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How The West Was Won (Super Deluxe Edition Box)Remastered Audio On Three CDs And Four 180-Gram Vinyl LPs
Includes DVD Of Album In Dolby Digital 5.1 Surround And PCM Stereo, Plus Photo Gallery
A Book Filled With Rare And Previously Unpublished Photos Of The Band At Each Of The Concert Locations, Plus Memorabilia & Ephemera
High-Quality Print Of The Original Album Cover, The First 30,000 Of Which Will Be Individually Numbered
Led Zeppelin continues their reissue campaign with a new edition of their celebrated live album How The West Was Won, originally released in 2003, featuring newly remastered audio, which was done under the supervision of Jimmy Page. HOW THE WEST WAS WON highlights the best performances from Led Zeppelin's legendary concerts at the Los Angeles Forum and Long Beach Arena on June 25 and 27, 1972. Melded together and sequenced to replicate a single concert from beginning to end, it captures the band at the height of its formidable powers. Standouts include a 25-plus minute version of "Dazed And Confused" and a 21-minute medley based around "Whole Lotta Love." The performances also capture the band introducing songs from its then-unreleased album Houses Of The Holy, which would be released nine months later.
Super Deluxe Boxed Set includes: Remastered audio on three CDs and four 180-gram vinyl LPs; DVD of album in Dolby Digital 5.1 Surround and PCM Stereo, plus photo gallery; A book filled with rare and previously unpublished photos of the band at each of the concert locations, plus memorabilia and ephemera; High-quality print of the original album cover, the first 30,000 of which will be individually numbered.$179.99180 Gram Audiophile Virgin Vinyl LP + 3 CDs + DVD - 4 LPs Sealed Buy Now
How The West Was WonLed Zeppelin continues their reissue campaign with a new edition of their celebrated live album How The West Was Won, originally released in 2003, featuring newly remastered audio, which was done under the supervision of Jimmy Page. HOW THE WEST WAS WON highlights the best performances from Led Zeppelin's legendary concerts at the Los Angeles Forum and Long Beach Arena on June 25 and 27, 1972. Melded together and sequenced to replicate a single concert from beginning to end, it captures the band at the height of its formidable powers. Standouts include a 25-plus minute version of "Dazed And Confused" and a 21-minute medley based around "Whole Lotta Love." The performances also capture the band introducing songs from its then-unreleased album Houses Of The Holy, which would be released nine months later.$124.99180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
King Curtis: Live At Fillmore WestImport
Live At Fillmore West is the ultimate King Curtis live album, a brilliant confirmation of the saxophonist's place in popular music. This is the stuff of Soul legends that belongs in any record collection.
The album showcases three concerts he played with his band The Kingpins at the Fillmore West venue in San Francisco in March 1971. Those nights, the group supported Soul singer Aretha Franklin, as were they her backing band. Famed for their outstanding rhythmic interplay, the group of seasoned session men featured a.o. Cornell Dupree on guitar, Billy Preston on electric organ and Bernard 'Pretty' Purdie on drums, supported by the inimitable Memphis Horns.
Curtis rips through some of the biggest hits of the day including Stevie Wonder's Signed, Sealed, Delivered (I'm Yours) and Led Zeppelin's Whole Lotta Love, transforming them into showcases for the group's soulful playing. Beautiful renditions of A Whiter Shade Of Pale and I Stand Accused are highlights, and full-throttle rockers like Changes and Memphis Soul Stew comprise the heart of the album.
Tragically only a week after its release, Curtis was stabbed to death outside his brownstone apartment in New York following an argument with two junkies. The day after he died the album peaked at No. 54 on the Billboard 200 album chart, his greatest success as a solo artist.1. Memphis Soul Stew
2. A Whiter Shade Of Pale
3. Whole Lotta Love
4. I Stand Accused
6. Ode To Billie Joe
7. Mr. Bojangles
8. Signed Sealed Delivered I'm Yours
9. Soul Serenade$36.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-SAC-8948xLed Er Est
The DiverLed Er Est emerged from a series of jam sessions that core members Shawn O'Sullivan and Sam De La Rosa started having in early 2007, using bass guitar, some cheap drum machines and synths. They were inspired to record music largely by '70s synth-prog, and '80s lo-fi electronic and industrial music.
They recorded a number of songs at friend Will Burnett's studio that Fall. Their first officially released track was on the Wierd Records compilation, Analogue Electronic Music Vol II. Owen Hutchinson joined the band for their first live show at the Wierd party that December. In January of 2008, they released their first 7, a split with Excepter member Jon Porkchop aka SSPS.
Throughout 2008 and 2009 they self-recorded their first album, Dust on Common, which Wierd Records released in Nov. of 2009. In the Spring of 2010, they toured Europe with Xeno and Oaklander, playing shows in the UK , Belgium, Germany, the Czech Republic, and Italy. Subsequently they released a 7 and then the May EP on Captured Tracks. Led Er Est did a brief west coast run with Soft Moon last fall and just played SXSW.
On stage and in the studio Led Er Est create a thick wall of atmospheric soundscapes using vintage analog recording devices, samplers and synths while using sci-fi soundtracks and cold wave as reference points. Led Er Est's sophomore full-length album, The Diver, was mixed by Chris Coady and will be released courtesy of Sacred Bones Records.1. Animal Smear
2. Housefire at Zumi's
3. Kaiyo Maru
4. The Diver
6. Agua Fuerte
7. Arab Tide
8. Divided Parallel
9. Iron the Mandala
10. La Lluvia y Memoria
11. Sanetta$18.99Vinyl LP - Sealed Buy Now
Le Jazz Primitif From TrinidadOriginally released in 1961 on the Cook Laboratories label, Le Jazz Primitif from Trinidad is an extraordinary example of the jazz scene on this West Indies isle. Side A features a group led by Rupert Clemendore, an amazing drummer, percussionist, and vibes player, covering territory from American jazz and R&B, to Calypso. Side B, led by bassist John Buddy Williams, is more straight forward calypso though it is not without Jazz and R&B influences. An incredible LP showcasing the diversity of the fruitful Trinidadian musical scene of the mid 20th century. Lovingly reissued in a perfect replica of the original Cook jacket.SIDE A
1. Princess Charming (Vivian Comma)
2. Bongo Mood
3. We Mambo
4. One Bass Hit
5. They Fly
6. Mambo Basso
1. Alma Llanera (Venezuelan waltz)
2. She 'Pon Top (Bakanal, calypso)
3. Shoemaker Shop
4. Man In Dey (calypso)
5. Last Night the Landlord (calypso)$14.99Vinyl LP - Sealed Buy Now
Little SeedsPressed On Translucent Red Vinyl
LITTLE SEEDS is as loud as we've ever been and it's as quiet as we've ever been. It's our most personal record and reflects some of those extremes we've experienced both sonically and lyrically. It has been nothing short of a harrowing couple of years, full of beauty and sorrow. We got served an adult portion. We grew up. From raw and primal electric guitar feedback slammers to mandolin led ballads, it's just us being ourselves and stretching.
-Shovels & Rope1. I Know
2. Botched Execution
3. St. Anne's Parade
4. The Last Hawk
5. Buffalo Nickel
6. Mourning Song
7. Invisible Man
8. Johnny Come Outside
9. Missionary Ridge
10. San Andreas Fault Line Blues
12. Eric's Birthday
13. This Ride$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live From Austin, TX (Kris Kristofferson)Kris Kristofferson has an unusual resumÉ. Brownsville, Texas-born, football star and Golden Gloves boxer in college, Rhodes scholar at Oxford, Army captain and chopper pilot, studio janitor, part-time bartender, leading man opposite Barbra Streisand and Jane Fonda. But on his passport, under occupation, it reads songwriter. And that more than anything sums up the essence of Kris Kristofferson. His songs have been recorded by at least 500 other artists, from Willie and Johnny (Cash) to Janis Joplin and Ray Charles, but only that gravelly baritone of his can truly render those songs the way they were meant to be heard, from somewhere deep down in the heart of the man himself. This performance from September 1981 captures Kris in his prime. As he put it at the time, the music's a little closer to the soul because I'm creating and controlling the whole show. Classics like Me and Bobby McGee, Loving Her Was Easier, Why Me?, and Sunday Mornin' Comin' Down take on a whole new meaning coming from the man who wrote and lived the words.
This is the show that almost wasn't. As I was about to introduce Kris, the studio descended into total darkness. Apparently an errant rodent chewed through a major power line and the result was a black-out that lasted all night. The audience was led out by flashlight singing the ACL theme and Kris hung out on the roof with the crew. Fortunately, he came back the next night, and the resulting magic is here to enjoy.
- Terry Lickona (Producer Austin City Limits)LP 1
1. Star Crossed
2. You Show Me Yours (And I'll Show You Mine) / Stranger
3. Here Comes That Rainbow Again
4. Help Me Make It Through The Night
5. Me And Bobby McGee
7. Nobody Loves Anybody Anymore
8. Darby's Castle
9. Casey's Last Ride
10. The Pilgrim
11. For The Good Times
1. Loving Her Was Easier (Than Anything I'll Ever Do Again)
2. Sunday Mornin' Comin' Down
3. Silver Tongued Devil
4. Smile At Me Again
5. Why Me$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Undivided Heart & SoulUndivided Heart & Soul, produced by Dan Molad (Lucius) and
McPherson, and developed largely in the studio (that studio being the historic
RCA Studio B in Nashville), carries a sense of immediacy and irreverence.
"In writing this record, I threw several handfuls of caution to the wind.
Lyrically, I was allowing myself to be exposed in a way I never have before.
Concurrently, maybe as some sort of a self-defense mechanism, the guitars
got fuzzier and louder. The first day at RCA was like being in church...
by the second day, it was a high school band's rehearsal space."
Putting the hands of Dan Molad on the wheel of the record ensured that
the music didn't take too many expected turns. "Having toured with
Lucius and befriended Dan, I knew he was the guy to push my buttons
and challenge me to try new things. He's a tireless worker. He's constantly
tinkering away on something... and music just falls out of him."
The vintage recording equipment and instruments still housed
in RCA Studio B greatly informed the direction of the record. "Each night,
at the end of tracking, someone would invariably say, 'You wanna put vibes
on this?', speaking of the old RCA Vibraphone. I mean, you can hear THAT
vibraphone on Roy Orbison's 'Crying'... we couldn't keep our hands off of it.
It guided some of the songs into some strange and wonderful places.
'Lucky Penny' took such a cool turn once Ray (Jacildo, keys) added some to it.
We wrote several songs on the piano that Floyd Cramer played 'Last
Date' on. We were soaking up so much of the phantom energy in
that room, it led to some incredible sonic territory."
"Most folks know us for our take on vintage R&B and early Rock N' Roll.
The past year, I've been digging so much into the heavier, brasher sounds of
early Rock N' Roll... from bands like The Sonics, Link Wray, and into some
early British Rock such as The Creation... these influences feature heavily in
these songs. The tunes that showed up weren't exactly always in familiar
territory, and... we greeted them as welcome strangers. They have a lot
of heart... and that's what Rock N' Roll should always have."1. Desperate Love
2. Crying's Just A Thing You Do
3. Lucky Penny
4. Hunting For Sugar
5. On The Lips
6. Undivided Heart & Soul
7. Bloodhound Rock
8. Style (Is A Losing Game)
10. Under The Spell Of City Lights
11. Let's Get Out Of Here While We're Young$19.99Vinyl LP - Sealed Buy Now
Nocturne Of Exploded Crystal Chandelier (Awaiting Repress)There is no shortage of magical moments on Nocturne of Exploded Crystal Chandelier, from Side As one-two punch of American West and Oh, Naoko to the heartfelt Waiting on You and the anthemic Put the Days Away. Sun Airway twists their songs with their kaleidoscopic production, lush electronic washes, synthetic textures and pulsing rhythms obscuring the hooks in hazy pop bliss.
Hailing from Philadelphia, Sun Airway is led by songwriter Jon Barthmus, who is joined by fellow sound sculptor Patrick Marsceill. Recorded primarily in Barthmus basement studio over the course of 18 months, the album blends processed sounds, field recordings and timeless vocal melodies into their abstract fractured pop.1. Infinity
2. American West
3. Oh, Naoko
4. Swallowed by the Night
5. Waiting on You
7. Shared Piano
8. Put the Days Away
9. Your Moon
10. Five Years$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
London-based singer, songwriter, and multi-instrumentalist Olivia Chaney follows her 2015 Nonesuch debut, The Longest River, with Shelter, also set for release via Nonesuch Records. The album was produced by Thomas Bartlett (David Byrne, Nico Muhly, The Magnetic Fields, Sufjan Stevens, The National, St. Vincent, Father John Misty, et al.) and features eight original songs, along with Chaney's interpretations of Purcell's O Solitude and Frank Harford and Tex Ritter's Long Time Gone, first recorded by the Everly Brothers.
Chaney describes her time writing songs for Shelter: I had been on the road a lot and was struggling with the grit and loneliness of urban life. I think I'd been questioning what home, belonging, a sense of purpose, and my own culture even meant. I'd been craving wilderness and a return to essentials for a long time. Then, while touring in the US, I realized the place I needed was already in my life. It was ancient, barely habitable, and remote.
Thus a crumbling eighteenth-century cottage in the austere but magical hills of the North Yorkshire Moors-a family retreat since my teens, with no electricity or plumbing, where the only water comes from a spring-became the home for my work on Shelter, she continues. We brought out an Arts and Crafts Bechstein piano and an old wood burner to the house; and as summer's end turned to autumn's shorter, colder days, the room with the upright and stove fueled my stay.
Chaney says of working with Thomas Bartlett, His close affiliation with such a varied and acclaimed group of artists was of enormous importance. His taste and sphere of understanding were as diverse as mine. He prioritized my compositions' meaning and lyricism, rather than jumping on the bandwagon of noisy popularity. I wanted a recording as intimate as the songs and their form. The only other musicians are Thomas and Jordan Hunt, my longtime collaborator who adds strings on select songs. It's just the three of us playing every sound you hear, using our instrumental and compositional craft, and Thomas' musician-producer's ear extraordinaire.
Born in Florence, Italy, Chaney grew up in Oxford, England, in a household whose intellectual and artistic engagement was complemented by an expansive musical soundscape. This included Billie Holiday, Mozart operas, Sandy Denny, Prince, Tracy Chapman, Bert Jansch, Michael Jackson, and Joni Mitchell. She studied at London's Royal Academy of Music, where she took in everything the conservatory had to offer. Her curiosity led her further afield, from Ligeti to West African pop, Edith Piaf to Laurie Anderson, Mary Margaret O'Hara to Lorraine Hunt Lieberson, Sonic Youth to Sappho, Kate Bush to old-time country music-all while finding her own voice.
The range of artists she's shared a stage with includes Robert Plant, Zero 7, the Labeque Sisters, Martin and Eliza Carthy, and Kronos Quartet, with whom she also recorded two songs for the 2017 Nonesuch album Folk Songs. Most recently she fronted a Grammy-nominated album, The Queen of Hearts, forming a new outfit, Offa Rex, with The Decemberists. The Guardian's review of that album said that Chaney has a magical voice, full of heft, soul and sunlight, and fRoots said, Chaney has never sounded better, while the Arts Desk said it was her voice, with its clarity, power and emotional weight, that carries Offa Rex to the heights. The Financial Times added that Chaney's singing makes 'Willie O' Winsbury' one of the best versions ever.1. Shelter
5. A Tree Grows in Brooklyn
6. Colin and Clem
7. O Solitude
8. Long Time Gone
9. Roman Holiday
10. House on a Hill$19.99Vinyl LP - Sealed Buy Now
Before TodayFor the best part of a decade, Los Angeles native Ariel Rosenberg has been carving out some of the most intoxicating music going, a reclusive pop surrealist whose corroded productions have led to a cult following that has often been difficult to keep up with. Now signed to 4AD, Ariel Pink's Haunted Graffiti are back with Before Today.
With roots going back as far as 1996, the West Coast act are as sublime as they are surreal with a sound loaded with hazy nostalgia and a fiercely experimental pop palette. From the Haunted Graffiti series (from which the full band's name is now derived), which featured the likes of Worn Copy (2005) and House Arrest (2006), Ariel Pink has established himself as one of the most prolific songwriters of his generation, a visionary producer in the vein of Joe Meek and Ariel's hero and previous collaborator, tape deck dilettante, R. Stevie Moore, creating a world through certain production touches.1. Hot Body Rub
2. Bright Lit Blue Skies
3. L'estat (acc. to the widow's maid)
4. Fright Night (Nevermore)
5. Round And Round
6. Beverly Kills
7. Butt-House Blondies
8. Little Wig
9. Can't Hear My Eyes
11. Menopause Man
12. Revolution's A Lie$21.99Vinyl LP - Sealed Buy Now
Live In San Francisco 1971Located 40-odd miles west of Detroit, Ann Arbor was a cauldron of social change in the '60s. Radical politics, courtesy of Students for a Democratic Society and John Sinclair's White Panther Party, mixed with a vibrant music scene which featured adventurous acts like Iggy Pop and the Psychedelic Stooges. In the midst of this fervor, local musician George Frayne IV felt the urge to form a country swing/boogie band, of all things. Cobbling together the name Commander Cody and his Lost Planet Airmen from two old sci-fi film serials, Frayne and his compatriots began playing at The Canterbury House and other clubs around town beginning in 1967. After a few years, the band felt the need for a bigger platform prompting a move to San Francisco where they found kindred spirits and many opportunities for live work.
High profile opening gigs and a glowing piece in Rolling Stone led to an opportunity to perform live on KSAN, a pioneer of "Underground FM" radio. Reflecting on the evening, the Commander said, "We had a great time, and anyone could see there was something really going on here-and that was probably why that was the most honest of all our recordings." Recorded in one of KSAN's offices direct to quarter inch tape, it captures a brilliant performance from the band despite the Bayside bacchanal that was happening around them. And what a band! The Commander's pumping piano racing alongside Bill Kirchen's Joe-Maphis-on-steroids guitar led the rest of the band through a set of originals mixed with classic songs from their club days. Working from the original analog tapes, Sundazed has painstakingly mastered this historic performance.1. Lost in the Ozone
2. Faded Love
3. Seeds and Stems Again
4. Smoke! Smoke! Smoke!
5. Wine Do Yer Stuff
6. 9 Below Zero
7. Midnight Shift
8. Hot Rod Lincoln
9. Git It
10. Gone, Gone, Gone
11. Home In My Hand
12. I Ain't Got Nothin But Time
13. Blues Stay Away From Me
14. Sea Cruise$24.99180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
Flow MotionOut Of Print For Over 30 Years
Can was founded in 1968 by Irmin Schmidt, Holger
Czukay, Michael Karoli and Jaki Liebezeit who formed
a group which would utilize and transcend all boundaries of
ethnic, electronic experimental and modern classical music.
Flow Motion is the eighth Can studio album. It features the
UK hit single "I Want More". The success of "I Want More"
led to an appearance on Top of the Pops. Flow Motion
was mixed using binaural stereo, a method of recording
sound that uses two microphones, arranged with the intent
to create a 3-D stereo sound sensation for the listener of
actually being in the room with the performers or instruments.
The band's powerful influence has never diminished, and
their indelible mark is apparent in the bands who freely
acknowledge their importance - from Portishead, James
Murphy, New Order, Factory Floor, Public Image Ltd,
Mogwai, Kanye West (who sampled 'Sing Swan Song') and
Radiohead - as well as across other disciplines such as visual
art and literature.1. I Want More
2. Cascade Waltz
3. Laugh Till You Cry, Live Till You Die
4. ... And More
5. Babylonian Pearl
6. Smoke (E.F.S. No. 59)
7. Flow Motion$20.99Vinyl LP - Sealed Buy Now
WaterfallIt's safe to say since his emergence at the tail end of 2011 Evian Christ, aka Joshua Leary, has had a whirlwind two years. Off the back of his breakthrough mixtape "Kings And Them" which came out on Tri Angle Records in February 2012, the 24 year old, Ellesmere Port, UK native has produced on Kanye West's "Yeezus", collaborated with acclaimed conceptual artist Matthew Barney, released the notably abstract sound-piece Duga-3, performed around the world alongside the likes of Purity Ring, Actress and Four Tet and garnering positive reviews and features in global tastemaker press including Details Magazine, Dazed & Confused, Pitchfork and VIBE amongst many others.
Most notably, Evian Christ has signed a publishing deal with DONDA, run by Kanye West, where he will continue with his work as a producer.
His latest EP "Waterfall" finds Evian Christ exhibiting a creative restlessness that continues to make it harder to pigeonhole this young, evolving artist. On "Kings And Them" Evian Christ conjured up a sound that was influenced by hip hop as it much as it was by more ambient forms of music. On "Waterfall" Evian Christ has taken his unique sound into a far noisier and more aggressive territory.
The lead track from "Waterfall", the hip hop laced 'Salt Carousel' may open the record with the sort of dreamlike serenity that typified the vast majority of Kings, but it's really the quiet before the storm as harsher, more abrasive elements rush in and dominate. On 'Fuck Idol' huge walls of digital distortion clash with code red beats that grow more and more frantic as the track progresses, while the title track is a blast of metallic dancehall dread that mutates multiple times over the space of 4 minutes into something truly epic.
Having spent the past year experimenting and challenging himself, and in refusing to simply duplicate a sound that garnered him so much attention to begin with and led one of, if the not, the world's biggest hip hop artists to seek him out, "Waterfall" finds Evian Christ growing in confidence as a producer and continuing to elude any sort of easy categorization.
Recorded partially in his hometown of Ellesmere Port and partially in New York, "Waterfall" was mixed by Noah Rubin (Pusha T, Wu Tang Clan) and mastered by Heba Kedry (The Mars Volta, Liturgy, Fis). Track 2, 'Propeller', contains a sample of 'Nine' by close friend and affiliate producer, Lukid.1. Salt Carousel
2. Fuck Idol
$14.99Vinyl LP - Sealed Buy Now
Sun MarqueeSpiritual odysseys are often the subject of the stories we share with one
another. The romantic idea of the soul's high adventure has been the
consistently compelling backbone of everything from ancient myths to
modern fiction. It's so deeply ingrained in cultures throughout the world
that it's become part of our collective cultural baggage. Austin-based
musician Abram Shook has done his share of wandering the world,
searching for a spiritual and a literal home. From road trips through
South America to surfing excursions in Indonesia, he's been fortunate to
have the opportunity to absorb more of the world's cultures first-hand
than many of us ever will.
After leaving Santa Cruz, California where he grew up and studied jazz,
Shook spent several years in Portland and Boston playing in numerous
bands, and wrestling with an unsettled spirit. Turning to traveling as a
means to quell his existential dread, eventually landed him in Austin, TX,
where he's been part of the city's rich creative community for over 8
years. Though the music community in Austin is no substitute for the
briny air and patient West Coast beaches he still longs for, its vitality and
creativity still manage to nourish the soul.
Abram Shook's solo debut, Sun Marquee breathes with the lungs of a man
that finally found a new place to call home, while also reflecting upon the
circuitous path that led him here. Propelled by Shook's impeccable bass
groove, and inspired by artists like Shuggie Otis, Serge Gainsbourge, and
Tom ZÉ, Sun Marquee distills lessons learned and questions unanswered
into an accessible collection of pop songs.1. Recovery
2. In Mind
9. Black Submarine$17.99Vinyl LP - Sealed Buy Now
Center Stage (200 Gram Vinyl)200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Lowell Graham Conducts The National Symphonic Winds
Recorded To 2-Track, Half-Inch 30 Inch-Per-Second Tape Via Modified Studer Tape Deck
Selections From The Stage, Screen And Olympic Fanfare
New from Wilson Audiophile Recordings, Center Stage, featuring Lowell Graham conducting the National Symphonic Winds
These recordings were made in a historic concert hall on the campus of Hampton University in Hampton Roads, Va. The history of the hall parallels somewhat New York's Carnegie Hall. The musicians in the National Symphonic Winds come from the premier military bands of the United States as well as the Virginia Symphony Orchestra. The result was a superb mix of seasoned and assured professionals for this single, five-hour recording session.
Lowell Graham, a graduate of the University of Northern Colorado, was also the first to be awarded the Doctor of Musical Arts degree in orchestral conducting from the Catholic University of America. He has led orchestras and bands in performances throughout the world, and he's the current conductor and commander of the United States Air Force Tactical Air Command Band.
Recorded with minimal miking (Sennheiser), directly to 2-track half-inch, 30 ips tape using arguably the finest 2-track analog recorder in the world - the Wilson Ultramaster - a highly-modified Studer tape deck with custom-designed electronics designed by John Curl. To accomplish this difficult, time pressure recording, the recording engineering skills of the renowned Bruce Leek were employed.
The extreme dynamic range of the music remains intact as well as the soundstage and timbre of the ensemble remaining completely natural. There is no added enhancement to the concert hall's natural reverberation. When raising the volume, be careful as these real world dynamics can be harmful to playback equipment if care is not taken.
The musical repertoire was chosen to be user-friendly, vivid, colorful and impactful. Selections from Tony-winning stage classics Barnum, West Side Story and Oklahoma are joined by compositions from John Williams, including Olympic Fanfare composed for the 1984 Olympic Games. Selections from the Walt Disney favorite Mary Poppins include Spoonful of Sugar, Chim Chim Cheree and more. These significant recordings hold a distinctive place in the audio and musical world.
This title is not eligible for discount.1. Olympic Fanfare, Bugler's Dream
2. The Cowboys (arr. J. Curnow for wind ensemble)
3. Oklahoma! (excerpts) (arr. W. Barker for wind ensemble)
4. Barnum (excerpts) (arr. B. Lowden for wind ensemble)
5. Mary Poppins (excerpts) (arr. I. Kostal and A. Reed for wind ensemble)
6. West Side Story (excerpts) (arr. W.J. Duthoit for wind band)$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-DEU-0118xJarvis Cocker & Chilly Gonzales
Room 29Compelling new Deutsche Grammophon album Room 29, a unique collaboration between Jarvis Cocker and Chilly Gonzales, asks what the ghosts of Hollywood's golden age can tell us about how we came to be where we are today.
Standing at the west end of Hollywood's Sunset Boulevard, the Chateau Marmont hotel has seen many a famous and infamous guest pass through its doors since it opened in 1929. A 2012 stay in one of its second-floor rooms inspired British lyricist and singer Jarvis Cocker to look into its history and led to this collaborative project with multi-faceted Canadian pianist and composer Chilly Gonzales. Room 29, a 21st-century song cycle, is set for release on Deutsche Grammophon Gonzales' score and Cocker's lyrics conjure up the lives of some of Room 29's previous occupants, as well as shining a light on the glittering fantasy and often bleak reality of Hollywood.
"If you must get in trouble, do it at the Chateau Marmont," noted Harry Cohn, founder of Columbia Pictures, in 1939. Jarvis Cocker was intrigued by the hotel's links to the history of the film industry. He found the key to creativity in the fact that Room 29 contained a baby-grand piano. What if it could "sing" of the life stories and events it had witnessed? The idea also ignited Chilly Gonzales's imagination, and both artists embarked on a three-year journey of artistic discovery, unearthing details about guests such as Jean Harlow, Mark Twain's daughter Clara, and Los Angeles mobster Meyer Cohen, alias "Mickey the Haberdasher". As well as dramatizing some of those stories, their songs capture both the essential loneliness of the hotel room and the ways in which moving images have "moved" people in ways they don't quite understand. Gonzales and Cocker have drawn on the 19th-century model of the song cycle for a structure capable of containing the broad sweep of emotions and states of mind elicited by the real and imaginary dramas of one unusual hotel suite. Room 29 emerges as the metaphor for a place within each of us, home to our deepest desires and fantasies.
Since moving to Germany in the late 1990s, Chilly Gonzales has pursued a breathtaking range of musical projects, spanning everything from rap and experimental rock to hip hop and Satie-inspired minimalism. The classically trained pianist collaborated with the Kaiser Quartett on his last solo album, Chambers, attracting critical acclaim to its neo-Romantic reflections on chamber music in the age of pop. The Hamburg-based string quartet plays a prominent part in Room 29, providing a sonorous tonal complement to Gonzales' piano writing and accompanying Jarvis Cocker's vocals. Lead singer and primary lyricist of Pulp for over 30 years, on and off, Cocker has also released two solo albums, and developed a successful broadcasting career, presenting both Jarvis Cocker's Sunday Service on BBC Radio 6 Music and BBC Radio 4's Wireless Nights.1. Room 29
2. Marmont Overture
4. Interlude 1 - Hotel Stationery
7. Belle Boy
8. Howard Hughes Under the Microscope
10. Interlude 2 - 5 Hours a Day
11. Daddy, You're Not Watching Me
12. The Other Side
13. The Tearjerker Returns
14. A Trick of the Light
15. Room 29 (Reprise)
16. Ice Cream As Main Course$24.99Vinyl LP - Sealed Buy Now
Lukas Nelson & Promise Of The Real (Awaiting Repress)Since their formation as teenagers 10 years ago, Lukas Nelson & Promise of the Real have quietly developed into one of America's most dazzling new live acts, playing hundreds of shows and major festivals all over the world, attracting a deeply devoted underground following.
Still, with a bounty of invaluable experience under their belts, nothing foretold the artistic leap of Lukas Nelson & Promise of the Real their new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work of cosmic country soul set for release via Fantasy Records.
Recorded at The Village Studios in West Los Angeles Lukas Nelson & Promise of the Real was produced by John Alagia (Dave Matthews Band, John Mayer) and features the band's new six-piece line-up: Lukas Nelson (guitar, vocals), Tato Melgar (percussion), Anthony LoGerfo (drums), Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, B3). Jess Wolfe and Holly Lessig of the indie-pop group Lucius contribute background vocals on five tracks evoking Exile on Main St.'s ecstatic, gospel-rooted harmonies, and Lady Gaga added stirring background vocals to Carolina and Find Yourself. Elsewhere, the lilting, Glen Campbell inspired gem, Just Outside of Austin features a guitar solo from Lukas' dad, country music icon Willie Nelson, and piano from his 86-year-old Aunt Bobbi.
The new album includes 12 Lukas Nelson originals that draw on his country and rock lineage including literate Texas songsmiths like his father and 'uncles' Kris Kristofferson and Waylon Jennings, along with the enduring influence of J.J. Cale, The Band, Clapton-era Delaney & Bonnie and of course, his mentor Neil Young.
Young, an essential member of the POTR family, met the band after he caught them at Farm Aid several years back. Neil got in touch after that, and we started talking by email, Lukas recounts. Eventually, he asked us to record with him. We fell in love with each other musically, one thing led to another and we became Neil's band.
I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country, Lukas says of his vision for the album. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil's been mentoring us, and we've been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. I wanted to get the songs as pure as they could be. We've grown.
Set Me Down on a Cloud, the soulful, country-rock epic that opens the album features Lucious' angelic background vocals and Lukas' lovely, lyrical guitar solo as the band stretches out behind him. Forget About Georgia unfolds to a Layla-like outpouring of yearning, as it vividly retraces the turbulent, bittersweet final stages of a doomed love affair. Lukas delivers a full-throttle vocal on the closing track, If I Started Over, a Roy Orbison-inspired rumination of tender devotion. The R&B grind of Find Yourself is a particular triumph as Lukas and Lady Gaga weave an impassioned, romantic ultimatum.1. Set Me Down On A Cloud
2. Die Alone
3. Fool Me Once
4. Just Outside Of Austin
6. Runnin' Shine
7. Find Yourself
8. Four Letter Word
9. High Times
10. Breath Of My Baby
11. Forget About Georgia
12. If I Started Over$34.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
We Need Medicine (Awaiting Repress)After a 5-year release hiatus, The Fratellis are back with a new album 'We Need Medicine' in 2013 released through BMG Records.
Glasgow based The Fratellis released their first album 'Costello Music' in 2006 which charted at #2 in the UK Album Chart with over 1million sales and received much critical acclaim, with the band winning the 'Best British Breakthrough Act' award at the 2007 BRIT Awards. They followed this with the release of their second album 'Here We Stand' in 2008 which won them 'Best British Band' at the 33rd Silver Clef Awards that year.
The Fratellis third album 'We Need Medicine', recorded in Glasgow's West End and produced by Jon Fratelli and Stuart McCredie, who also mixed the record, is an 11-track record of bluesy rock anthems. New single 'Seven Nights Seven Days' is a rousing anthem with a classic Fratellis chorus backed by country guitars, while the title track is a gravelly, piano-led blues song that you can't help but sing along to and is sure to be a live favourite.1. Halloween Blues
2. This Old Ghost Town
3. She's Not Gone Yet But She's Leaving
4. Seven Nights Seven Days
5. Shotgun Shoes
6. Whisky Saga
7. This Is Not The End Of The World
8. Jeannie Nitro
9. We Need Medicine
10. Rock N Roll Will Break Your Heart
11. Until She Saves My Soul$20.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
180 Gram Audiophile Vinyl
Includes 4-Page Booklet
Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.
The original Japanese booklet is included in this vinyl package.LP 1
1. Black Beauty Part I
2. Black Beauty Part II
1. Black Beauty Part III
2. Black Beauty Part IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Flying Club CupSince its release in May of 2006, Beirut's internationally celebrated Gulag Orkestar album has soundscanned more than 45,000 copies, and the band has done a tsunami of interviews, photoshoots and features (including NY Times, Spin, Pitchfork, Urb, and Village Voice). This great fervor developed around an album conceived and constructed in a teenager's New Mexico bedroom.
Six months of recording has led to The Flying Club Cup, an homage to France's culture, fashion, history, and music. Two years ago, Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensembleoand moved west. Soaking up the likes of Francois Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith), Condon has been articulating his conversational French.
Most of the album was created at a nondescript Albuquerque office space, a.k.a. A Hawk and a Hacksaw's practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag's largely solo flight.The orkestar, which has solidified into a core group of eight members, has grand plans for replicating the album live, and is now an integral part of Beirut's identity. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire.
Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent of Mr. Zachary F. Condon, at present living in Paris-- unbounded by cultural borders and by where his heart travels.
A September-October '07 tour of nice theaters in large U.S. cities is in the planning stages, as are more dates in 2008.
Experience a special series of new Beirut videos at http://flyingclubcup.com
A Call To Arms
A Sunday Smile
Forks And Knives (La Fete)
In The Mausoluem
Un Dernier Verre (Pour La Route)
The Flying Club Cup
Untitled$18.99Vinyl LP - Sealed Buy Now
Crooked TeethPapa Roach has never taken the easy way out and they aren't going to start now. Over the past two decades the group have established themselves as true trendsetters in heavy music: They've been nominated for two Grammys, toured the globe with everyone from Eminem to Marilyn Manson and crafted the nÜ metal anthem "Last Resort," which is still in heavy rotation on rock radio seventeen years after its release. However, the group's tenth full-length Crooked Teeth sees the band returning to their humble-and hungry-roots. The album was recorded in a cramped West Hollywood studio with up-and-coming producers Nicholas "RAS" Furlong and Colin Brittain, who grew up listening to Papa Roach and inspired them to revisit some of the traits that personally endeared the band to them, most notably frontman Jacoby Shaddix's remarkable rapping technique.
"We've always kind of considered ourselves to be the bastard cousins of everything we've every been involved with so we wanted to be true to that and switch things up this time around," Shaddix says. "The first time we met up with RAS and Colin, they said that [2000's] Infest was on constant rotation when they were growing up and they wanted to bring back some of that fire." The connection between the artists and producers was immediate and the first song Papa Roach-which also features guitarist Jerry Horton, bassist Tobin Esperance, and drummer Tony Palermo-came up with for Crooked Teeth was "My Medication," an instantly catchy banger that sees Shaddix spitting verses in between massive choruses and ambient accents. "I really felt like we had a personal connection and the music was just there waiting to be written and once we nailed that song things really clicked and we knew exactly what we had to do" Furlong explains. "We really followed our instincts and tried something unproven with this record and because of that we ended up with a bold, courageous and more adventurous version of Papa Roach." It was in this studio that "old school" Papa Roach ways, morphed to create this "new school" Papa Roach sound.
From the instantly infectious nature of the title track to the atmospheric sheen of the ballad "Periscope" (which features Skylar Grey) and the hip-hop rock mashup "Sunrise Trailer Park" (which features an impassioned verse from Machine Gun Kelly). Crooked Teeth displays the various sides of Papa Roach and illustrates why they've managed to remain relevant while musical trends ebb and flow. "We didn't go into this album with the intention of trying to write radio singles," Horton explains. "The collection of songs was really about bookending everything that we've done prior to this album and reintroducing Papa Roach to people who didn't realize the depth that we have," says Palermo. "The whole idea was to take the classic elements of Papa Roach that everyone loved and revamp them into a modern version of the sound through the creative process," adds Furlong. "We just wanted to flip everything on its head and see what would happen and it turned out more amazing than any of us could have expected."
"The people who have wanted to hear me rap for years are gonna love some of the viscousness on this record," Shaddix explains adding that while he had his own initial reservations about some of the album's more unorthodox moments - such as the 808 bass drop into a metal breakdown on the album title track, "Crooked Teeth" - ultimately those adventurous decisions are what make the album such a refreshing change of pace in a rock climate that's grown increasingly sterile. "I'd like to personally thank all of the guys in the band for making this happen because all it takes is one person to give you a shot and this was definitely mine," Furlong adds. "I want to be one of the best producers in modern day music so I wanted to work as hard for these guys as they would for themselves because as a producer it was my job to push them to get the kind of quality work everyone has been expecting."
Just as Papa Roach felt like they still had something to prove with this record, so did the production team who attempted to bring in elements of music from different genres and parts of the world while still staying true to Papa Roach's sound. "One of the big elements in my production is finding those pockets of rhythm that people associate more with rap or reggae," Furlong explains, a fact that came in especially handy when Shaddix was fine-tuning his freestyle skills. "I know rap rhythms because I grew up listening to hip-hop, so I was able to make sure that the delivery was on point and the beat was in the pocket so it didn't suffer from a lot of the stylistic pitfalls that can happen when you merge rock and rap."
Crooked Teeth also sees Shaddix pulling no punches lyrically, as evidenced on intensely personal tracks like "Born For Greatness," produced by Jason Evigan (Jason Derulo, Demi Lovato, Kehlani, Madonna), which sees Shaddix getting sentimental about his three children, or "American Dream" where the lifelong pacifist begs the listener to ask, "have you ever thought war was a sickness?" "My father is a Vietnam veteran and a lot of those soldiers came back to a country where people weren't accepting them back into society or aware of the effects that war has on your psyche," Shaddix says of the song." "Post-traumatic stress disorder and the disintegration of the American family are things I've dealt with personally and I knew other people could relate to. I think that's what makes this record bold. Nothing was off limits when it came to what was on my mind."
Never one to shy away from difficult topics, Papa Roach dug deep with Crooked Teeth and refused to censor themselves when it came to their opinion of the current political landscape and organized religion. For example, on "None Of The Above," every ounce of musical intensity on the album is mirrored by Shaddix's words whether he's screaming, singing or rhyming. "It took me a long time, but eventually I realized that in life we're all human and we all make mistakes whether you're the president or the preacher, you know?" Shaddix explains when asked about the latter song. "It's an example of how I can get lost in a storyline and explore so many different issues in one track and that's what I love about this record. Just the spark of an idea would instantly ignite and the next thing we knew we had another song that we all loved."
In many ways making Crooked Teeth reminded Shaddix of the band's early days, well before they sold millions of albums and became a household name. "When we were in the rehearsal space I wasn't thinking about who I needed to impress, I was thinking about how much I love making music with the guys in this band," Shaddix admits. "It feels honest and it feels pure," adds Esperance. Fittingly, throughout the process, Shaddix gained inspiration from bands like Led Zeppelin and Faith No More, acts who constantly redefined themselves and were never content to rest on the merits of a hit single." This band encompasses some of my greatest victories, but it's also brought out some of my darkest character flaws," Shaddix summarizes, "so I have kind of a love-hate relationship with this music, but I can't stop because I've got too much of my life invested in it at this point. We are a purpose-driven band and I've got a responsibility to myself and our fans to continue to create."1. Break The Fall
2. Crooked Teeth
3. My Medication
4. Born For Greatness
5. American Dreams
8. Sunrise Trailer Park
10. None Of The Above$19.99Vinyl LP - Sealed Buy Now
Cloven HoofIncludes A Full-Color Insert Featuring Several Previously-Unpublished Photos From The Original 1983 Album Photo Shoot As Well As Full Lyrics
Extensive Liner Notes By Bassist And Founding Member, Lee Payne
Album Has Been Restored From Original Masters And Remastered By Anders Peterson @ GS Mastering & Post, Sweden
For the first time since its original release in 1984, Wax Maniax is very proud to bring the essential debut album from NWOBHM cult-metal legends CLOVEN HOOF back to vinyl!
Originally formed in the heart of the industrial West Midlands, England in 1979, CLOVEN HOOF went through various line up changes until Spring 1982 when the band line up consisted of Lee Payne bass guitar, David Potter vocals, Steve Rounds lead guitar and Kevin Pountney drums. The band's first demo tape was given the thumbs up from no lesser than Robert Plant (Led Zeppelin) who took a copy of the tape into national Radio One, and Rob Halford (Judas Priest) who got it played on a radio station in Phoenix, Arizona. The band self-released "The Opening Ritual", a four track mini album in July of 1982, and the EP stayed in the "Sounds" and "Kerrang!" heavy metal charts for six weeks peaking at number 18. Articles in "Kerrang!" and "Noise" magazine were followed by renkown Sounds writer and Kerrang! Magazine founder Geoff Barton putting the band atop his prestigious "Breaking through in '82" feature and play list.
"The Opening Ritual" attained extensive radio air play worldwide but it wasn't until Tommy Vance played tracks off the EP on his legendary "Friday Rock Show" program on Radio One in the UK that interest in Cloven Hoof began to soar. 1983 saw Cloven Hoof touring throughout the United Kingdom, earning themselves a sizeable underground cult following. Soon afterwards the group were taken under the wing of ex-Judas Priest manager David Hemmings and an offer to sign the band from CBS Records soon followed.
Personality conflicts within the band, followed by the untimely death of manager David Hemmings put a strain on relations with CBS and the offer was withdrawn. In order to keep the momentum built by the band's live appearances and radio play going, the band instead looked to leading UK independent heavy metal label Neat Records where a deal was quickly struck. The band entered the label's Impulse Studio with reknown producer Keith Nichol (Venom, Satan, Raven, etc..) to record their self-titled debut album which was met with great adulation by the heavy metal press. Shortly thereafter, frontman Dave Potter left the band to join French metal unit "H-Bomb". Cloven Hoof soldiered on, releasing a live album in 1986 with new frontman Rob Kendrick (Trapeze, Budgie) followed by a second studio album in 1988 featuring an all-new lineup including Russ North of post-Budgie group Tredegar on vocals. Three more full-length studio albums would follow, the most recent released in 2014. The band continues to soldier on to this day with Lee Payne at the helm, enjoying a strong cult following both young and old, ushered in by the internet age that has seen their 1984 debut album topping lists of the best and most influential heavy metal albums of all time.1. Cloven Hoof
3. March of the Damned
4. The Gates of Gehenna
5. Crack the Whip
6. Laying Down the Law
7. Return of the Passover$22.99Vinyl LP - Sealed Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now