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UNIM-BLU-8064xBig John Patton
Let 'Em RollDuring the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date.
What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's The Turnaround, which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs.
Also notable are Patton's own tunes, the most beautiful of which is Latona, a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out.
This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.
- Thom Jurek (All Music Guide)1. Let 'Em Roll
3. The Shadow Of Your Smile
4. The Turnaround
6. One Step Ahead$19.99Vinyl LP - Sealed Buy Now
Along Came JohnBlue Note Reissue
As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008
John Patton, Grant Green and Ben Dixon were introduced to Blue Note by Lou Donaldson and quickly became the quintessential rhythm section for Blue Note's funkier session. They came together for this, John Patton's first album, with two of the label's tenor saxophonists Fred Jackson and Harold Vick. The double tenors and organ trio make an unbeatable combination for some soulful, swinging music. The title tune and The Silver Meter were radio hits that remain among the most popular of Patton's recorded performances.
This title is not eligible for discount.The Silver Meter
I'll Never Be Free
Along Came John
Pig Foots$54.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Get Thy BearingsRobert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.
Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.1. Hunk
2. Little Business
3. Get Thy Bearings
5. Dog Party
6. Inversion Layer
8. Don't Chin The Dog
9. Up From The Skies$16.99Vinyl LP - Sealed Buy Now
Rough Guide To The Blues SongstersBefore there was the bluesman there was the songster and it was these traveling troubadours who helped lay the foundations for the development of the blues. In the decades preceding the phonograph and radio and before the American national entertainment industry had reached into the deepest parts of the South, it was these wandering musicians who provided the musical entertainment for all manner of social events.
In order to be able to scrape a living together, the songster had to be incredibly versatile and come up with something for everyone. Armed with a banjo or guitar they performed every form of popular music of the day from folk songs and ballads to rags and spirituals. Priding themselves on their huge repertoires, they could be described as the human jukeboxes of their time.
Along with the many musicians shrouded in mystery, this collection boasts tracks by legendary bluesmen such as Leadbelly, Charley Patton, and Mississippi John Hurt. Aside from the blues, these great performers would have been able to play everything asked of them at local bars and rural dances, and it is said that Leadbelly could draw on a repertoire of over 500 songs from many different genres. Likewise, the 'Father of the Delta Blues', Charley Patton left glimpses into his songster roots and true musical versatility with songs such as the featured 'Mississippi Boweavil Blues'. Henry Thomas's projected birthdate of 1874 predates that of Charley Patton by a good 17 years and gives us an idea of what rural black music sounded like before the turn of the twentieth century. He was 53 years old during his first recording session in 1927 by which point much of his music was already a representation of a bygone era. The same could be said of Richard 'Rabbit' Brown from New Orleans who worked as a ferryman on lake Pontchartrain and whose recorded legacy of just five songs includes 'James Alley Blues' which has been covered by Bob Dylan. Also from New Orleans, Papa Charlie Jackson accompanied himself with a banjo guitar and became one of the first songsters to record from the mid-1920s. His unique brand of hokum, used comic, often sexually suggestive lyrics and lively, danceable rhythms.
This selection features several variations on traditional ballads about legendary characters such as Frankie and Johnny, Stagger Lee, John Henry and Railroad Bill. These became standards in the repertoires of songsters, both black and white, who shared a similar colour-blindness when it came to the racial origins of a tune. Frank Hutchison and Dick Justice were both white performers whose styles were heavily influenced by black musicians, in particular, Luke Jordan whose featured track 'Pick Poor Robin Clean' is a gambling song masterpiece. Like Jordan, many other well-known East Coast songsters such as Blind Blake, Pink Anderson, and Peg Leg Howell worked with traveling shows, which became a major factor in the spreading of the blues. Many of these shows were operated by vendors of patent medicines who would attract crowds by putting on a performance.
As these shows began to disappear and recorded music and dancing in juke joints became popular, so the older songster style became less fashionable. Apart from the few waxed recordings which leave a tempting glance into a world before the blues, many of the featured artists faded into obscurity, as the songsters were overtaken by blues singers whose music was heavily promoted by record companies. Those songsters who were able to embrace this new music such as Charley Patton and Leadbelly became seminal figures and the rest is history.1. Pick Poor Robin Clean - By Luke Jordan
2. Don't Leave Me Here - By Henry Thomas
3. The Spasm - By Daddy Stovepipe & Mississippi Sarah
4. Your Baby Ain't Sweet Like Mine - By Papa Charlie Jackson
5. John Henry (The Steel Driving Man) - Part 1 - By Furry Lewis
6. Mississippi Boweavil Blues - By Charley Patton
7. Cocaine - By Dick Justice
8. Midnight Special - By Leadbelly
9. Come On Boys Let's Do That Messin' Around - By Blind Blake
10. Stackalee - By Frank Hutchison
11. James Alley Blues - By Richard 'Rabbit' Brown
12. Going To Germany - By Cannon's Jug Stompers
13. Coal Man Blues - By Peg Leg Howell$19.99Vinyl LP - Sealed Buy Now
American Epic: The SoundtrackAmerican Epic: The Soundtrack leads the way for a series of album releases accompanying the Lo-Max/PBS/BBC Arena film project American Epic created by Allison McGourty, Duke Erikson and Directed by Bernard MacMahon.
American Epic is a journey across time to the birth of modern recording, when music scouts armed with cutting-edge recording technology captured the breadth of American music and discovered the artists that would shape our world.
The recordings they made of all the ethnic groups of America democratized the nation and gave a voice to everyone. Country singers in the Appalachians, Blues guitarists in the Mississippi Delta, Gospel preachers across the south, Cajun fiddlers in Louisiana, Tejano groups from the Texas Mexico border, Native American drummers in Arizona, and Hawaiian musicians were all recorded. It was the first time America heard itself.
American Epic: The Soundtrack highlights recordings from the three-part documentary on one 150g LP, including original recordings by The Carter Family, Mississippi John Hurt, Charley Patton, Sister Rosetta Tharpe and more all restored to unprecedented levels of sonic fidelity.1. Gonne Die with My Hammer in My Hand - Williamson Brothers & Curry
2. On the Road Again - Memphis Jug Band
3. Frankie - Mississippi John Hurt
4. Bury Me Under the Weeping Willow - The Carter Family
5. Mal Hombre - Lydia Mendoza
6. Peg and Awl - Carolina Tar Heels
7. Tomi Tomi - Sol K. Bright with The Aloha Serenaders
8. The Indian Tom Tom - Big Chief Henry's Indian String Band
9. Cocaine Habit Blues - Hattie Hart & The Memphis Jugband
10. Up Above My Head - Sister Rosetta Tharpe
11. Down the Dirt Road Blues - Charley Patton
12. Allons A Lafayette - Joseph Falcon
13. Stackalee - Frank Hutchison
14. Waiting for a Train - Jimmie Rodgers
15. Jole Blon - The Breaux Brothers with Louis Michot$19.99Vinyl LP - Sealed Buy Now
Fire From The Evening SunPHILM, the temperamental, highly gifted brainchild of Dave Lombardo certainly did not come to fruition
overnight. Years of life lessons and rhythmical adventures slowly molded and manipulated his latest creation for
the musical misfits of the world.
As a multi-genre labyrinth, PHILM resonates not only the individual symphonic personalities of its members, but
their uniquely agile bond in instrumentation as a whole.
Front-man Gerry Nestler, noted for his undeniable skill and rapport with his guitar, is best known for his work
with progmetallists, Civil Defiance. An impassioned vocalist, his musical journey has also found him gaining
much respect for his lyrical prowess. Nestler describes PHILMs music as, "Heavy but sensitive, powerful and
atmospheric." He further elaborated, saying ". The music of PHILM is channeled through the many different
influences of drum and bass, expressionism, and underground that is indigenous to the street, Nestler states.
There are many different things that Dave and I have been into that have contributed to the vision of PHILM.
Pancho's highly skilled bass playing, chordal color and shape have helped expand the overall sound
instrumentation and groove. Dave Lombardo's drumming goes without comparison.
Bassist, Pancho Tomaselli, a long-time member of funk rockers, War and most recently, Tower of Power is
sought after for his aggressively malleable, yet smooth way around his bass guitar. Drummer, Dave Lombardo,
is most widely known for his legendary work with a band he co-developed at the young age of 17, SLAYER. His
work with Mike Patton (Fantomas), John Zorn (Bladerunner), Grip Inc., and many others, leaves no room for
questioning his legendary status as one of the most skilled and innovative drummers in the world. Justifiably
typecast to the genre he helped trail-blaze, it is certainly a shock to Lombardo enthusiasts to see his infamous
drum set now scaled down to a four piece kit. But, the depth of his musical aptitude is much more than what
has come to be known as his signature sound. His prodigious skill and affinity for heavy, penetrating grooves is
oddly taken to another level in his work with this riveting trio. To quote Tomaselli, "It's like playing with the
seven, not four, horses of the Apocalypse behind you."
PHILMs music is a dense, unholy convergence of tones and discords." Lombardo states, " We tend to live on the
heavy side, but we also touch on haunting, desolate, ambient sounds.
These three innovative musicians have masterfully revived the concept of the Power Trio. Often improvised,
their live set can find their audience entranced by a raw, tonal journey that is both awe-inspiring and thrilling1. Train
2. Fire From The Evening Sun
3. Lady Of The Lake
4. Lion's Pit
5. Silver Queen
6. We Sail At Dawn
10. Blue Dragon
11. Turn In The Sky
12. Corner Girl$24.99Vinyl LP - 2 LPs Sealed Buy Now
Cortar TodoFor over fifteen years, Zu's modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as a powerful and expressive music that totally blows away what most bands do these days.
In the running for the title of the world's hardest working band, Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, DÄlek, Jim O' Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).
Five years since their last full length on Ipecac, the critically acclaimed Carboniferous, and following a three year hiatus, Zu returned in May 2014 with the release of a brand new EP, Goodnight Civilization (Trost Records) and with a line up change that introduced the mighty Gabe Serbian, best known as the drummer for the legendary Californian band, The Locust.
In March 2015, Zu are preparing to release a brand new full length via Ipecac Recordings, entitled Cortar Todo, and recorded in the countryside near Bologna, Italy, in the summer of 2014. The album features some very special guests including keyboard player Joey Karam (The Locust), Italian guitar maverick Stefano Pilia (who plays regularly with the likes of Mike Watt, David Grubbs and Rokia Traore) and perhaps most unexpectedly, a field recording of an indigenous Shipibo medicine man recorded by Massimo during his travels around the Amazon.
Cortar Todo reveals new dynamics from the band, the album is more direct, sharp, focussed, and more intense and musical than anything we have heard from Zu so far. In addition to the album release, we can expect a long period of touring starting in Spring 2015.1. The Unseen War
2. Rudra Dances Over Burning Rome
3. Cortar Todo
4. A Sky Burial
5. Orbital Equilibria
6. Serpens Cauda
7. No Pasa Nada
8. Conflict Acceleration
9. Vantablack Vomitorium
10. Pantokrator$15.99Vinyl LP - Sealed Buy Now
180 Gram Audiophile Vinyl
Produced by John Zorn, Mr. Bungle is the eponymous debut studio album album by American band Mr. Bungle, released in 1991. The album contains many genre shifts which are typical of the band, and helped increase the band's popularity, gaining them a reasonable following and fanbase.
Critics deem the album a 'dizzying, disconcerting, schizophrenic tour through just about any rock style the group can think of, hopping from genre to genre without any apparent rhyme or reason, and sometimes doing so several times in the same song.' Mike Patton's lyrics are even more bizarrely humorous than those he used in Faith No More, and they're also less self-censored, as titles like Squeeze Me Macaroni, My Ass Is on Fire, and The Girls of Porn indicate. This is a difficult, not very accessible record, and the band wouldn't have it any other way.
Incredibly, the original vinyl version of Mr. Bungle was pressed on a single LP, which - with an album duration of 75 minutes - had a rather dull dynamic sound as a result. For the Music On Vinyl version, we've added another LP side to give the music more space to breathe. To top it off, it boasts a unique etch on the D-side!LP 1
1. Quote Unquote
2. Slowly Growing Deaf
3. Squeeze Me Macaroni
6. Stubb (a Dub)
7. My Ass Is On Fire
1. The Girls Of Porn
2. Love Is A Fist
3. Dead Goon
Side D - Etch$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Wayfaring Strangers: Lonesome HeroesThe standard route for popular music, songwriter to publisher to label to artist, survived the '60s only to be overrun by a generation of folkies agog at giants strumming in the rearview. They were inspired by iconoclasts from Charley Patton to Woody Guthrie, artists entirely reliant on one guitar, one voice, and ones own words. But our heroes were not the agrarian luddites of yesterfolk. They cheered when Dylan plugged in and were rapt when Lennon and McCartney modernized songcraft, making the studio process justas important to song creation as setting the chords and words down.
The resultant work wasnt as readily reduced to words on paper as the Broadside pages that preceded them, success relied heavily on the way these songs were captured and transmitted: the sound of the room, the turn of a phrase, the odd way a piano got miced, or the way a guitar fell perfectly out of tune. As long as the end result was somber, dark, and meditative, it didnt matter if it was a conscious choice or a happily unhappy accident.
Each of our lonesome heroes began his journey from a wildly divergent place. Some of the stops may been similar, but each was made in different ways at different times for different reasons. All these travelers somehow found their ultimate destination on this disc. From artists who never played one professional gig to those that never stopped playing professionally, whose only shared experience is a journey set upon with no known end, sharing their thoughts, emotions and dreams with a lonely few along the way.
Wayfaring Stranger: Lonesome Heroes is the male singer/songwriter companion to Numero 008, Wayfaring Strangers: Ladies From The Canyon and Numero 018, Wayfaring Strangers: Guitar Soli.
Features 17 rare tracks by folk unknowns Jim Schoenfeld, Jim Ransom, Richard Smyrnios, Tucker Zimmermann, Kieran White, Les Moore, Rob Carr, Jack Hardy, George Cromarty, Jay Bolotin, Tony Trosley, Roger Lewis, Tim Ward, David Kaufmann, John Villemonte, Bob Brown and Robb Kunkel.
This deluxe 2LP gatefold set also includes 40 page booklet with extensive photo gallery, essay, artist bios and complete lyric sheet.$26.99Vinyl LP - 2 LPs Sealed Buy Now
Father of the Delta Blues: The Complete 1965 Sessions (Pure Pleasure)House's recording session ran over a few days and saw the studio set up like a small club with an invited audience. I remember John (Hammond) running around crazed, as was Son's manager, Dick Waterman (a man to whom Son owed everything). Al Wilson of Canned Heat was sat alongside Son, and once the recording started occasionally played harp and guitar. He appeared to have a decidedly calming influence on House, who throughout would turn to him to discuss various things. Once things had begun Son was quite nervous but ever so slowly, as time wore on, the emotional intensity of his performance transported one back to the Mississippi Delta c. 1930 when Son, as a young man, ruled the roost along with Delta legend Charlie Patton. And today, many years later, the images are frozen pieces of time, forever stored in my memory.
Excerpt from a piece by Lawrence Cohn who was present at the session.
- Son House (vocal, steel-guitar)
- Al Wilson (guitar, harmonica)
Recording: April 1965 at Columbia's studios, New York City
Production: John Hammond and Frank Driggs
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. Death Letter Blues
3. Louise McGhee
4. John The Revelator
5. Empire State Express
6. Preachin' Blues
7. Grinnin' In Your Face
9. Levee Camp Moan
10. Death Letter Blues (alternate take)
11. Levee Camp Moan (alternate take )
12. Grinnin' In Your Face (alternate take )
13. JohnThe Revelator (alternate take )
14. Preachin' Blues (alternate take )
15. President Kennedy
16. A Down The Staff
17. Motherless Children
18. Yonder Comes My Mother
19. Shake It and Break It
20. Pony Blues
21. Downhearted Blues$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set
* 800 Newly-Remastered Digital Tracks, Representing 172 Artists
* 200+ Fully-Restored Original 1920s Ads And Images
* 6x 180g Vinyl LPs Pressed On Burled Chestnut Colored Vinyl W/ Hand-Engraved, Blind-embossed Gold-Leaf Labels, Housed In A Laser-Etched White Birch LP Folio
* 250 Page Deluxe Large-Format Clothbound Hardcover Art Book
* 360 Page Encyclopedia-Style Softcover Field Guide Containing Artist Portraits And Full Paramount Discography
* Handcrafted Quarter-Sawn Oak Cabinet With Lush Sage Velvet Upholstery And Custom-forged Metal Hardware
* First-Of-Its-Kind Music And Image Player App, Allowing User Mgmt Of All Tracks And Ads, Housed On Custom-Designed USB Drive
How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in 'The Rise and Fall of Paramount Records 1917-1932,' an epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be jointly released by Jack White's Third Man Records and John Fahey's Revenant Records.
'Volume One,' which covers the label's improbable rise from 1917-1927, will be released exclusively through Third Man on October 29, and worldwide on November 19. The project is co-produced by leading Paramount authority Alex van der Tuuk, and 'Volume 2' will be released in November 2014.
Paramount Records was founded on a modest proposition: produce records as cheaply as possible, recording whatever talent was available. Over its lifetime, the label would become a "race records" powerhouse, its sound and fortunes directly linked to the Great Migration.
By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers still unrivaled to this day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son House, Skip James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable "other" (Geeshie Wiley, Elvie Thomas). Paramount would also directly influence the style of Robert Crumb and countless other 20th century artists and illustrators, through a series of hand-drawn ads promoting its releases in the pages of the Chicago Defender.
The 'Rise and Fall' wonder-cabinet gives equal status to page-turning narrative and new scholarship; original and newly created graphic art; industrial design; and compelling analog and digital music experiences.6 LPs feature 87 tracks from the collection.
USB Drive contains 800 digital tracks by 172 artists across the Paramount family of labels, including the earliest recordings of:
King Oliver, Jelly Roll Morton, Blind Blake, Fats Waller, Ma Rainey, Blind Lemon Jefferson, Duke Ellington, Louis Armstrong, Fletcher Henderson, Alberta Hunter, Papa Charlie Jackson, Ethel Waters, Coleman Hawkins, Johnny and Baby Dodds, Bo Weavil Jackson, Jimmy O'Bryant, Buddy Boy Hawkins, Tiny Parham, Jimmy Blythe, and Jaybird Coleman.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed Buy Now
The Song Project Vinyl Singles Edition 7" Box Set (Out of Stock)Includes 32-Page Book Filled With Photos, Lyrics and More
This Is A Collector's Dream Of One Of Zorn's Most Popular And Lyrical Projects
Featuring: Mike Patton, Jesse Harris, Sofia Rei, Marc Ribot, John Medeski, Kenny Wollesen, Trevor Dunn, Joey Baron, Cyro Baptista
In celebration of his 60th Birthday, Zorn asked his most acclaimed vocal collaborators to write lyrics to select compositions from his vast musical catalog. Including music originally written for Naked City, Masada, The Dreamers, a variety of film soundtracks and more, The Song Project is a retrospective of some of Zorn's most lyrical compositions from the past 30 years. Each piece is presented in song format with an all-star band of Zorn regulars, and features the voices of Mike Patton, Jesse Harris, and Sofia Rei.Flying Blind
The Wind in the Clouds
Para Borrar tu Andar
Do Not Let Us Forget
Sombra en el Espejo
Waiting for Christmas
The Man in the Blue Mask
Assassin's Bay$59.997 Vinyl Single Box Set - 6 Singles Sealed Temporarily out of stock
Wild Moon (Out Of Stock)Plowboy Records' latest signing, J.D. Wilkes and The Dirt Daubers, release 'Wild Moon', their third album. Produced by Cheetah Chrome, 'Wild Moon' finds The Dirt Daubers - previously an old-timey, acoustic group - plugged in and wailing away on raw, blissfully distorted rock-n-roll and blues. The
Dirt Daubers were formed by Legendary Shack Shakers front man, artist, director and country punk pioneer J.D. Wilkes in 2009 with his wife Jessica. Wilkes' "gothic preacher" persona and frantic blues harmonica whips 'Wild Moon' into a frenzy, trading lead vocal duties with his feminine foil.
J.D. and Jessica are joined by electric guitarist Rod Hamdallah and drummer Preston Corn. Smoky baritone sax grooves are provided by Tom Waits' sideman Ralph Carney, with piano played by Wilkes himself - delving deeper into the bluesy
recesses of American music. Jessica emotes pained lyrics about life, love and loss on tunes like "No More My Love" and "Apples and Oranges," while J.D. continues his southern storytelling style on "Angel Crown" and the title track.
Wilkes is also an accomplished harmonica player, having recorded for such artists as Merle Haggard, John Carter Cash, Mike Patton, and Hank Williams III. He can also be spotted playing harmonica for Hank Williams III in the 2004 American Masters film Hank Williams: Honky Tonk Blues. His song `Swampblood` can be heard on the Grammy-nominated
soundtrack for HBO's True Blood series. Shore Fire Media on board to spearhead publicity and marketing efforts.
"Wilkes writes mind-blowing lyrics rife with Biblical references and ruminations of life, death, sin and redemption " -BILLBOARD1. French Harp Hustle
2. Apples and Oranges
3. Wild Moon
5. No Rest For the Wicked
6. No More My Love
7. Angel Crown
8. Let It Fly
9. You Know I Love You
10. Hidey Hole
11. Don't Thrill Me No More
12. River Song
13. God Fearing People$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock