Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Jimmy Smith

'
  • 1
  • 2
Results per page:
  • Back at the Chicken Shack Back at the Chicken Shack Quick View

    $54.99
    Buy Now
    x

    Back at the Chicken Shack

    Jimmy Smith's April 25, 1960 session with the perfect cast of Stanley Turrentine, Kenny Burrell and Donald Bailey produced these two classic albums that are the pinnacle of the organ-tenor style. A perfect selection of material played at the perfect tempo by great musicians who connect on the deepest, most soulful level. Not a bad day's work.


    Jimmy Smith, organ
    Stanley Turrentine, tenor saxophone
    Kenny Burrell, guitar
    Donald Bailey, drums


    This title is not eligible for discount.

    1. Back At The Chicken Shack

    2. When I Grow Too Old To Dream

    3. Minor Chant

    4. Messy Bessie

    5. On The Sunny Side Of The Street

    Jimmy Smith
    $54.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Bashin' (Speakers Corner) Bashin' (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bashin' (Speakers Corner)

    Right up until today rumour has it that Creed Taylor enticed the organist Jimmy Smith to leave Blue Note and change to the Verve label by means of a very large fistful of dollars. One things is clear, however: that Jimmy Smith never revealed a single word about this delicate matter; but it is also clear that the whole concept of his music took on new dimensions when he changed over to his new backer. Recordings with Wes Montgomery were just the beginning; large ensembles, superb arrangements by Oliver Nelson, and fine contributions by his soloists created a magnificent background for the 'new' Jimmy Smith on this and subsequent LPs.



    Despite its title, Bashin', there is absolutely nothing to criticise on this LP. The A side presents the new concept: a wonderful, swinging background against which Jimmy Smith can develop his full potential. Oliver Nelson's light and airy arrangements further enhance the standard themes: soloists are never confined within set limits but are gently guided; the riffs are presently precisely and cleanly, without ever sounding overloaded.



    The use of the organ is also quite fascinating: beautifully relaxed in Beggar For The Blues which is arranged for a trio; swinging in the title number Bashin', and cheerful in the style of an old cowboy song - I'm An Old Cowhand, whereby this version has no need to stand in the shadow of Sonny Rollins's almost classical version.



    The old Hammond B3 organ has experienced a revival over the past few years. Jimmy Smith, on the other hand, can look back on a great musical and commercial success story ever since the Fifties - as with Bashin'!



    Musicians:



    • Jimmy Smith (organ)

    • Phil Woods (saxophone)

    • Ernie Royal, Doc Severinsen (trumpet)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Barry Galbraith (guitar)

    • George Duvivier (bass)

    • Ed Shaughnessy, Don Bailey (drums)




    Recording: March 1962 in New York by Rudy Van Gelder

    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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



    This title is not eligible for discount.

    1. Walk on the Wild Side

    2. Ol' Man River

    3. In A Mellow Tone

    4. Step Right Up
    5. Beggar for the Blues
    6. Bashin'
    7. I'm an Old Cow Hand (From the Rio Grande)
    Jimmy Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Back at the Chicken Shack Back at the Chicken Shack Quick View

    $19.99
    Buy Now
    x

    Back at the Chicken Shack


    Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    This is the kind of nasty, back-alley music that makes you wince in ecstasy. With Stanley Turrentine's tenor and Kenny Burrell's guitar sharing solo space, the Hammond master digs in with a blues-drenched shovel. While certainly fluent in the bop idiom, Smith's organ work maintains a direct emotional peg that reflects the swing and jump blues of a previous generation. Turrentine, a relative newcomer at this point (1960), proves a perfect foil for Smith's funky ideas, forgoing flashy bop runs in favor of soulful, expressive passages. Even on chestnuts such as When I Grow Too Old to Dream and On the Sunny Side of the Street, the foursome boils the melodies down to their barest bluesy core. Back at the Chicken Shack is the prototypical soul-jazz recording. --Marc Greilsamer

    1. Back At The Chicken Shack
    2. When I Grow Too Old To Dream
    3. Minor Chant
    4. Messy Bessie
    Jimmy Smith
    $19.99
    Vinyl LP - Sealed Buy Now
  • Root Down: Live Root Down: Live Quick View

    $24.99
    Buy Now
    x

    Root Down: Live

    Root Down captures the king of the Hammond B3 organ, Jimmy Smith, playing down and dirty R&B. The album
    includes two versions (one previously unissued) of Smith's Root Down, a song covered by the Beastie Boys in
    1994. There is also a hypnotic reading of Al Green's pleading Let's Stay Together, which yet again proves that
    Jimmy Smith is a man with a lot of soul. On 180 gram vinyl.
    1. Sagg Shootin' His Arrow
    2. For Everyone Under The Sun
    3. After Hours
    4. Root Down (And Get It)
    5. Let's Stay Together
    6. Slow Down Sagg
    Jimmy Smith
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come (200 Gram) Someday My Prince Will Come (200 Gram) Quick View

    $39.99
    Buy Now
    x

    Someday My Prince Will Come (200 Gram)

    200-Gram Vinyl Pressed At Quality Record Pressings


    Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound


    Deluxe Tip-On Jacket From Stoughton Printing


    A beautiful addition to the Davis canon. Recorded over the course of three days in April 1961, Someday My Prince Will Come showcases Miles' second great rhythm section, here at the absolute peak of their telepathic interplay. Wynton Kelly, Paul Chambers and Jimmy Cobb were as tight a unit as any ever formed, grooving so successfully that they went on to leave Miles and form the Wynton Kelly trio. Someday My Prince Will Come also includes some positively blistering solos from guest John Coltrane in his final recording with Miles. And Hank Mobley offers up some beautiful bluesy solos.


    This title is not eligible for discount.

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Midnight Special Midnight Special Quick View

    $19.99
    Buy Now
    x

    Midnight Special

    Midnight Special is a perfect complement to Back at the Chicken Shack, which was recorded the same day. Organist Jimmy Smith, tenor saxophonist Stanley Turrentine, and guitarist Kenny Burrell always make for a potent team, and with drummer Donald Bailey completing the group, the quartet digs soulfully into such numbers as the groovin' Midnight Special, Jumpin' the Blues, and One O'Clock Jump. Highly recommended.


    A Blue Note essential, Midnight Special by jazz organist Jimmy Smith is part of the Blue Note 75 anniversary vinyl reissue campaign - featuring 100 titles. Key to the initiative is high quality audio at affordable prices. Album features performances recorded in 1960.

    1. Midnight Special
    2. A Subtle One
    3. Jumpin' The Blues
    4. Why Was I Born?
    5. One O'Clock Jump
    Jimmy Smith
    $19.99
    Vinyl LP - Sealed Buy Now
  • Special Requests (and other favorites) Special Requests (and other favorites) Quick View

    $18.99
    Buy Now
    x

    Special Requests (and other favorites)

    Kenny Burrell has appeared on so many essential jazz
    recordings that jazz history and his biography seem
    irretrievably intertwined. Billie Holiday's valedictory
    rumination Lady Sings the Blues, Jimmy Smith's epochal funk
    throwdown Back at the Chicken Shack, Tony Bennett's Carnegie
    Hall debut - Kenny Burrell played guitar for them all. Even Jimi
    Hendrix once remarked, Kenny Burrell - that's the sound I'm
    looking for. Here is Burrell captured live at the West-Coast jazz
    mecca, Catalina's, in an easy-going program of some of his
    most-requested tunes along with a few of his personal favorites
    thrown in. Jazz tunes by Benny Golson, Freddie Hubbard, the
    Duke and others are here all given the ever-tasteful Burrell
    treatment.


    Musicians:

    Kenny Burrell, guitar

    Justo Almario, tenor sax

    Tom Ranier, piano

    Tony Dumas, bass

    Clayton Cameron, drums

    1. Killer Joe
    2. Little Sunflower
    3. The Summer Knows
    4. Make Someone Happy
    5. Bye Bye Blackbird
    6. In a Sentimental Mood
    Kenny Burrell
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Soul Message Soul Message Quick View

    $21.99
    Buy Now
    x

    Soul Message

    A successful combination of swinging boogaloo rhythms and sincere, soulful soloing, Soul Message is an enduring good-time record and a true gem in
    organist Richard "Groove" Holmes' illustrious career. Recorded in 1965 at the Van Gelder Studio in Englewood Cliffs, NJ, this set more than lives up to
    "Groove's" middle name as the combo of Holmes, guitarist Gene Edwards, and drummer Jimmie Smith swing with carefree ease through two originals
    and four jazz standbys, including a smash hit version of "Misty." Jazz fans in search of some seriously swinging organ jazz need look no further than Soul
    Message - now available on vinyl.
    1. Groove's Groove
    2. Daahoud
    3. Misty
    4. Song For My Father
    5. The Things We Did Last Summer
    6. Soul Message
    Richard Groove Holmes
    $21.99
    Vinyl LP - Sealed Buy Now
  • Blow-Up Soundtrack Blow-Up Soundtrack Quick View

    $34.99
    Buy Now
    x

    Blow-Up Soundtrack

    Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks.


    The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record.


    Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, Stroll On (actually, an adaptation of Tiny Bradshaw's The Train Kept A-Rollin'), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to Bring Down The Birds was sampled by Deee-Lite for their 1990 hit single Groove Is In The Heart featuring Bootsy Collins.

    1. Main Title - "Blow Up"
    2. Verushka Part I
    3. Verushka Part II
    4. The Naked Camera
    5. Bring Down The Birds
    6. Jane's Theme
    7. Stroll On
    8. The Thief
    9. The Kiss
    10. Curiosity
    11. Thomas Studies Photos
    12. The Bed
    13. End Title - "Blow Up"
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    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.



    This title is not eligible for discount.

    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Soul Eyes Soul Eyes Quick View

    $19.99
    Buy Now
    x

    Soul Eyes

    Singer, songwriter and pianist Kandace Springs will release her debut full-length album Soul Eyes on Blue Note Records. Produced by Grammy-winning producer Larry Klein (Lizz Wright, Melody Gardot, Joni Mitchell, Herbie Hancock), the album touches upon soul and pop while channeling her jazz influences as well as her Nashville upbringing. Kandace counts such stylists as Billie Holiday, Ella Fitzgerald, Nina Simone, Roberta Flack and Norah Jones as her heroes, but as evidenced by Soul Eyes, Springs mimics none of them.


    Kandace's journey to discovering her uniqueness didn't happen overnight. In fact, her 2014 self-titled debut EP had a decidedly contemporary R&B/hip-hop bent with production by Pop & Oak (Rihanna, Nicki Minaj, Miguel). The EP was incredibly well-received and led to performances on Late Show With David Letterman, Jimmy Kimmel Live and The Tonight Show Starring Jimmy Fallon, as well as appearances at the Afropunk and Bonnaroo festivals.


    Kandace was dubbed a "suave songstress" (Wall Street Journal), "a versatile and vital artist" (Afropunk), and "a vocal force to be reckoned with" (Okayplayer). Essence Magazine named her a New & Next artist and Interview Magazine made her their Music Discovery, writing that while "Hearing the word jazz might revert a listener's thoughts to the music of yesteryear...Up-and-comer Kandace Springs aims to change this notion. The singer, songwriter, and pianist blends elements of soul, jazz, and pop, producing a unique and modern twist on the genre that appeals to young and old listeners alike."


    As amazing an experience as that was, as Kandace got ready to record her album she couldn't shake the feeling that she wasn't yet singing her true self. Conversations with her longtime producers Carl Sturken and Evan Rogers led to soul searching and rethinking her musical direction. Also during this period, Kandace attracted the attention of Prince, who heard her makeover of Sam Smith's "Stay With Me" on the website Okayplayer. The music icon invited her to perform with him at Paisley Park for the 30th anniversary of Purple Rain. "He encouraged me a lot before I recorded this new record, especially during the time in which I was trying to figure out my sound," Kandace says. "He told me that I needed to do what comes naturally to me. He was absolutely right."


    For Soul Eyes, Kandace continued working closely with Rogers and Sturken, but they also recruited Klein to help the singer bring out her distinctive artistic traits. "Larry wanted me to be free in the studio," she recalls. "I've been through a lot of other sessions in which the producer tries to take control of your sound. Larry was just like, 'Go in and play what you feel.' That ultimately led to the best outcome; he captured this record perfectly."


    Klein praises Kandace as a "natural." "In this era, in which flash and hunger for fame is often equated with talent, she's that rare person who sings and plays because that is what she needs to do in life," he says. "When I first heard Kandace, I was sold after hearing one song. Her smoky voice coupled with a sense of phrasing way beyond her years, and her angular way of accompanying herself on piano grabbed me right away."


    The eleven songs contained on Soul Eyes are a mix of Kandace's originals and co-writes as well as the jazz classic "Soul Eyes" and songs by Jesse Harris, Shelby Lynne, War, and others. The album features Kandace's playing piano alongside an illustrious cast of musicians that includes trumpeter Terence Blanchard, guitarists Dean Parks and Jesse Harris, drummer Vinnie Colaiuta, organist Pete Kuzma, bassist Dan Lutz, percussionist Pete Korpela.

    1. Talk To Me
    2. Soul Eyes feat. Terence Blanchard
    3. Place To Hide
    4. Thought It Would Be Easier
    5. Novocaine Heart
    6. Neither Old Nor Young
    7. Too Good Too Last feat. Terence Blanchard
    8. Fall Guy
    9. The World Is A Ghetto
    Kandace Springs
    $19.99
    Vinyl LP - Sealed Buy Now
  • Holy Fire Holy Fire Quick View

    $24.99
    Buy Now
    x

    Holy Fire

    It's all a long way from the group's early years in Oxford, where Yannis Philippakis (26), Jack Bevan (27), Walter Gervers (28), Edwin Congreave (28) and Jimmy Smith (28) convened after spells in various well regarded bands such as The Edmund Fitzgerald, whose intricacies were a league away from the Libertines-influenced indie skiffle and American garage rock that dominated at the time.


    Debut album Antidotes (2004) attempted to capture the live energy and sense of spontaneity that had made Foals one of the most sought-after live acts in the UK. 2007 follow-up Total Life Forever was a surprise to many (Foals never sit still for long) dealing in more expansive, eloquent sounds and a more mellow feel inspired in part by Foals' long-time enthusiasm for weed. Now, as they approach their 30s, Foals are moving on from the kind of lost boys club element to how we've lived for the past six years to make their best music yet.

    1. Prelude
    2. Inhaler
    3. My Number
    4. Bad Habit
    5. Everytime
    6. Late Night
    7. Out of the Woods

    8. Milk & Black Spiders
    9. Providence

    10. Stepson
    11. Moon
    Foals
    $24.99
    Vinyl LP - Sealed Buy Now
  • Englewood Cliffs Sessions Englewood Cliffs Sessions Quick View

    $35.99
    Buy Now
    x

    Englewood Cliffs Sessions

    In legendary Jazz producer Rudy Van Gelder's studio's Englewood Cliff Sessions came to life; a Souljazz album by Dutch Jazz organist Rob Mostert.


    It's a truly buzzing album, too; Influenced by great artists such as Jimmy Smith, Jimy McCriff, J.S. Bach, en Herbie Hancock and inspired by his surroundings, Rob recorded an album with Rudy that howls, moans, and swings like no other.


    All the great music that was recorded there for labels such as Blue Note, Verve! and CTI seeped out of the walls and immersed Rob in a Smooth jazz esthetic.
    Beautiful Hammond Souljazz, now also available on vinyl!


    180 grams audiophile vinyl

    Gatefold sleeve

    Includes one bonus track Blues DeLuxe

    Recorded by Rudy Van Gelder (Blue Note Records)

    LP1
    Side A


    The D.O.G.
    Killer Bee
    Organic Moves


    Side B


    All I Need
    Hey Jop
    Song For My Daddy
    Sales Call


    LP2
    Side A


    Groove Control
    You Sexy Thang
    Back At The Chicken Shack


    Side B


    BluesDeLuxe
    Summertime
    Black Coffee
    J's Blues (Song For Julian)

    Rob Mostert
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Freedom Suite Freedom Suite Quick View

    $21.99
    Buy Now
    x

    Freedom Suite

    A successful combination of swinging boogaloo rhythms and sincere, soulful soloing, Soul Message is an enduring good-time record and a true gem in
    organist Richard "Groove" Holmes' illustrious career. Recorded in 1965 at the Van Gelder Studio in Englewood Cliffs, NJ, this set more than lives up to
    "Groove's" middle name as the combo of Holmes, guitarist Gene Edwards, and drummer Jimmie Smith swing with carefree ease through two originals
    and four jazz standbys, including a smash hit version of "Misty." Jazz fans in search of some seriously swinging organ jazz need look no further than Soul
    Message - now available on vinyl.


    With 15 albums under his belt, Sonny Rollins was poised to make a bold statement with 1958's Freedom Suite. Sporting a Mohawk haircut on the inside
    cover, Rollins was driven by the political climate at the time, acknowledging and questioning his place in society as an African American in the midst of the
    Civil Rights Movement. In the nearly 20-minute long title track, comprised of five movements, Rollins and his longtime collaborators - drummer Max
    Roach and bassist Oscar Pettiford - were able to dig deep and explore the melodic structure. Side B is comprised of four Broadway showtunes and
    standards, which Rollins, Roach and Pettiford make their own. An inspired and vibrant boundary-pushing album.

    1. The Freedom Suite
    2. Someday I'll Find You
    3. Will You Still Be Mine?
    4. Till There Was You (Take 4)
    5. Shadow Waltz
    Sonny Rollins
    $21.99
    Vinyl LP - Sealed Buy Now
  • The London Sessions The London Sessions Quick View

    $24.99
    Buy Now
    x

    The London Sessions

    Mary J. Blige has once again confounded expectations and ventured into new musical territory by crossing the Atlantic to collaborate with some of this
    decade's most celebrated UK musical talent - including Disclosure, Eg White, Emile SandÉ, Jimmy Napes, Naughty Boy, SAM ROMANS and Sam Smith
    - and recorded a new studio album, The London Sessions. This extraordinary new collection will be released on Capitol Records.
    1. Therapy
    2. Doubt
    3. Not Loving You
    4. When You're Gone
    5. Right Now
    6. My Loving
    7. Long Hard Look
    8. Whole Damn Year
    9. Nobody But You
    10. Pick Me Up
    11. Follow
    12. Worth My Time

    Mary J. Blige
    $24.99
    Vinyl LP -2 LPs Sealed Buy Now
  • Spoon's Life (Pure Pleasure) Spoon's Life (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Spoon's Life (Pure Pleasure)

    A beautifully recorded session of top quality blues performed by masters of their art. On paper it may look like a slightly odd coupling of KC shouter with a Chicago blues band. The results confirm that Jimmy Witherspoon is a blues singer full of passion and throughout this session all the musicians compliment each other admirably. A beautiful slab of music.



    Musicians:



    • Jimmy Witherspoon (vocal)

    • George Smith (harmonica)

    • Johnny Dollar, Sammy Lawhorn (guitar)

    • Nick Charles (bass)

    • Roosevelt "Snake" Shaw (drums)



    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.


    This title is not eligible for discount.

    1. Night Life
    2. Help Me
    3. Big Boss Man
    4. Cold Cold Feeling
    5. Worried Life Blues
    6. Did You Ever
    7. Blues With A Feeling
    8. Big Leg Woman
    9. Bags Under My Eyes
    Jimmy Witherspoon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Coco Beware Coco Beware Quick View

    $16.99
    Buy Now
    x

    Coco Beware

    After a hugely successful 2011, Caveman continue their exciting rise in 2012 with a new tour including Europe, their first headlining gig at Bowery Ballroom and the proud news of Caveman signing to Fat Possum Records. Now their self-released and critically acclaimed debut album CoCo Beware will be available through the independent label that's home to an illustrious roster including The Black Keys, Band of Horses, Wavves, Yuck, Spiritualized, The Walkmen, Smith Weterns and Lissie among others.


    In 2011, Caveman garnered praise for their debut album CoCo Beware from outlets like NPR, The New York Times, and Fader and for their big sounding, impressive and completely unforgettable live shows alike. NPR Music charted them as their #7 most favorite live show after seeing them at CMJ in October and named them Discovery of 2011 in their year-end edition of All Songs Considered.


    Caveman is made up of five proud New York natives: lead singer/songwriter Matt Iwanusa, who also adds percussion and drums to the band on record and live on stage; guitarist Jimmy 'Cobra' Carbonetti, who designs his hand-made Cobra Guitars from scratch; drummer and native Manhattanite Stefan Marolachakis; bassist Jeff Berrall; and Sam Hopkins on synths.

    1. A Country's King of Dreams
    2. Decide
    3. My Time
    4. Vampirer
    5. Old Friend
    6. Great Life
    7. December 28th
    8. Easy Water
    9. Thankful
    10. My Room
    Caveman
    $16.99
    Vinyl LP - Sealed Buy Now
  • Family Style (45 RPM) Family Style (45 RPM) Quick View

    $54.99
    Buy Now
    x

    Family Style (45 RPM)

    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Double 1990 Grammy Award Winner: Best Contemporary Blues Album, Best Rock Instrumental Performance - "D/FW"


    Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots"
    and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.


    As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.


    There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.


    This title is not eligible for discount.

    LP 1
    1. Hard To Be
    2. White Boots
    3. D/FW
    4. Good Texan
    5. Hillbillies from Outerspace


    LP 2
    1. Long Way from Home
    2. Tick Tock
    3. Telephone Song
    4. Baboom / Mama Said
    5. Brothers

    Vaughan Brothers
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Family Style (200 Gram Vinyl) Family Style (200 Gram Vinyl) Quick View

    $39.99
    Buy Now
    x

    Family Style (200 Gram Vinyl)

    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots" and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.


    This title is not eligible for discount.

    1. Hard To Be
    2. White Boots
    3. D/FW
    4. Good Texan
    5. Hillbillies from Outerspace
    6. Long Way from Home
    7. Tick Tock
    8. Telephone Song
    9. Baboom / Mama Said
    10. Brothers
    Vaughan Brothers
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweetenings (Pure Pleasure)

    Harry 'Sweets' Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes. Edison, who played equally well in both styles, had a special talent for sustaining his trumpet notes and injecting each single tone with expression and soul never heard before or after.


    The special quality of his trumpet playing earned him the nickname 'Sweets' because of the sweetness of the tones. Likewise his ability to control the tone of his trumpet brought him to the forefront as a session musician, playing accompaniments for the most respected vocalists of his time.


    Edison was a true pioneer of jazz. An old-time homespun boy, born in Columbus, Ohio, he never knew with certainty even the year of his birth. According to his best knowledge, he was born in 1919, although some sources list the date as early as 1915. Edison knew even less about his own father, a Native American of the Hopi (Apache) tribe and a drifter who stayed only a few weeks with Edison's mother before taking to the road and was rarely heard from afterward. Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison's uncle who taught the boy to play the pump organ and to play scales on an old cornet. Edison, who also listened to his uncle's records, was especially inspired by the music of Louis Armstrong and Bessie Smith.


    Harry Sweets Edison added something special to any date in which he took part, but these 1958 sessions he led for Roulette are especially enjoyable. Joined by either Jimmy Jones or Kenny Drew on piano and Joe Benjamin or John Simmons on bass, along with tenor saxophonist Jimmy Forrest and drummer Charlie Persip, Edison's trumpet swings effortlessly through a batch of standards and originals.


    The loping blues Centerpiece became a classic jazz composition, recorded by numerous jazz artists, but this was its debut appearance on LP. Jive at Five dates from his years with Count Basie and finds the band sticking to an accompanying role in this swinging but brief arrangement. Edison utilizes a mute in the gently swinging Louisiana, while he showboats just a bit in a brief take of It Happened in Monterey. While this record might have offered a little more variety by giving solo space to some of the talented sidemen present, this long out of print LP is well worth acquiring.



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    Production: Teddy Reig




    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.


    This title is not eligible for discount.

    1. Centerpiece
    2. Candy
    3. Jive At Five
    4. Imagination
    5. Louisana
    6. Harriet
    7. It Happened In Monterey
    8. If I Had You
    9. Paradise
    10. Indiana
    11. Pussy Willow
    12. Sweetenings
    Harry Sweets Edison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweet Sister Funk (Pure Pleasure) Sweet Sister Funk (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweet Sister Funk (Pure Pleasure)

    From the mid to late 60's the producer Sonny Lester was at the helm of some of the period's most significant jazz music (Thad Jones-Mel Lewis Orchestra, Chick Corea, Duke Ellington's 70th birthday concert) and also some of the genre's biggest hits (mostly from organist Jimmy Mcgriff). With the folding of the Solid State label in 1971 Sonny Lester formed the aptly named Groove Merchant label (named after the tune Jerome Richardson wrote for the Jones-Lewis Orchestra). He then produced some of the periods most notable soul/jazz, jazz/fusion from the likes of McGriff, Richard Groove Holmes, Reuben Wilson, Lonnie Smith to name but a few.



    This gem of an album from Ramon Morris, and one of the hardest to find on Groove Merchant, was recorded during what many people would consider to be the classic period for this particular brand of jazz/funk/soul/fusion. It was recorded not long after he'd spent time with Art Blakey as a Jazz Messenger appearing on his 1972 Prestige album Child's Dance along with Stanley Clarke and Woody Shaw. He then also recorded on the Woody Shaw album, also from 1972, Song Of Songs.



    He now teaches at Carnegie-Mellon University in Pittsburgh, Pa.



    Musicians:



    • Ramon Morris (tenor saxophone)

    • Albert Dailey (electric piano)

    • Mickey Bass (bass)

    • Mickey Roker (drums)

    • Cecil Bridgewater (trumpet)

    • Lloyd Davis (guitar)

    • Tony Waters (conga)




    Recording: 1972

    Production: Sonny Lester



    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.




    This title is not eligible for discount.

    1. First Come, First Serve
    2. Wijinia
    3. Sweet Sister Funk

    4. Sweat
    5. Don't Ask Me
    6. Lord Sideways
    7. People Make the World Go Round
    Ramon Morris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Seductive Reasoning (Speakers Corner) Seductive Reasoning (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Seductive Reasoning (Speakers Corner)

    Thanks to their undeniable musical talent, which allowed them to be taken seriously in the folk scene, the industrious Roche sisters' career began when they were young. The duo began by singing Christmas carols, doo-wop song syllable puzzles, and tricky barbershop harmonies. They finally caught the attention of Paul Simon, who brought the gifted girls in as backup singers on his LP There Goes Rhymin' Simon, and was primarily responsible for the birth of their first recording. The lavishly produced album achieved high critical acclaim. Although it was a worthy professional debut, the public was hesitant to buy the album. The specialist magazine Rolling Stone commented drily and somewhat at a loss that the Roches weren't everyone's cup of tea.



    Maggie and Terre Roche are a well-rehearsed vocal team however: with a range from hazy, finely balanced voices singing as one, right up to pearly, radiant brilliance, the Roche sisters enthusiastically penned a songbook which is almost without exception their very own creation. Mechanical bluegrass music (Wigglin' Man), a steam-train character (If You Emptied ...) and a somewhat crude and unrefined country aura make the subtle lyrics easily accessible to all, but the LP also offers the listener wonderfully ill-humoured verse (The Mountain People) and story-like prose (West Virginia). This is a truly exceptional album, and well worth being discovered!



    Musicians:



    • Maggie Roche (piano, guitar)

    • Terre Roche (guitar)

    • Paul Simon (guitar)

    • Pete Carr (guitar)

    • Jimmy Johnson (guitar)

    • Barry Beckett (keyboard)

    • David Hood (bass)

    • Roger Hawkins(drums)



    Recording: 1973 in the Morgan Studios, London, and 1974 in the Muscle Shoals Studios, Sheffield, Alabama

    Production: Paul Simon, Paul Samwell-Smith, David Hood and Jimmy Johnson




    About Speakers Corner



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Underneath the Moon
    2. Down the Dream
    3. Wigglin' Man
    4. West Virginia
    5. If You Empty Out All Your Pockets You Could Not Make the Change
    6. Telephone Bill
    7. Malachy's
    8. Burden of Proof
    9. The Mountain People
    10. Jill of All Trades
    Maggie & Terre Roche
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Glen Campbell: I'll Be Me Soundtrack Glen Campbell: I'll Be Me Soundtrack Quick View

    $19.99
    Buy Now
    x

    Glen Campbell: I'll Be Me Soundtrack

    Honored in 2012 with the GRAMMY Lifetime Achievement Award, Country Music Hall of Fame member Glen Campbell has recorded his last song.
    I'm Not Gonna Miss You was written by Campbell and Julian Raymond specifically for a new documentary titled GLEN CAMPBELL: I LL BE ME. Produced by Raymond, the song was recorded in the Los Angeles-based Sunset Sound Factory and East West Recording Studios.


    With a mere handful of piano chords, then a swell of harmonies, I m Not Gonna Miss You opens into the poignant, yet clear-eyed revelation of the things Alzheimer s steals. Almost lumbering through the melody, Campbell s weathered tenor confesses the painful truths of what is lost, the cost and the reality that it will all be lost to him, the man who can t remember. Pedal steel weeps, strings bathe the melody that rises against drums and an electric guitar that mirrors the unbreakable passage of life and time.


    GLEN CAMPBELL: I LL BE ME is an epic human drama that intimately showcases the man and his music throughout Campbell s struggle with Alzheimer s. Chronicling the story of love, laughter, resilience and power of song, this film shows how against all odds, America s greatest country star would not give up. Directed and produced by James Keach (producer of Walk The Line) and produced by Trevor Albert (Groundhog Day).


    Big Machine Records will proudly release a soundtrack for the film that also features The Band Perry, who previously paid tribute to Campbell during the 2012 GRAMMY Awards. The project also features Campbell s daughter Ashley who performs an original song.


    We are so honored to not only release Glen Campbell s final recording, but to be associated with such a profound film that will help raise awareness of those suffering from Alzheimer s and spotlight the important role of those who care for them, remarked Big Machine Label Group President & CEO Scott Borchetta who serves as the project s Executive Producer with Keach.


    Additionally, several of today s biggest musical stars appear in the film to pay tribute to the legend including Bruce Springsteen, Bill Clinton, The Edge (from U2), Paul McCartney, Jay Leno, Vince Gill, Jimmy Webb, Taylor Swift, Blake Shelton, Sheryl Crow, Keith Urban, Brad Paisley, Steve Martin, Chad Smith, and The Band Perry.

    1. I'm Not Gonna Miss You - Glen Campbell and The Wrecking Crew
    2. Gentle on My Mind (Documentary Version) - The Band Perry
    3. Remembering - Ashley Campbell
    4. All I Need Is You - Glen Campbell
    5. The Long Walk Home - Glen Campbell
    6. Wichita Lineman (Live from Ryman Auditorium) - Glen Campbell
    7. A Better Place (Live from Ryman Auditorium) - Glen Campbell
    8. Gentle on My Mind (Single Version) - The Band Perry
    9. Home Again - Ashley Campbell
    10. I'm Not Gonna Miss You (Single Version) - Glen Campbell
    Glen Campbell & The Band Perry
    $19.99
    Vinyl LP - Sealed Buy Now
  • We Move We Move Quick View

    $19.99
    Buy Now
    x

    We Move

    Written in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."


    The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.


    The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.


    Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.

    1. Rising Water
    2. I Lie Awake Every Night
    3. Last Story
    4. One Thousand Times
    5. Evil
    6. Get Low
    7. Killer Whales
    8. Seek Another
    9. Surreal
    10. Lost Angles
    James Vincent McMorrow
    $19.99
    Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top