, Pt. 1
9. It's A Man's Man's Man's World (Live)
10. Cold Sweat, Pt. 1
11. Mother Popcorn, Pt. 1
12. I Got The Feelin' (Live)
13. I Can't Stand Myself (When You Touch Me) (Live)
14. Say It Loud-I'm Black And I'm Proud, Pt. 1
15. Get Up (I Feel Like Being A) Sex Machine (Live)
16. Super Bad (Live)
17. Soul Power (Live)
18. Try Me (Live)
19. Please Please Please
20. Get Up Offa That Thing$34.99Vinyl LP - 2 LPs Sealed Buy Now
Live At Carnegie HallStupendous 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$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live At Shea StadiumRecorded at New Yorks Shea Stadium in 1982, Live at Shea Stadium captures The Clash at the peak of its powers and on devastating form. Bristling with energy and attitude, Live at Shea Stadium is destined to feature alongside James Brown at the Apollo, The Who at Leeds and Johnny Cash at Folsom Prison as one of the greatest live recordings of all time!
The Clash, opening for The Who on their farewell U.S. tour played two nights at the legendary Shea Stadium (12th & 13th Oct 1982). They had recently released the Combat Rock album, and the singles Rock The Casbah and Should I Stay Or Should I Go were enjoying mass audiences via MTV and radio airplay. Despite being the support act, the New York Post reported there were as many Clash fans on those nights as Who fans.
Recorded by Glyn Johns, the album features the second nights performance in its entirety and shows the band at a fascinating and pivotal point in their career. They had risen from punk agitators to arena superstars and would break up less than a year later. One of the few remaining unreleased Clash treasures, the recordings have long been sought after by fans and were unearthed by the late Joe Strummer while packing for a move. This is a legendary Clash concert. More than an album, its an event.1. Kosmo Vinyl Introduction
2. London Calling
3. Police On My Back
4. Guns Of Brixton
5. Tommy Gun
6. The Magnificent Seven
7. Armagideon Time
8. The Magnificent Seven (return)
9. Rock The Casbah
10. Train In Vain
11. Career Opportunities
12. Spanish Bombs
14. English Civil War
15. Should I Stay Or Should I Go
16. I Fought The Law$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Live Anthology (Sold Out)This one is a must. Decades in the making and culled from hundreds of hours of live concert recordings covering every era of Tom Petty and the Heartbreakers tours, The Live Anthology spans 1978-2007 and represents the best tracks as personally chosen by producers Tom Petty, Mike Campbell, and Ryan Ulyate. The Live Anthology comes on the heels of two sold out tours, the Grammy-winning documentary Runnin Down A Dream (directed by Peter Bogdanovich), and a headline performance at the Super Bowl XLII halftime show. Now, Tom Petty and the Heartbreakers, one of rock and rolls greatest touring bands, mark their unparalleled string of successes with the release of this landmark collection of live recordings that is unlike anything previously available. This is the bands story told through the music alone.
The producers made no fixes or overdubs, letting the newly-mixed original recordings showcase the invention, spontaneity, craft, and the musicianship that has made Tom Petty and the Heartbreakers among the most celebrated live performers of their time. Along with powerful interpretations of their own classic hits and originals, The Live Anthology features the band tackling some of their best-loved cover material, from classics to obscure beauties to unexpected adaptations including the theme from Goldfinger, the Zombies I Want You Back Again, the Grateful Deads Friend of the Devil, early Fleetwood Macs Oh Well, Booker T. and the MGs Green Onions, James Browns Good, Good Lovin and many more. Tom Petty and The Heartbreakers travel wide, paying their musical debts through song and showing just how confidently the band moves across genres and over time.
The Live Anthology features artwork and packaging by renowned contemporary artist Shepard Fairey. All 51 tracks were mastered specifically from the original live performance recordings and pressed onto 7 x 140g audiophile-quality vinyl LPs. An accompanying deluxe book with liner notes offering personal perspective on the band and their music by Tom Petty, Warren Zanes, Bill Flanagan, Robert Hilburn, Joel Selvin, Austin Scaggs, and Phil Sutcliffe rounds out this once-in-a-lifetime set.
This title is not eligible for discount.Ladies And Gentlemen...
Even The Losers
Here Comes My Girl
I Need To Know
A Thing About You
I'm In Love
I'm A Man
Straight Into Darkness
Something In The Air
I Just Want To Make Love To You
Drivin' Down To Georgia
Lost Without You
Diddy Wah Diddy
I Want You Back Again
Friend Of The Devil
A Woman In Love [It's Not Me]
It's Good To Be King
Angel Dream [No. 2]
Learning To Fly
Like A Diamond
Mary Jane's Last Dance
The Wild One, Forever
Any Way You Want It
Runnin' Down A Dream
Crawling Back To You
My Life/Your World
I Won't Back Down
Have Love Will Travel
Don't Come Around Here No More
Good, Good Lovin'
Alright For Now$149.99140 Gram Audiophile Virgin Vinyl LP Box Set - 7 LPs SealedSold Out
Live At Third Man Records 10-10-2012This record captures a show we had been wanting to see at Third Man since day Numero Uno. Jamie Hince and Alison Mosshart are two of the most talented and creative people we know and we couldn't be more pleased that they rocked our stage and committed it to wax so we can finally have a release on the label by the one and only KILLS. These 8 songs were recorded direct-to-acetate on October 10, 2012.
Three very special live records - The Shins, The Kills, and Seasick Steve - all recorded in the Third Man Blue Room last October, and the first three releases recorded live using their one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...)1. Heart is a Beating Drum
2. Future Starts Slow
3. Kissy Kissy
5. Baby Says
6. Tape Song
7. Pots and Pans
8. Last Goodbye$14.99Vinyl LP (Direct-to-Acetate) - Sealed Buy Now
Rocky IV SoundtrackThe 1985 blockbuster Rocky IV found Sylvester Stallone's heavyweight champion boxer in the fight of his life against the fearsome Ivan Drago. The soundtrack, newly remastered for vinyl offers energizing anthems by Survivor (Burning Heart, Eye of the Tiger), James Brown (Living in America) and John Cafferty (Hearts On Fire).1. Burning Heart (Survivor)
2. Hearts On Fire (John Cafferty)
3. Double Or Nothing (Kenny Loggins)
4. Eye of the Tiger (Survivor)
5. War/Fanfare From Rocky (Vince DiCola)
6. Living in America (James Brown)
7. No Easy Way Out (Robert Tepper)
8. One Way Street (Go West)
9. The Sweetest Victory (Touch)
10. Training Montage (Vince DiCola)$19.99Vinyl LP - Sealed Buy Now
Strauss: Till Eulenspiegel/Death And TransfigurationMastered By Willem Makee From The Original Analog Tape
200-Gram LP Plated And Pressed At Quality Record Pressings
Fritz Reiner conducts the Vienna Philharmonic Orchestra. This Strauss recording uniting RCA star Fritz Reiner with the Vienna Philharmonic (one of Decca's star orchestras), was released in 1959, marking the first fruit of an agreement that in return for loaning RCA some of their artists, Decca was permitted to distribute RCA recordings throughout the U.K. and Europe. In addition, Decca agreed to record under license some of their own artists, in sessions paid for and sponsored by RCA, for release on the Red Seal label. High Fidelity, at the time of the original release, called it as fine an example as we have of Reiner's preeminent place among the living disciples of Richard Strauss.
Recorded by Decca engineer James Brown in Vienna's Sofiensall, the sound is as tubby as a Bavarian burgher. The playing is, as advertised, first-rate.
Producer: John Culshaw
Engineer: James Brown
This title is not eligible for discount.1. Till Eulenspiegel's Merry Pranks, Op. 28 (Till Eulenspiegels Lustige Streiche)
2. Death And Transfiguration, Op. 24 (Tod Und Verklarung)$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Concert of the Century - A Tribute to Charlie Parker
First Time Available On Wide Release Vinyl
Pristinely Restored 1980 Live Recording
6 Of The Greatest Jazz Legends In Their Prime
180 Gram Audiophile 2LP Vinyl With Gatefold
On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts
in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names
in bebop. Billed The Concert of the Century - A Tribute to Charlie Parker, and under the direction of
Dizzy Gillespie - one of the best jazz trumpeters of all time - the event featured legendary performers:
Hank Jones - piano, Ray Brown - bass, Milt Jackson - vibes, Philly Joe Jones - drums and James Moody
on tenor sax and flute. Local club owner Roue Doudou Boicel, who produced the concert, had the foresight
to record the concert in its entirety. A limited quantity bootleg LP of the concert soon appeared and then
disappeared from the marketplace, those tapes lay dormant for over 30 years.
This historic recording opens with rapturous applause that sets the tone with Dizzy's own "Blues 'N' Boogie.
"Also featured are several classic standards - some more well known then others - including "Darben The
Redd Foxx," "Time On My Hands," "Get Happy," "The Shadow Of Your Smile" and "Stardust." All the players are
at the top of their game and having a blast, as evidenced by the banter and repartee between songs.
Concert of the Century, pristinely restored and remastered, features two tracks that weren't on the original
pressing from the early '80s - Ralph Rainger's "If I Should Lose You" and an incredible eight minute bass
solo by Ray Brown.LP 1
1. Blue 'n' Boogie
2. If I Should Lose You
3. Darben the Redd Foxx
4. Time On My Hands
1. Get Happy
2. The Shadow of Your Smile
3. Bass Solo/Manhã de Carnaval/Work Song (featuring Ray Brown)
4. Stardust$26.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Psychedelic LollipopThe Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem (We Ain't Got) Nothin' Yet. That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word psychedelic in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as Gotta Get Away, One by One and Love Seems Doomed. And the Magoos' high-energy workouts on James Brown's I'll Go Crazy and John Loudermilk's Tobacco Road rank with the greatest versions of those much-covered garage-band standards.
This 60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.1. (We Aint Got) Nothin Yet
2. Love Seems Doomed
3. Tobacco Road
4. Queen of My Nights
5. Ill Go Crazy
6. Gotta Get Away
7. Sometimes I Think About
8. One by One
9. Worried Life Blues
10. Shes Coming Home$24.99Vinyl LP - Sealed Buy Now
Eccentric Soul: The Forte LabelIn 1969, after three years as Soul Sister #1 to James Brown's touring entourage, Marva Whitney came home to Kansas City, putting Ellis Taylor's Forte label back at full fighting strength. She'd calmed aching crowds the day after MLK's death, and she'd lived the life, despite its rigors-to pour out her pain and exuberance on Forte sides including "I've Lived The Life" and "Daddy Don't Know About Sugar Bear," which made national rounds in 1972.
By then, Forte had already done more than deliver Marvelous Marva to market. Taylor worked overtime at KPRS to bring the world The Rayons, who'd stroll their girl group harmonies past Chicago's RCA studios on "Baby Be Good." In '68, The Four Darlings sauntered in with smoky-voiced soul operatics on the demanding "Give Me Love." Progressing in the middle '70s, Everyday People got "Super Black" on Forte's pine-green label. Still powering forward some 13 years on, Forte redawned with the 1980s, essaying disco funk with Sharon Revoal's "Reaching for Our Star."
Numero 047 Eccentric Soul: The Forte Label charts Kansas City yeoman's work, the Carpets and the Derbys, dapper clothiers mysteriously murdered, and marriages made and broken. In 28 LP tracks, plus a trove of promo headshots and every-hued label scans
detailing all iterations of Forte's logo in print, this 16th Eccentric Soul sojourn hands over vivid floor shakers and lost dance craze records alike-though what moves "The Hen" required remains anyone's guess.LP1
1. Gene Williams - Don't Let Your Love Fade Away
2. Lee Harris - I'm Gonna Get Your Thing
3. Tear Drops - I'm Gonna Get You
4. Louis Chachere - The Hen Part 1
5. The Fantasticks - Cry Night And Day
6. Marva W Taylor - I've Lived The Life
7. Fabulous Rhythm Makers - Mini Mini Afro Twist
8.Tony Ashley & the Delicates - I'll Never Be Satisfied
9. The Rayons - You Confuse Me Baby
10. The Four Darlings - Baby Your Love Is Amazing
11. Lee Harris - Lookin' Good
12. Marva Whitney - Daddy Don't Know About Sugar Bear
13: Gene Williams - Whatever You Do (Do It Good)
14. Everyday People - Is It Really That Bad
1. The Rayons - Baby Be Good
2. Tony Ashley & the Delicates - All Along I've Loved You
3. Lee Harris - I've Got To Have Somebody's Love
4. Everyday People - Super Black
5. James Whitney - With Fun In My Life
6. Sharon Revoal - Reaching For Our Star
7. Marva W Taylor - Nothing I'd Rather Be (Than Your Weakness)
8. Four Darlings - Give Me Love
9. Unknown Artist - Dearest Lover
10. Fantasticks - Live And Let Live
11. Fabulous Rhythm Makers - Ya Gotta Be Doing It
12. Lee Harris - Skate Boogaloo and Karate Too
13. Tear Drops - Don't Fade Away
14. Marva Whitney & Ellis "Gripey" Taylor - We Need More (But Somebody Gotta Sacrifice)$31.99Vinyl LP - 2 LPs Sealed Buy Now
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$15.99Vinyl LP - Sealed Buy Now
This World Is Not EnoughSince 2010, Elias Bender Rønnenfelt (Iceage, Vår) has used the Marching
Church moniker to a variety of musical ends, both live and recorded. However,
the project as it exists on This World Is Not Enough wasn't born until November
2013. With a live performance looming and no real idea what the set would be,
Rønnenfelt found a new vision for the band while daydreaming at a gig at the
venue where Marching Church was set to perform. "What I pictured was me in a
comfortable armchair, adorned in a golden robe, leading a band while a girl kept
pouring me champagne when I required it," Rønnenfelt explained. "This raised
the question, 'What sort of music would go along with this picture?'"
Rønnenfelt discovered the answer to that question with a lineup rounded out by
Kristian Emdal and Anton Rothstein of Lower, Cæcilie Trier (Choir of Young
Believers), Bo H. Hansen (Hand of Dust, Sexdrome) and Frederikke Hoffmeier
(Puce Mary). Under Rønnenfelt's leadership, the group composed some music,
rehearsed twice, and played their show. It was decided that night that this incarnation
of Marching Church would make a record.
This World Is Not Enough was influenced at first by obscure works like David
Maranha's experimental drone-rock saga Antarctica, and eventually by soul
bandleaders like James Brown and Sam Cooke. "The whole month of writing
and rehearsing and the one week we had in the studio was truly an explosion
of ideas," Rønnenfelt said. "Improvisation, something I have never worked with
before, was crucial in the making of this album, considering the loose nature
of the writing on some of these songs. The album works because of the band's
incredible ability of breathing life into these, at times, very simple ideas and
The eight tracks that made the final cut are, in Rønnenfelt's words, "songs of
nocturnal longing, preposterous self-obsession and cockeyed etiquette," and they
are an exemplary statement of the songwriter's extraordinary growth since the
birth of Iceage.1. Living in Doubt
2. King of Song
3. Hungry for Love
4. Your Father's Eyes
5. Calling Out a Name
6. Every Child (Portrait of Wellman Braud)
7. Up a Hill
8. Dark End of the Street$19.99Vinyl LP - Sealed Buy Now
The Funky 16 CornersStones 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)
5. The Funky 16 Corners
6. The Kick
7. What About You (In the World Today)
9. The Dump
10. Jody's Freeze
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
21. The Funky Buzzard
22. Bunky's Pick
23. Junkie's Pick
24. Variations of in the Rain$19.99Vinyl LP - 2 LPs Sealed Buy Now
Luther's Blues: A Tribute To Luther Allison (Awaiting Repress)Walter and Luther Allison were fellow Road Warriors.
Ever since Luther's untimely passing in 1997, Walter has wanted to do a tribute album to the memory of Luther. It is, however more than a tribute to Luther's playing and his song-writing; it is a tribute to a way of life that Luther exemplified, and a way of life that Walter knows so well:
To play and sing with everything you have in your body and soul to an audience, with the hope of reaching them, and somehow giving them an unforgettable experience of a live show.
This CD/Vinyl features a beautiful booklet with Walter's emotional story of the last time he saw Luther. Also many photos, and exclusive liner notes written by Luther's son, Bernard Allison, Luther's long-time love and partner Carolyn Rocky Brown, and Luther's song-writing partner and 25 year band member, James Solberg.1. I'm Back
2. Cherry Red Wine
3. Move from the Hood
4. Bad Love
5. Big City
7. Just As I Am
8. Low Down and Dirty
9. Pain in the Streets
10. All the King's Horses
12. Luther Speaks
13. When Luther Played the Blues$18.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
We're All Gonna DieDawes' highly anticipated new album We're All Gonna Die will be released via the band's own HUB Records.
Of the album, Taylor Goldsmith (guitar, vocals) explains, "Pretty much every song on this record explores a difficult situation and tries to find a way to find the good in it, or at least remind yourself that it's not always that big of a deal. After all, as scary as it is, we are all gonna die."
The album was produced by Grammy nominated producer Blake Mills (Alabama Shakes) and includes backing vocals from Brittany Howard of Alabama Shakes, Jim James of My Morning Jacket, Holly Laessig and Jess Wolfe of Lucius, Mandy Moore and Will Oldham.
Dawes has toured extensively playing headline shows worldwide and major festival appearances including Bonnaroo, Austin City Limits, Lollapalooza and Newport Folk Festival. Recently, they have toured with My Morning Jacket, Bob Dylan, Mumford and Sons, Conor Oberst, and Jackson Browne.
In the fall of 2014, Goldsmith contributed to Lost On The River: The New Basement Tapes, an album project which found collaborators Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and producer T Bone Burnett writing and creating music for a treasure trove of recently discovered lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes.
Fellow collaborator Jim James proclaims about We're All Gonna Die, "The record sounds so fresh-yet fills me with a strange nostalgia for things that haven't happened yet...I hear it at the beach and blasting out of car windows on future summer nights...easily having become a natural part of people's lives."1. One Of Us
2. We're All Gonna Die
3. Roll With The Punches
4. Picture Of A Man
5. Less Than Five Miles Away
6. Roll Tide
7. When The Tequila Runs Out
8. For No Good Reason
10. As If By Design$18.99Vinyl LP - Sealed Buy Now
King Of AmericaKing of America on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Costello Teams With Musical Legends and Standout Producer T-Bone Burnett on Exemplary 1986 Album
Mastered from the Original Master Tapes: Mobile Fidelity LP Maximizes the Get-In, Get-Out, Live-In-the-Studio Immediacy and De-Congested Mix
Includes Introspective Songwriting Gems Such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Little Palaces"
Juggling Themes of Desire and Exile, Costello Strips Arrangements Down to Folk, Country and Pub-Rock Roots
Elvis Costello spent the year prior to recording King of America embarking on a solo tour, usually accompanied by producer/singer-songwriter T-Bone Burnett. The pair's decision to collaborate on Costello's 1986 album came naturally, and the music sounds it-emotional, effortless, literate, seemingly uncomplicated. Credit, however, not only goes to the best batch of Costello originals since 1982's Imperial Bedroom, but to the literally awesome and awe-inspiring cast of musicians Burnett invited to participate.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram LP of this masterpiece broadens the live-in-the-studio intimacy and opens up the midrange, highs, and lows of Burnett's fabulously de-congested mix. Made with few overdubs or effects, King of America relishes organic approaches and faithful tones-as well as a vast spaciousness and balance not always evident on Costello's efforts with the attractions. Finally, Mobile Fidelity transports the listener to the semicircle of players that surrounded Costello in the studio, and highlights the benefits of the center-of-the-production miking technique employed on the singer's voice and guitar playing.
Given the brilliance of the performances, every music fan will want to be brought as near as possible to the purity of these sessions. A Hall of Fame-caliber list of instrumentalists accompany Costello, with Elvis Presley's T.C.B. mates Ron Tutt (drums), James Burton (guitar), and Jerry Scheff (bass) forming one band and drummer Earl Palmer (Little Richard), bassist Ray Brown (Oscar Peterson, Duke Ellington), pianist Tom Canning, and organist Mitchell Froom ready in waiting as another. Several of these musicians formed yet another band, joined by drummer Jim Keltner of Bob Dylan, George Harrison, and John Lennon fame. Oh-and the Attractions make a guest appearance on one track.
King of America-the title reflective of the threads of intentional, thought-provoking contradiction throughout-would be exemplary if just for the troupe. Yet it's the combination of chemistry, ability, sonics, and tunes that propel this watertight platter to iconic status. Unconcerned with writing a radio hit or adhering to a single musical theme, Costello wrote a majority of the material on acoustic guitar and on piano, tapping his pub-rock and folk roots in turning out songs that remain some of the catchiest, introspective, and deep of his career. Cuts such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Suit of Lights" epitomize Costello's inimitable manner of viewing adulthood, romance, and geographical transition through a transparent lens that blocks neither truth nor consequence.
As for the music? It swings (vide, Scheff's bass line on "Lovable"), swishes (Keltner's brushes on "I'll Wear It Proudly"), jumps (Brown's string bass on "Eisenhower Blues"), swoons ("Poisoned Rose"), and shuffles ("Jack of All Parades"). There's truly not a bum track here, and now, experienced in such high fidelity, the genius of every contributor can be easily heard and felt. Akin to Mobile Fidelity's other Costello reissues, this is not to be missed.
This title is not eligible for discount.1. Brilliant Mistake
3. Our Little Angel
4. Don't Let Me Be Misunderstood
5. Glitter Gulch
6. Indoor Fireworks
7. Little Palaces
8. I'll Wear It Proudly
9. American Without Tears
10. Eisenhower Blues
11. Poisoned Rose
12. The Big Light
13. Jack of All Parades
14. Suit of Lights
15. Sleep of The Just$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Learned The Hard WaySharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. I Learned The Hardway is their fourth full-length release on Brooklyn's independent Daptone Records and it marks a bold step forward for a band who almost single handedly stewarded today's return of soul music to its more traditional sound.
Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records' House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon's raw power, rhythmic swagger, moaning soulfulness and melodic command set her fi rmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fi xture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in The Game Gets Old at the top of the record, to the stripped down Sam Cooke-style Mama Don't Like My Man at the tail, the Dap-Kings groove seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the Daptone Sound at its fi nest.1. The Game Gets Old
2. I Learned the Hard Way
3. Better Things
4. Give It Back
6. The Reason
7. Window Shopping
8. She Ain't a Child No More
9. I'll Still Be True
10. Without a Heart
11. If You Call
12. Mama Don't Like My Man$15.99Vinyl LP - Sealed Buy Now
Brahms - Hungarian Dances (Speakers Corner)
Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.
Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.
From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.
- Vienna Philharmonic Orchestra
- Fritz Reiner (conductor)
Recording: June 1960 at Sofiensaal, Vienna by James Brown
Production: Erik Smith
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.
and that the lacquer discs are newly cut.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
1 Hopeful RdOver the past few years, Vintage Trouble have wowed audiences across the globe by opening for The Rolling Stones in London's Hyde Park, touring with legends like The Who and AC/DC, and playing sold-out headline shows worldwide. Now, on their first album for Blue Note Records, the Los Angeles-based foursome - singer Ty Taylor, guitarist Nalle Colt, bassist Rick Barrio Dill, and drummer Richard Danielson channel the vitality and passion of their live show into a fresh and urgent take on guitar-powered rhythm & blues. Produced by Blue Note president and three-time Grammy Award-winner Don Was, 1 Hopeful Rd. finds Vintage Trouble building off the groove-fueled sound that Yahoo! once painted as ''James Brown singing lead for Led Zeppelin'' and blending blues, soul, and riff-heavy rock & roll with joyfully gritty abandon. As heard on lead single ''Run Like the River,'' 1 Hopeful Rd. matches Vintage Trouble's emotional intensity with a raw yet sophisticated musicianship that's prompted the New York Times to name the band modern-day answer to Otis Redding and BBC Radio 6 to anoint them ''the heirs of rhythm and blues.''1. Run Like The River
2. From My Arms
3. Doin What You Were Doin'
4. Angel City, California
5. Shows What You Know
6. My Heart Won't Fall Again
7. Another Man's Words
8. Strike Your Light
9. Before The Tear Drops
10. If You Loved Me
11. Another Baby
12. Soul Serenity$21.99Vinyl LP - Sealed Buy Now
Instant ReplayCelebrate The Legendary Artist's #1 Record From 1978
Stunning 180 Gram Audiophile Translucent Red Vinyl & Gatefold Cover Presentation
Mastered Impeccably At Friday Music - Pressed At R.T.I.
Featuring: Edgar Winter, Vinnie Vincent (Formerly Of Kiss), G.E. Smith (Hall & Oates / Bob Dylan)
In 1978, mega artist Dan Hartman (Free Ride, I Can Dream About You, Living In America) was sitting on top of the world. After a long
tenure performing with superstars like Muddy Waters, Johnny Winter and The Edgar Winter Group, Dan rewarded his fans once again with
one of the most important club and pop songs of the era with Instant Replay. Featuring the classic line-up of Dan Hartman, Vinnie Vincent
(Kiss), G.E. Smith (Bob Dylan) and former bandmate Edgar Winter, the Instant Replay album rapidly became one of the most definitive albums of his very successful career.
The LP kicks off with the #1 title track Instant Replay and simmers on with the lengthy dance smash Countdown/This Is It. His rock and
funk side continues with even more classics like Double-O-Love and the brilliant Time And Space, making this one of most popular albums
of the time and continues to be heard on radio and in dance halls all over the world.
Friday Music is no stranger to the stunning recordings of Dan Hartman and his affiliations with our other artists Johnny Winter and The Edgar Winter Group. Therefore, it is with much excitement to announce the legendary Dan Hartman masterpiece Instant Replay. Mastered impeccably by Joe Reagoso (Johnny Winter/Isley Brothers/ Instant Funk) at Friday Music Studios and pressed at RTI, this stunning LP was long overdue for the audiophile vinyl domain.
Dan Hartman would go on later to become one of the top recording artists, composers and record producers of our time. Collaborating
with such diverse artists as Joe Cocker, Stevie Winwood and James Brown, his career ended with his untimely passing in 1994.
In honor of the late artist and this amazing album, we are presenting Instant Replay for the first time on translucent RED Vinyl with a limited edition gatefold cover. We believe this wonderful new audiophile release of Instant Replay will become one of the most anticipated dance and classic rock/pop releases of the year!
Countdown!1. Instant Replay
2. Countdown / This Is It
4. Chocolate Box
5. Love Is A Natural
6. Time & Space$19.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now
A Light That Never DiesOn his second album A Light That Never Dies which will be released in North America via Forty Below Records, KaiL Baxley has returned with a hard hitting, lush and beautifully haunting collection of songs. Co-produced with Producer/Engineer Eric Corne whose recording credits include Lucinda Williams, Glen Campbell, Kim Deal and John Mayall, the album was recorded over the last year in three different cities.
"We used a lot of really old gear on this one to capture that warm analog sound and preserve its truth," says KaiL about the album. "I'm proud of what Eric and I got out of the studio and I'm eager to get out on the road and share it with people."
Hailing from the small backwater town of Willison-Elko - a town so small that most people in South Carolina don't even know where it is, much less the rest of the world. It's only claim to fame is soul legend James Brown, with whom Baxley shared an unlikely friendship as a child. Perhaps this was one of the leading influences in Baxley's soul-drenched music or perhaps it was the similar circumstances in which they were raised that fuels such deep emotion in an individual.
Abandoned by both his mother and father as a small child Baxley was raised by his grandfather Woody until age 12. When he passed away, KaiL bounced from one living situation to another, rarely living in one place for more than a year at a time. It was in this constant migration that he found escape in a pair of old RCA headphones.
"It wasn't all bad really," he recalls. "I got to know quite a bit of music from all different genres during that time period. I'd stay with my uncle for a while and pick up some Van Morrison; my auntie gave me the Stones;friends parents turned me on to gospel. Then I discovered hiphop and it was all over. I was hooked."
This is the very apparent source of inspiration in KaiL Baxley's genre-bending music that also blends blues, indie rock, soul, gospel, and syncopated hiphop-style beats into a most exquisite and easily drinkable cocktail of sound - a sound that he has dubbed "Soul Swagger".
KaiL's debut effort, Heatstroke/The Wind and the War, was presented as a double EP which displayed the yin and yang of his musical range. A surprise nominee for NPR's Album Of The Year, it received critical acclaim, including a debut at SXSW, where Baxley was tapped as, "One of NPR's top new artists" by All Songs Considered.
"His voice falls somewhere between Joe Cocker and Bill Withers with a husky authority. The guy is a whiz-bang folkie-turned-soul-rocker and has a voice which can make you dance or which melts butter, depending upon the tune."
- Frank Gutch Jr. / Segarini1. Light That Never Dies
2. Mr. Downtown
3. Tell the Falling Sun
4. The Ballad of Johnny Steel
5. Morning Light
6. Better FeelN' Better Days
8. Still Wonder (Interlude)
9. Troubled Souls
10. Chasing James Dean
11. Mirrors of Paradise$18.99Vinyl LP - Sealed Buy Now
REDD-MAC-1516xChristian McBride Big Band
Bringin' ItIconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display. With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.
If it is true that jazz is a sponge for musicians to absorb and then squeeze out what they hear to produce their own sound, McBride has been "bringin' it" for quite a long time. From his amazing quintet, Inside Straight, to his avant-garde leaning quartet, New Jawn, the contemporary sound of his fusion group, A Christian McBride Situation, to the critically acclaimed music he's made with his trio, the bassist has always disseminated his own unique 360-degree view of jazz.
While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music. "I love having the show aspect of it as well, with Danny Ray there, and being able to create somewhat of a show while also having Melissa there as our vocalist."
That would be Melissa Walker, who graces Bringin' It on two tracks: "Upside Down," originally done by Brazilian superstar Djavan, and the unlikely slick arrangement of "Mr. Bojangles." In addition to maintaining a career in jazz, Walker is also the co-founder of Jazz House Kids, the award winning jazz education center and she's Mrs. Christian McBride.
Only two tracks on this 11-song set were not arranged by the leader: the "Upside Down" arrangement was contributed by Norman Simmons, while "Optimism" is from the person he's known the longest in his band, trombonist Steve Davis. Davis has the distinction of being the very last Jazz Messenger that Art Blakey hired before he died in 1990.
"I saw that last Jazz Messengers band that Steve was in," McBride remembers. "Blakey was a huge influence on me and because of that, Steve and I share the same compositional and arranging DNA. You see, even though I've been influenced by every great big band and every great arranger I've ever heard, three of my greatest influences - not just as composers but also as improvisers - are Freddie Hubbard, Wayne Shorter and Cedar Walton. I mean before, after and during the period when they were with Art Blakey & the Jazz Messengers."
McBride played bass for Freddie Hubbard's quintet for nearly three years starting when he was 18. One of the songs he loved to play with the legendary trumpeter was "Thermo." A few years ago he brought this arrangement to a gig with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. When the four trumpeters had to work hard to go over the riffs in the tune, McBride felt a certain pride. "I just thought that Freddie was somewhere up in heaven laughing," says McBride.
Perennial poll-topping arranger Maria Schneider has also been an influence on McBride. He cites times when he'd just bug her for hours, peppering her with questions, particularly on a recent trip to Europe. He honors her with his rendition of "I Thought About You." "She has an arrangement of 'Giant Steps' where she arranged the melody over a D pedal so I said let me try something like that," McBride recounts. "That's where that came from. She really gave me a lot of information and has been a great influence on me."
Another aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style.
"As for my originals, they all have been recorded with my small groups," he continues on about the tracks "Gettin' To It," "Youthful Bliss," and "Used'ta Could." "As an arranger I'm still in the early stages of my development so it seems to me the best way to really make my hopeful ascension into a better arranger is to obviously take a song I've already written and try to add to that and make it a worthy large ensemble song."
While the Wes Montgomery smoker "Full House" isn't a McBride original, it is part of his development as an arranger - it's a big band chart he first created for guitarist Russell Malone at Jazz Aspen in 2009. He says he's tweaked it since then for his go-to guitarist Rodney Jones. For the McCoy Tyner classic "Sahara," the bassist channeled his 20+ years of playing with the legendary Chick Corea, for which McBride won two of his five Grammys. Another one of his Grammys came from a co-op project with Tyner. "I always thought of Chick, in his early years, as being a branch from the tree of McCoy Tyner, if you will," he commented.
McBride's work ethic is evident in the challenge he set for himself on the steamy old ballad "In The Wee Small Hours of the Morning." "I decided to torture myself by writing that arrangement in the key of B. To me that's a very pretty key, but it is a very hard key for a double bass because I get to play no open strings," McBride explains. "When I play it live, every bass player in the house comes to me and says, 'is that in B? Why do you do that?' Maybe it's because I'm crazy, but I really wanted to do something difficult and keep myself on my toes."
Planning to keep this group simmering while he simultaneously resurrects his Inside Straight band and introduces his new trio, Tip City, McBride is most excited to embrace the golden age of big bands while they continue bringin' it with more gigs and their first European tour. "With my big band I try to combine all of my journeys and goals as a musician and then try to put it in a wrapper of show business," the five-time Grammy® Award-winner comments. "I really think in that sense I'm following something of a big band tradition."1. Gettin' To It
3. Youthful Bliss
4. I Thought About You
6. Upside Down
7. Full House
8. Mr. Bojangles
9. Used 'ta Could
10. In The Wee Small Hours Of The Morning
11. Optimism$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now