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  • The Secret Cinematic Sounds of Jimmy Urine The Secret Cinematic Sounds of Jimmy Urine Quick View

    $27.99
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    The Secret Cinematic Sounds of Jimmy Urine

    For over a decade, Mindless Self Indulgence, a four-member outfit based out of New York City featuring frontman Jimmy Urine, have been whipping crowds of eager fans in to furious riots with their heart-pounding electro-punk and death-defying stage antics. Over the years, they developed a devoted following, spawned bidding wars between major labels, and earned a reputation as a tough live act to follow, from clubs to arenas.


    With MSI currently on hiatus, Jimmy Urine is extending his creative palette in movie soundtracks and video game music including 'Metronomicon', 'I Want To Be Human', 'The Hive' and more. He has now collected all those songs and is releasing them as one compilation album that will be out on vinyl via The End Records.


    In addition to this album, Jimmy Urine is also appearing in the upcoming Guardians Of The Galaxy Vol. II movie.

    LP 1
    1. Fighting With The Melody
    2. I Want To Be Human
    3. Phase
    4. Final Level
    5. End Boss
    6. All Together Friends Forever
    7. Patty Hearst
    8. Not For Me


    LP 2
    1. Aching Addicted Affection Again
    2. Salome
    3. Beethoven Symph 7 Alleg Mvt 2
    4. Available On Betamax
    5. Lento Romantico Erotic Incubo
    6. Based On A True Story

    Jimmy Urine
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Orange Blossom Special Orange Blossom Special Quick View

    $29.99
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    Orange Blossom Special

    28pt. Gatefold Includes New Archived (Early 1960s Era) Photos Of Johnny Cash


    Box Car Numbered Edition


    Mastered By Kevin Gray At Cohearent Audio


    ''Johnny Cash transcends country music...he represents what American Music is all about!''


    Known throughout the world as one of the major figures of post-Hank Williams country music, Johnny Cash constantly sought to expand his musical horizons and avoid being pigeonholed. Cash was at his most engagingly eclectic on Orange Blossom Special, recorded in 1964.


    For starters, ''The Man In Black'' covered three tunes by Bob Dylan, then the most talked-about young singer-songwriter of the dawning folk-rock era. (''It Ain't Me Babe,'' ''Don't Think Twice, It's Alright,'' and ''Mama, You've Been On My Mind''), The Nashville musical establishment hardly embraced Dylan's mind-blowing lyrics, but Cash, knowing genius when he heard it, was the first major country star to cover Dylan's work. By the same token, he also rendered two numbers by A.P. Carter of the legendary Carter Family, who, along with Jimmy Rodgers, created the musical template that's still the model for ''traditional'' country, bluegrass, and some forms of folk. And Cash's unmistakable, tough-hewn baritone rendered the classic fiddle tune that is the title track, as well as ''Danny Boy'' (with a spoken word intro), the spiritual ''Amen'' and the traditional story-song ''The Long Black Veil.''. Cash's compositions include ''The Wall,'' one of the prison songs for which he is known, and the protest tune ''All Of God's Children Ain't Free.'' Orange Blossom Special (with liner notes by the artist and never-before seen archive photos) finds Cash backed by the Tennessee Two, his outstanding guitar/bass tandem of Luther Perkins and Marshall Grant and guest appearances by such Nashville aces as Boots Randolph on tenor sax, pianists Floyd Cramer and Bill Pursell, guitarist Norman Blake, and harmonica ace Charlie McCoy. And on Johnny Horton's ''When It's Springtime In Alaska (It's Forty Below),'' Cash is accompanied by the now-familiar female voice of June Carter.

    1. Orange Blossom Special
    2. The Long Black Veil
    3. It Ain't Me Babe
    4. The Wall
    5. Don't Think Twice It's All Right
    6. You Wild Colorado
    7. Mama, You Been On My Mine
    8. When It's Springtime In Alaska (It's Forty Below)
    9. All Of God's Children Ain't Free
    10. Danny Boy
    11. Wildwood Flower
    12. Amen
    Johnny Cash
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Five Royales The Five Royales Quick View

    $24.99
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    The Five Royales

    Shake 'em up! R&B from the vaults of King/Federal Records!


    Jimmy Page, Jimi Hendrix, Eric Clapton and Steve Cropper all have cited Five Royales' guitarist and songwriter Lowman Pauling as a major influence! Tracks like "It Hurts Inside" and "Wonder Where Your Love Has Gone" highlight his taught, stinging style with solos that served as lessons for budding guitarists everywhere. Sundazed is proud to reissue The Five Royales-from 1959- pressed on audiophile quality 180 gram vinyl by RTI and sourced from the original analog tapes.

    1. I Know It's Hard But It's Fair
    2. Miracle of Love
    3. My Sugar Sugar
    4. When You Walked Through The Door
    5. School Girl
    6. Get Something Out Of It
    7. Tell Me You Care
    8. Wonder Where Your Love Has Gone
    9. It Hurts Inside
    10. Mine Forevermore
    11. One Mistake
    12. Women About To Make Me Go Crazy
    The 5 Royales
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
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    The Sound Of Jazz (Pure Pleasure) (Awaiting Repress)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    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. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Jack Johnson & Friends: Best Of The Kukua Festival Jack Johnson & Friends: Best Of The Kukua Festival Quick View

    $34.99
    Buy Now
    x

    Jack Johnson & Friends: Best Of The Kukua Festival

    Just in time for Earth Day, Brushfire Records will release Jack Johnson and Friends: Best of Kokua Festival. The album features a 13-track compilation of live performances from Jack Johnson's benefit concerts for the Kokua Hawaii Foundation. Proceeds from Jack Johnson and Friends: Best of Kokua Festival will benefit the Kokua Hawaii Foundation.


    Culled from six years of his eco-minded music festival, Jack Johnson and Friends: Best of Kokua Festival, highlights onstage collaborations with legendary musicians like Willie Nelson, Jackson Browne, Eddie Vedder, Ben Harper, Dave Mathews, Ziggy and Damian "Jr. Gong" Marley and more.


    Johnson and his band team up with more than a dozen guest artists to perform both original works and spirited covers of classic songs. The album features several of Johnson's breezy folk-rock gems, including "Constellations" (with Eddie Vedder), "Mudfootball" (with Ozomatli & G. Love), "Breakdown" (with ukulele virtuoso Jake Shimabukuro), and "Better Together" (with Hawaiian singer Paula Fuga).


    Elsewhere on Jack Johnson and Friends: Best of Kokua Festival, Johnson joins his guests for stripped-down renditions of their own songs: Taj Mahal offers his bluesy "Further On Down The Road," Jackson Browne revisits "Take It Easy" with the help of singer/guitarist John Cruz (who also shares his Hawaiian anthem "Island Style"), and the Marley brothers bring the reggae with Ziggy's "Cry, Cry, Cry" and Damian's dancehall banger "Welcome to Jamrock."


    Rounding out the record are an eclectic collection of covers, including Bob Marley's "High Tide or Low Tide" (featuring Ben Harper), Bob Dylan's "I Shall Be Released" (featuring Eddie Vedder) and Jimmy Buffet's "A Pirate Looks at Forty" (featuring Dave Matthews and Tim Reynolds). Willie Nelson, meanwhile, delivers a Harper-assisted take on "Blue Eyes Crying in the Rain," the Fred Rose-penned classic he popularized.


    Held on Earth Day weekend at Honolulu's Waikiki Shell since its inception in 2004, the Kokua Festival serves as both a community-centered celebration of music and environmental awareness and as the major fundraiser for the Kokua Hawaii Foundation (a nonprofit organization founded by Johnson and his wife Kim in 2003 to support environmental education in the schools and communities of Hawaii). Like the festival itself, Jack Johnson and Friends: Best of Kokua Festival spotlights artists who share the Kokua Hawaii Foundation's mission of protecting the planet and cultivating environmental consciousness.

    LP1
    1. Better Together - Jack Johnson with Paula Fuga
    2. Cry, Cry, Cry - Ziggy Marley with Jack Johnson & Paula Fuga
    3. A Pirate Looks At Forty - Jack Johnson, Dave Matthews & Tim Reynolds
    4. Mudfootball - Jack Johnson with Ozomatli & G. Love
    5. Constellations - Jack Johnson with Eddie Vedder & Kawika Kahiapo
    6. Take It Easy - Jackson Browne with Jack Johnson & John Cruz
    7. Island Style - John Cruz with Jack Johnson & Jackson Browne


    LP2
    1. Breakdown - Jack Johnson with Jake Shimabukuro
    2. Further On Down The Road - Taj Mahal with Jack Johnson
    3. Welcome To Jamrock - Damian "Jr. Gong" Marley with Jack Johnson & Paula Fuga
    4. High Tide or Low Tide - Ben Harper & Jack Johnson
    5. Blue Eyes Crying In the Rain - Willie Nelson with Jack Johnson & Ben Harper
    6. I Shall Be Released - Jack Johnson, Eddie Vedder, Zach Gill & Friends

    Jack Johnson
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Oscar Pettiford: Volume 2 (Pure Pleasure) Oscar Pettiford: Volume 2 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Oscar Pettiford: Volume 2 (Pure Pleasure)

    Oscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. This album titles as Volume 2 or Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson. Highlights include the Pettiford-penned Bohemia After Dark, named after the club in Greenwich Village and acknowledged as a jazz standard, Stardust, featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and Minor Seventh Heaven, with Pettiford switching to cello. This is not just a bebop date; Pettiford had the range to incorporate influences like Duke Ellington and calypso, creating a full, lyrical band sound that matched his bass playing. Pettiford's legacy was cut short after he passed away suddenly in 1958 in Copenhagen at the age of 37.

    Musicians:



    • Donald Byrd, Ernie Royal (trumpet)

    • Bob Brookmeyer (trombone)

    • Gigi Gryce (alto saxophone, clarinet)

    • Jerome Richardson (tenor saxophone, clarinet, flute)

    • Don Abney (piano)

    • Oscar Pettiford (bass. cello)

    • Osie Johnson (drums)



    Recording: August 1955 in New York City



    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. Kamman's A-Comin
    2. Minor 7th Heaven
    3. Stardust
    4. Bohemia After Dark
    5. Oscalypso
    6. Scorpio
    7. Titoro
    8. Don't Squawk
    9. Another One
    Oscar Pettiford
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • How Did We Get So Dark? How Did We Get So Dark? Quick View

    $18.99
    Buy Now
    x

    How Did We Get So Dark?

    After becoming the biggest breaking British rock band with their self-titled 2014 debut album, Royal Blood's eagerly anticipated second album 'How Did We Get So Dark?' will be released on Warner Bros. Records.


    Royal Blood's breakthrough was huge. Their debut album was the fastest-selling British rock debut in three years, hitting #1 in the UK, debuting in the Top 5 on the Billboard 200 Chart in the U.S. and going Top 20 in 12 countries. Before they knew it, they were performing for Howard Stern, touring with Foo Fighters, holding dressing room audiences with Jimmy Page in New York, and being presented with a BRIT for Best British Band in 2015 by the very same guitar god. Their ascendency was further underlined with major awards courtesy of Kerrang!, NME and Q.


    The ten tracks that are featured on 'How Did We Get So Dark?' were written in instrumental form during sessions in Brighton, Los Angeles, and Nashville. Always trying to explore ways of stripping their enormous sound back to give it more space and impact, the inspiration for the lyrics came from events in vocalist/bassist Mike Kerr's life since the band first found huge success.


    In November 2016, Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. 'How Did We Get So Dark?' was subsequently completed after a final session in London with their debut album's co-producer Tom Dalgety.


    The album's first single 'Lights Out' ups the ante from their debut with a wrecking ball of a groove cemented by Thatcher's thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. Their patented two-man artillery of carefully constructed melodic aggression is prevalent throughout, especially in 'I Only Lie When I Love You,' which is a compelling cowbell-assisted reminder of the power of a stop-start riff and a strident chorus. There are times when Royal Blood are more visceral than ever - notably the gargantuan introduction to 'Hook, Line and Sinker'and also the intense denouement that brings 'Look Like You Know' to a close.


    While the album finds Royal Blood refining their melodic might, there are other moments that fulfill their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr's falsetto, 'Don't Tell' drops the intensity to mesmerizing effect, while 'Where Are You Now?' pulsates with a bounding energy that's quite a step apart from anything else in their catalog. The Royal Blood palette is also expanded with the inclusion of harmony vocals - something that they didn't use on their debut.

    1. How Did We Get So Dark?

    2. Lights Out
    3. I Only Lie When I Love You
    4. She's Creeping
    5. Look Like You Know
    6. Where Are You Now?
    7. Don't Tell
    8. Hook, Line and Sinker
    9. Hole In Your Heart
    10. Sleep
    Royal Blood
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Alice's Restaurant (Pure Pleasure) Alice's Restaurant (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Alice's Restaurant (Pure Pleasure)

    Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at Alice's Restaurant focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player. However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, Alice's Restaurant Massacree -- which was recorded in front of a live audience -- is rooted in a series of real incidents.


    This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions. Among the standouts are the haunting Chilling Of The Evening, which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration.


    There is a somewhat dated charm in Ring-Around-a-Rosy Rag, a sly, uptempo, and hippie-friendly bit of jug band nostalgia. I'm Going Home is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's Ballad of Easy Rider, but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship. Also worth mentioning is the first installment of The Motorcycle Song -- which was updated and discussed further on the live self-titled follow-up release Arlo (1968) -- notable for the extended discourse on the 'significance of the pickle'.

    Musicians:



    • Arlo Guthrie (vocal, guitar)




    Recording: 1967

    Production: Fred Hellerman & Al Brown



    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. Alice's Restaurant Masacree
    2. Chilling Of the Evening
    3. Ring-Around-A-Rosy Rag
    4. Now and Then
    5. I'm Going Home
    6. The Motorcycle Song
    7. Highway In the Wind
    Arlo Guthrie
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Thanks I'll Eat It Here Thanks I'll Eat It Here Quick View

    $31.99
    Buy Now
    x

    Thanks I'll Eat It Here


    The Lowell George & Little Feat 180 Gram Audiophile Vinyl Series Begins!


    Lowell George's Final Masterpiece + 1 Bonus Track Not On Original Vinyl


    Featuring Bonnie Raitt, Billy Payne, Richie Hayward, Fred Tackett, Nicky Hopkins, David Foster & More


    Mastered Impeccably By Joe Reagoso From The Original Warner Bros. Tapes


    For an artist who first gained success as a songwriter and moved on to a stunning career with his band of
    renown Little Feat, the late great Lowell George continually proved to be a major force on the music scene for his short
    time on earth. His music transcended all genres of music styles, fusing rock, R&B and folk landscapes with thought
    provoking and stellar lyrical content during his successful reign on the album and radio charts.


    After reaching very successful heights with Little Feat, Lowell decided it was time to record a solo album with
    1979's Thanks I'll Eat It Here.


    Thanks I'll Eat It Here finds Lowell George groovin' back to the earlier boogie and New Orleans rock and R&B
    feel found on his earlier Little Feat albums. Released a very short time before his untimely death, the album included
    his brilliant 20 Million Things, a funk infused Little Feat revisit with Two Trains, plus several inspiring collaborations
    with notable friends like Van Dyke Parks and Little Feat's Fred Tackett, as well as significant cover versions like Allen
    Toussaint's What Do You Want the Girl to Do, which the late artist truly made his own.


    The all-star recording sessions included some of the finest talents and close friends like Bonnie Raitt, John David
    Souther, John Phillips, Jim Keltner, Nicky Hopkins (Quicksilver, Rolling Stones) David Foster, Floyd Sneed and Jimmy
    Greenspoon (Three Dog Night), David Paich and Jeff Porcaro (Toto), and of course a handful of the original Little Feat
    alumni like Richie Hayward, Fred Tackett and Billy Payne.


    Out-of-print on viny for several decades now, Friday Music is very honored to offer Lowell George's first and only
    solo album Thanks I'll Eat It Here/The Deluxe Edition. For this special occasion, we are including the rare original CD
    only release of Heartaches featuring a stellar duet with Valerie Carter.


    In addition to the newly impeccably mastered original recording, we are also enclosing the original LP sized
    artwork elements in a first time rare gatefold cover featuring Neon Park's stunning front cover, as well as liner notes
    from Lowell George to enhance this wonderful and classic self-produced album.


    Mastered impeccably from the original Warner Bros. tapes by Joe Reagoso (Warren Zevon/Boz Scaggs/Elvis
    Presley), this amazing rock classic truly shines once again.


    The legacy of Lowell George continues with his 1979 classic recording Thanks I'll Eat It Here/The Deluxe
    Edition finally available once again on an impeccably mastered LP only from your friends at Friday Music.

    1. What Do You Want the Girl to Do
    2. Honest Man
    3. Two Trains
    4. I Can't Stand the Rain
    5. Cheek to Cheek
    6. Easy Money
    7. 20 Million Things
    8. Find a River
    9. Himmler's Ring
    10. Heartaches
    Lowell George
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • New York Is Now! New York Is Now! Quick View

    $19.99
    Buy Now
    x

    New York Is Now!


    Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    Recorded during the same session that resulted in the Love Call album (in late April and early May of 1968), New York Is Now is one of the true curiosity pieces in Ornette's catalog. With a rhythm section comprised of ex-Coltrane sidemen Jimmy Garrison and Elvin Jones as well as tenorist Dewey Redman, Ornette is, in some sense, at odds with himself here. This particular rhythm section is a lot more modally than harmonically propelled -- especially Jones, who sounds here like he doesn't know what to do with himself in the restrictive tempos -- and creates a complex set of issues for Coleman and Redman to contend with. That said, on The Garden of Souls, which opens the album, Coleman makes the most of this sprightly, energetic rhythm team and moves through quotations of Moon River, Danny Boy, and even Paul Muriat's Love Is Blue during his solo, before shifting the harmonics around and anchoring them somewhere between E flat 7 and E major. On Broadway Blues, Coleman uses Monk liberally in his melodic conception, and he and Redman have a go at turning a seven-note vamp into all sorts of knotty material for soloing -- and you can almost feel Jones smile as the tempo reaches triple time as the saxophonists race each other through it. And while this date is of only marginal interest on some level (for true hardcore Ornette-ophiles), it is pleasant and amusing if not amazing -- with the exception of For a Commercial, which features Ornette's fine violin playing above the rest of the band in the mix (what a downer). ~ Thom Jurek

    1. The Garden Of Souls

    2. Toy Dance

    3. We Now Interrupt For A Commercial

    4. Broad Way Blues

    5. Round Trip
    Ornette Coleman
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Tyler Bryant And The Shakedown Tyler Bryant And The Shakedown Quick View

    $29.99
    Buy Now
    x

    Tyler Bryant And The Shakedown

    A Band On The Verge Of Rock N Roll Greatness!


    After carving out a fervent fan base and drawing widespread critical applause with their heady, high-voltage brand of guitar-driven rock, shooting from both hip and heart, Nashville's Tyler Bryant & The Shakedown find themselves at the epicenter of an advanced rock 'n' roll adventure that continues to take them around the world, appearing at some of the biggest venues along the way


    Starting with a guest spot on AC/DC's 'Rock or Bust' World Tour in 2016, the quartet - Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age - have continued to share events and stages with some of rock's most legendary names, including Guns N' Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.


    At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown - The Shakedown to friends and fans - have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records - the most immediate and exciting result being an 11-track, self-titled studio album set to be the label's inaugural release, with November 3rd locked in as the day of the launch


    "So many great things have happened over the past few months," exclaims Caleb, "and it's all just so surreal. I remember seeing that Guns N' Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn't it be amazing if we appeared on both of those shows and we did!"


    Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown


    "The instant we started playing, I knew there was something special," reflects Caleb. "We played our first show a week later and haven't stopped since!"


    The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.


    All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown's sound. As Tyler recalls, "his bass sound scared me and he brought an edge and an attitude to the band that we didn't even know we needed."


    2013's 'Wild Child' album announced the quartet's arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.


    Following the release of 'The Wayside' EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N' Roses on a European tour


    "We had just decided to self-produce a record completely on our own," says Tyler. "I'll never forget driving home that morning and getting a call from our manager saying, 'You wanna go back to Europe with Guns N Roses?' That was a great kick-start to the first day of tracking."


    So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.


    Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world - music based on authenticity and emotion, under-pinned by core values and beliefs.


    In this respect, Tyler Bryant & The Shakedown - who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin' Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three - are a flagship representation; what's more, in 'Tyler Bryant & The Shakedown' they've delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.


    "This is the definitive Shakedown record as of now, and that's why we decided it should be self-titled," explains a fired-up Tyler. "It's the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It's not just a guitar album; it's a song album, and I'm proud to hang my hat on this one."


    The first single / video, 'Heartland', introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, "There's a slow beat in the heartland, going down in the quicksand, stack 'em up and watch the cards fall, if it happens to one, then it happens to all".




    "It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they're singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in.


    Elsewhere, 'Backfire' struts along on a stomping drum groove driven by thick distortion with lyrics "about pulling the short end of the straw and feeling vengeful". Then there's 'Aftershock'. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.


    "That's a tune about feeling the effects of a situation long after it's come and gone.


    As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N' Roses (again), The Who & Alice Cooper - as well as making their first appearance at Rock In Rio - this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled


    "I want people to put this on and literally escape," Tyler leaves off. "I hope they feel free. That's what rock 'n' roll makes me feel. You don't have to think about your bills or any of the other things that have the power to bring you down when you've got your fist up in the air, your eyes closed and you're lost in the music. Angus Young told me, 'You've got to make the audience think you're taking them on a journey, and they'll go with you. If you believe it, they will too'. I believe it with this record."

    1. Heartland
    2. Don't Mind The Blood
    3. Jealous Me
    4. Backfire
    5. Ramblin' Bones
    6. Weak And Weepin'
    7. Manipulate Me
    8. Easy Target
    9. Magnetic Field
    10. Aftershock
    11. Into The Black
    Tyler Bryant & The Shakedown
    $29.99
    Vinyl LP - Sealed Buy Now
  • Kids In Love Kids In Love Quick View

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    Kids In Love

    Love is all you need. It's been said many times and many ways of course, but it's truer now than ever.


    When The Mowgli's first landed on the scene, their message of positivity and love resonated with audiences everywhere. The group's 2013 major label debut, Waiting for the Dawn [Photo Finish], debuted at #4 on the Billboard Heatseekers Chart and yielded the hit "San Francisco". Following its release, the seven-piece-Colin Louis Dieden [vocals, guitar], Katie Jayne Earl [vocals, percussion], Dave Appelbaum [keyboards], Josh Hogan [guitar, vocals], Matthew Di Panni [bass], Spencer Trent [guitar, vocals], and Andy Warren [drums]-performed on Jimmy Kimmel LIVE!, The Tonight Show with Jay Leno, CONAN, Watch What Happens Live, and more. Between headline tours and runs supporting everybody from Walk The Moon to Manchester Orchestra, they even cut a song for the Relativity Media hit film Earth To Echo. Along the way, their interpretation of love became even clearer, and it defines their sophomore outing, Kids In Love.


    "Our first album essentially said, 'What's up everyone? We're The Mowgli's, and we believe love can change the world," explains Katie. "Over the past couple of years, we really came to terms with who we are as a band. With Kids In Love we're exploring the intricacies of love. It's such a broad concept. This time around, we get into intimate love, personal love, as well as universal love. We've found art is the best vehicle to ponder what this really means."


    "Before, the concept was painted in very broad strokes," Colin goes on. "Our intention was to start a movement and a culture around what we do. We put all of that under a microscope on this album and talked about personal experiences and stories, the lack of love, and finding it again."


    "We've learned so much about the business, ourselves, and this message," adds Josh. "We've become more direct. It's a little wiser."


    In order to properly convey that sentiment, the group teamed up with producer Tony Hoffer [The Kooks, Silversun Pickups, Fitz & The Tantrums] in his Los Angeles studio during the summer of 2014. With Hoffer at the helm, they fine-tuned their sound into an elegant amalgam of influences. Additionally, they recorded with prior collaborators Captain Cuts [Smallpools, Tove Lo] - a production team that includes Ryan Rabin of Grouplove, and worked with Matt Radosevich [Walk The Moon, One Direction] on two additional tracks. "We wanted to create songs that we knew we would enjoy playing live, songs we hoped that speak to people's personal experiences with love and life and loss and everything that comes with being a kid - or really anyone - in love," Katie explains.


    "We've been on tour incessantly, and this album was really written all over the country," Colin recalls. "It was composed in green rooms, hotels, parking lots, and everywhere in between. I went to Nashville for a week on a whim and tried to learn how to write country music. I was so lucky to work with some of the best in the business. I wanted to bring some of those storytelling elements into the music too. We really grew up, and the songs reflect that journey."


    The first released track "Through The Dark" builds from a shimmering acoustic guitar into an unshakable harmony between Josh and Colin. It shines its own kind of musical light.


    "Everybody goes through dark times," Josh asserts. "We're trying to put a positive spin on that though, and show you can get through that darkness no matter what."


    Colin continues, "In a weird way, it feels like the answer to Waiting for the Dawn. It's a hopeful and encouraging song."


    Then, there's the first single "I'm Good." It begins with a sun-soaked clean guitar and resounding percussion before snapping into a delightful refrain that's undeniably unforgettable. You'll feel good after one listen


    Elsewhere on the album, "Whatever Forever" is augmented by driving handclaps and a group chorus that proves infectious. Lyrically, it stemmed from some shared ink within the band. "Colin and I both got a tattoo of that phrase a few years ago in a hotel bar during Hurricane Sandy," smiles Josh. "We'd seen it on the wall of a bar, and it felt like the perfect new life motto. We're not worried about anything; we're just going for it."


    "That's a personal favorite," concurs Colin. "After one show, I had a girl walk up to me and say, 'I've been dealing with so much and hurting so badly. I adopted 'Whatever Forever' as my mantra. I needed that.' Sometimes, you need to distance yourself from what hurts."


    Ultimately, The Mowgli's open up their hearts once more, and the results are nothing short of inspiring. "We just want people to feel good," Katie concludes. "It's a domino effect. If someone leaves a show feeling great, maybe they pay it forward. If we can contribute a little bit of joy, companionship, and happiness, we're doing our part to make the world a little brighter."


    "I want them to feel inspired to do something positive," Josh agrees. "It's all about sharing that." Colin leaves off, "I want this to be a positive transformative experience. It's almost like falling in love. When you're in a good mood, you tend to react positively. I hope it adds more positivity and love to the world."

    1. You're Not Alone
    2. I'm Good
    3. Bad Dream
    4. What's Going On
    5. Through the Dark
    6. Whatever Forever
    7. Make It Right
    8. Love Me Anyway
    9. Shake Me Up
    10. Home To You
    11. Kids In Love
    12. Sunlight
    The Mowgli's
    $19.99
    Vinyl LP - Sealed Buy Now
  • Porcupine Meat Porcupine Meat Quick View

    $25.99
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    Porcupine Meat

    Naming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."


    Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
    Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.


    Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.


    Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."


    Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.


    During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
    Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.


    Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."


    Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."


    Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."


    The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.


    For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.


    Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."


    Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

    1. I Don't Want Nobody Hanging Around
    2. Porcupine Meat
    3. Got Me Accused
    4. Snake in the Grass
    5. Funk O' De Funk
    6. Me, Myself and I (feat. Joe Bonamassa)
    7. Catfish Stew
    8. It's Your Move (feat. Dave Alvin)
    9. Nighttime Gardener (feat. Keb Mo)
    10. I Think Your Dress Is Too Short
    11. Standing on Shaky Ground
    12. I'm Tired (Tangle Eye Mix)
    Bobby Rush
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
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