- Lowest Price
- Highest Price
The Soul SessionsThe Soul Sessions is the debut studio album by English singer and songwriter Joss Stone, originally released on September 16th, 2003, by S-Curve Records. The album consists of cover versions of soul songs from the 1960s and 1970s, in addition to a cover of The White Stripes' 2001 song Fell in Love with a Girl. In 2004, The Soul Sessions was shortlisted for the Mercury Prize and was nominated for a MOBO Award for Best Album1. The Chokin' Kind
2. Super Duper Love (Are You Diggin' On Me)
3. Fell In Love With A Boy
4. Victim Of A Foolish Heart
5. Dirty Man
6. Some Kind Of Wonderful
7. I've Fallen In Love With You
8. I Had A Dream
9. All The King's Horses
10. For The Love Of You (Parts 1 & 2)$19.99Vinyl LP - Sealed Buy Now
Water For Your SoulWater For Your Soul is a culmination in Joss Stone's travels in sound, demonstrating how the teen soul prodigy has blossomed into an artist of style and substance. This is an album that pulses with the liquid groove of reggae, dazzles with the mix and match sonic adventure of hip hop, shimmers with the exotic sounds of world music and delivers the emotional belt of R&. Most of the songs for Water For Your Soul had been written and demoed before Joss's Total World Tour began but widening horizons convinced her to completely rethink and recut the record. The sound expanded to include Indian tabla, Bengali lute, Bansuri flute, African and Asian percussion, plus gospel choirs, New Orleans horns and full orchestra. After various experiments, abandoned and revisited sessions, the final album was more or less completed in a 10 day frenzy, with strings being recorded in London, percussion in Hawaii and Joss pulling it together at her own Home Grown Studios in Devon.1. Love Me
2. This Ain t Love
3. Stuck On You
5. Let Me Breathe
6. Cut The Line
7. Wake Up
8. Way Oh
10. Molly Town
12. Harry's Symphony
13. Clean Water
14. The Answer$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Emotion And CommotionImport
For his first studio album in seven years, Grammy-winning guitarist Jeff Beck returns with an eclectic mix of tracks that find the guitar virtuoso accompanied by a handpicked cast of talented musicians, as well as several songs accompanied by a 64-piece orchestra. Beck recorded Emotion & Commotion late last year at Sarm Studios in London with award-winning producers Steve Lipson and Trevor Horn. To create the albums diverse sound, Beck used a number of musicians, including appearances by frequent collaborators Vinnie Colaiuta (drums), Jason Rebello (keyboards), and Tal Wilkenfeld (bass). The album also includes contributions from a trio of singers: Imelda May (Lilac Wine), Olivia Safe (Elegy For Dunkirk), and Grammy-winner Joss Stone (I Put A Spell On You and Theres No Other Me).1. Corpus Christi Carol
3. Never Alone
4. Somewhere Over The Rainbow
5. I Put A Spell On You (feat. Joss Stone)
6. Nessun Dorma
8. Lilac Wine (feat. Imelda May)
9. There's No Other Me (feat. Joss Stone)
10. Elegy For Dunkirk (feat. Olivia Safe)$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SuperHeavyNew Supergroup featuring Mick Jagger, Dave Stewart, Joss Stone and A.R. Rahman
Mick Jagger has teamed up with Eurythmics founder Dave Stewart, soul singer Joss Stone, Slumdog Millionaire soundtrack composer A.R. Rahman, and reggae star Damian Marley to form a band cooperative project called SuperHeavy. This diverse and eclectic line-up who share eleven Grammy Awards between them, have been recording together in various studios around the world, with the majority of the tracks on the project laid down over three weeks in Los Angeles in early 2011. Tracks include the first single Miracle Worker plus One Day One Night, Energy, Unbelievable, SuperHeavy, I Can't Take It No More, You're Never Gonna Change and I Don't Mind.
It's little wonder that Stewart refers to SuperHeavy as, A mad alchemist type experiment. Fusing the talents of one of the greatest front-men of all time, a two time Academy award winning Indian composer, a soul vocal prodigy, a three-time Grammy winning reggae star, and one of the most sought after producers in the world, you would expect the explosive results to defy categorization.
SuperHeavy came together after Jagger and Stewart considered what a band comprising of musicians from different genres would sound like. Jagger explains, Dave really wanted to make a record with a different group of musicians, in other words, with different backgrounds of music. Instead of everyone being a rock musician, or basically a blues musician, or some other genre, he wanted to get as many genres together that would fit. I said it sounds like a good idea. I never thought it would actually happen.1. Superheavy
3. Miracle Worker [Damian Jr Gong Marley Main Mix - Radio Edit]
5. Satyameva Jayathe
6. One DayOne Night
7. Never Gonna Change
8. Beautiful People
9. Rock Me Gently
10. I Can't Take It No More
11. I Don't Mind
12. World Keeps Turning$19.99Vinyl LP - Sealed Buy Now
Sorceress (Black Vinyl)Pressed On Black Vinyl
There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.
Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.
"This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."
Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?
"My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."
Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.
"I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."
Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.
"When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."
For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.
"There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."
If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.
"I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."
Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.
"It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."
A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.
"I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."1. Persephone
3. The Wilde Flowers
4. Will O The Wisp
6. Sorceress 2
7. The Seventh Sojourn
8. Strange Brew
9. A Fleeting Glance
11. Persephone (Slight Return)
12. The Ward
13. Spring MCMLXXIV$29.99Vinyl LP - 2 LPs Sealed Buy Now
Mama EarthThe all-star Mama Earth lineup of Joss Stone (vocals), Nitin Sawhney (guitar), Jonathan Joseph (drums), Étienne M'BappÉ (bass/guitar) and Jonathan Shorten (keyboards) will release their debut EP Mama Earth via Mascot/Provogue.
The project started when British soul singer Joss Stone and her former musical director Jonathan Joseph hit on the Mama Earth concept of an album driven by the dynamic rhythms of Africa. A band was assembled from all corners of the music world. Jonathan's compadre Étienne M'BappÉ, the dazzling Cameroon-born multi-instrumentalist whose rÉsumÉ spans from John McLaughlin to Robben Ford; Jonathan Shorten, who had produced much of Stone's studio catalogue between penning some of the biggest hits for acts including Gabrielle and (again) Joss Stone. Finally, there was Nitin Sawhney: the genre-slipping wildcard and one-man musical tidal wave whose collaborations take in Sting, Paul McCartney, and the London Symphony Orchestra.
The 5 musicians convened at Stone's house, where the musical squad didn't take long to feel each other out. Music was spontaneously written on the spot, without any preparation. In the meantime, Stone purposefully kept her own creative process separate from the four musicians. I left them to do their own thing with the music in the studio, she reflects, while I was cooking dinner in the kitchen. I deliberately didn't have any input in the music, because I didn't want to affect it - or it'd all come out hip-hop and R&B! Then they'd come across into the house, give me the track and I'd sit in the kitchen writing lyrics and melodies with my mum. So it was, like, 'You guys do you, and I'll do me - then we'll put it together'. And that's the way it worked. I also went down to the river on my own with a pen and paper and write in the grass by the river. Which was a good way to do it, actually, The whole project is about Mother Nature. It's supposed to be from her perspective.
Just ten days after they came together - and following a powerful co-production from all five band members - the Mama Earth sessions were over. And yet, you sense that the story of this fascinating band is only just beginning. Impulsive, dynamic and sometimes downright dangerous, this is an album unlike anything else in the five musicians' respective CVs, unprecedented in the clinical modern music scene - and sure to make waves upon its release. I guess this album is essentially how I think of music, considers Sawhney. It was all about being open to the moment. I think that's really what I loved about this project. To me, Mama Earth is what music should be about, really...1. Mama Earth
2. Interlude 1
4. Interlude 2
6. Interlude 3
7. What Would She Say?
8. Interlude 4
10. Interlude 5
11. Breathe$15.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sirens Of SongA purveyor and survivor of Britpop (with band Squeeze), solo artist, author, and television presenter, Jools Holland is prominent as one of British music's most recognized and trustworthy.
A couple of years back, Holland's talent for composition was refreshed with 2012's The Golden Age Of Song, a star-studded effort. Holland must have had the itch to repeat that highly successful and pleasant experience, only this time around he's kept it between him and the ladies. What emerges is 14 tracks of originals and reworked gems starring some of the best female voices in the business.
What Holland nails here are his choices of leading ladies for each track, which offer so much in the way of delightfully surprising and sublime covers. Jamaican songstress Ruby Turner sasses up Ray Charles' Jumpin' In The Morning, our own pop princess Kylie Minogue puts her pout to The Clash's Should I Stay Or Should I Go, and Emeli SandÉ admirably takes on 1920s standard Love Me Or Leave Me. Among the standouts, though, are Louise Marshall's A Vow, a poem by one of Holland's favourite English poets, Wendy Cope; Joss Stone's soulful attack in Letting Me Down; and the playful ska in Monkey Man, brought to life by the late, great Amy Winehouse.
Holland's orchestra never falters, nor do the man's fingers on the ivories, and running throughout is a vibrant sense of celebration for not only these skilfull lasses but for the sheer act of making music with many different talents.
-Carley Hall (The Music)1. Jumping In the Morning - By Jools Holland & Ruby Turner
2. Letting Me Down - By Jools Holland & Joss Stone
3. Love Me Or Leave Me - By Jools Holland & Emeli SandÉ
4. A Vow - By Jools Holland & Louise Marshall
5. Monkey Man - By Jools Holland & Amy Winehouse
6. Should I Stay Or should I Go - By Jools Holland & Kylie Minogue
7. Sweet Bitter Love - By Jools Holland & Mabel Ray
8. See-Line Woman - By Jools Holland & Laura Mvula
9. Lost Mind - By Jools Holland & Rumer
10. Top To Bottom Boogie - By Jools Holland & Imelda May
11. Night & Day - By Jools Holland & KT Tunstall
12. I Wish - By Jools Holland & Melanie C
13. I Still Went Wrong - By Jools Holland & Ruby Turner
14. Ain't Misbehavin' - By Jools Holland & Eartha Kitt$24.99Vinyl LP -Sealed Buy Now