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  • Let Me Fly Let Me Fly Quick View

    $21.99
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    Let Me Fly

    Mike + The Mechanics are Mike Rutherford, Andrew Roachford, Tim Howar, Gary Wallis, Luke Juby and Anthony Drennan. 'Let Me Fly' is the 8th studio album from the band and returns to the early Mechanics sound.
    1. Let Me Fly
    2. Are You Ready
    3. Wonder
    4. The Best Is Yet To Come
    5. Save The World
    6. Don't Know What Came Over Me
    7. High Life
    8. The Letter
    9. Not Out Of Love
    10. Love Left Over
    11. I'll Be There For You
    12. Save My Soul
    Mike + The Mechanics
    $21.99
    Vinyl LP - Sealed Buy Now
  • Let Me Get By Let Me Get By Quick View

    $34.99
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    Let Me Get By

    Let Me Get By features ten new, original songs that together stand as a testament to the hard work, independent spirit, and full-on commitment of the entire Tedeschi Trucks Band. The album's artwork-a Mongolian golden eagle caught a moment after flying from its handler's glove-and even the album title itself reflect the sense of total dedication that serves as the driving force behind TTB.


    Some songs you may have heard on stage in 2015, and some others that were deliberately held back for this occasion. Susan's vocals and Derek's guitar soar, tumble and glide through each song, as powerful as ever, even in the album's most understated moments. --tedeschitrucksband

    1. Anyhow
    2. Laugh About It
    3. Don't Know What It Means
    4. Right On Time
    5. Let Me Get By
    6. Just As Strange
    7. Crying Over You
    8. Hear
    9. I Want More
    10. In Every Heart
    Tedeschi Trucks Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Hits The Hits Quick View

    $32.99
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    The Hits


    First Time 180 Gram Translucent Blue Vinyl & Gatefold Cover!


    Mastered Impeccably By Joe Reagoso & Pressed At R.T.I.


    Features All Of Their Biggest Epic Records Era Hits


    REO Speedwagon have been a favorite rock band of choice in the hearts and minds of classic rock music lovers for many years now. Led by the dynamic vocalist and front man Kevin Cronin, this powerful quintet hit the top of the charts many times with their mega-times platinum albums and hit singles that Epic Records awarded them with their first Greatest Hits collection simply titled THE HITS!


    As time has been good to them, the album firmly places them as one of the industry's most popular acts of all time. Jam packed with smash hit singles and unforgettable album tracks, THE HITS kept REO Speedwagon all over the radio dial and packing in concert arenas ever since.


    Who could ever forget the amazing rockers like Don't Let Him Go, Time For Me To Fly and Keep Pushin', plus the solid power ballads like Take It On The Run, and of course the super sounds of Keep On Loving You and Can't Fight This Feeling. This album was such a smash, some radio stations could even play it in its entirety due to the amazing number of chart topping songs it contained.


    Friday Music once again brings back the definitive classic rock albums with our latest home run by REO Speedwagon. Mastered impeccably by Joe Reagoso (REO/STYX/ALICE COOPER), this special Anniversary Edition is pressed on 180 gram audiophile translucent blue vinyl by RTI. We are also presenting this limited edition album in a first time gatefold cover, which features photos and original liner notes to this incredibly popular rock album.


    REO Speedwagon...THE HITS... a once in a lifetime album, impeccably mastered for the audiophile rocker in all of us... from your friends at Friday Music. ROCK ON!

    1. I Don't Want To Lose You
    2. Here With Me
    3. Roll With The Changes
    4. Keep On Loving You
    5. That Ain't Love
    6. Take It On The Run
    7. Don't Let Him Go
    8. Can't Fight This Feeling
    9. Keep Pushin'
    10. In My Dreams
    11. Time For Me To Fly
    12. Ridin' The Storm Out (Live)
    REO Speedwagon
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Power In The Blood Power In The Blood Quick View

    $20.99
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    Power In The Blood

    With Power in the Blood, Alabama 3 may have finally gotten everything right.
    Power in the Blood takes the best bits of both previous releases, resulting in their best album yet. It's still as slickly produced as the best dance music... but they manage to infuse their electronics with genuine heart and soul - they may be the first dance act that would sound just as good unplugged. Best of all, they manage to combine guitars and drum machines with catchy anti-establishment songs while never fully lapsing into the dubious realm of Chumbawamba, which is why it's perfectly acceptable to dance along to the banjos and fiddle on standout track Woody Guthrie, even if it does boast a chorus that says Don't need no country / Don't fly no flag / Cut no slack for the Union Jack / Stars and Stripes have got me jetlagged. The lyric Mommas don't let your babies grow up to be DJs (on the superbly-titled The Devil Went Down to Ibiza) is alone worth the price of admission
    1. Two Heads
    2. Power In The Blood
    3. Reachin' (feat. Val Harrison)
    4. Woody Guthrie
    5. Year Zero (feat. Lisa Billson)
    6. The Devil Went Down To Ibiza
    7. Strobe Life
    8. R.E.H.A.B. (feat. Nick Tosches)
    9. The Moon Has Lost The Sun (feat. Hubert Selby Jnr)
    10. Let The Caged Bird Sing
    11. Yellow Rose
    12. Bullet Proof (feat. Siobahn Parr and B Atwell)
    13. Badlands
    14. Lord Have Mercy (feat. Michael Groce)
    15. Come On Home
    Alabama 3
    $20.99
    Vinyl LP - Sealed Buy Now
  • Live At The Cellar Door Live At The Cellar Door Quick View

    $24.99
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    Live At The Cellar Door


    Mastered By Chris Bellman At Bernie Grundman Mastering And Pressed At Pallas In Germany


    Neil Young will release Live At The Cellar Door, the latest in his Archives Performance Series, on Reprise Records. The album collects recordings made during Young's intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.


    The album, which features Young performing on acoustic guitar and piano, includes tracks that are interesting for several reasons, such as stunning live versions of songs that appeared on After The Gold Rush (Tell Me Why, Only Love Can Break Your Heart, Birds, Don't Let It Bring You Down and the title track) and solo performances of the Buffalo Springfield songs Expecting To Fly (from their 1967 second album Buffalo Springfield Again), I Am A Child (from their third and final album Last Time Around and Young's 1977 Decade compilation), and Flying On The Ground Is Wrong, from their 1966 self-titled debut.


    In addition, Live At The Cellar Door features early, raw performances of songs that wouldn't appear until subsequent Young albums, including the rarity Bad Fog Of Loneliness (which appears on Live At Massey Hall '71 - released in 2007-but was previously unreleased until the studio band version was included on Archives Vol. 1 1963-1972), Old Man (released two years later on 1972's Harvest album), a rare solo performance of Cinnamon Girl on piano (the full band version appears on Young's 1969 second solo album Everybody Knows This Is Nowhere), and Down By The River, also from Everybody Knows This Is Nowhere.


    Live At The Cellar Door was recorded by Henry Lewy and produced by Young.

    1. Tell Me Why
    2. Only Love Can Break Your Heart
    3. After the Gold Rush
    4. Expecting To Fly
    5. Bad Fog of Loneliness
    6. Old Man
    7. Birds
    8. Don't Let It Bring You Down
    9. See the Sky About to Rain
    10. Cinnamon Girl
    11. I Am A Child
    12. Down By the River
    13. Flying On The Ground Is Wrong
    Neil Young
    $24.99
    180 Gram Audiophile Classic Vinyl LP - Sealed Buy Now
  • Over And Even Over And Even Quick View

    $17.99
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    Over And Even

    Joan Shelly's new album, Over And Even, was written in the back of an abandoned beauty parlor on the island of Thessaloniki. The whole thing had something to do with Vashti Bunyan. That's what Joan told me, but Joan Shelley is a poet, so she makes things up. In a small, dark room that smells of expired hair-do chemicals, there is talk of hypnosis. All the windows are blacked out. Look into my eyes. White walls are blinding in the ancient sunlight. A bowl of oranges shines like solid gold, waiting for you. There is a small classical guitar, a sunburn, and a key that turns a lock, and songs come pouring out. Maybe the Greek deal was really about Leonard Cohen. That's Joanie's jam: songs wide open enough to let the wind blow the curtains around, and solid enough to hang a ton of heartache on. She writes smart, beautiful songs full of poetry, history, mystery and nature. Like all the best sad songs, they will make you cry. Then they will drag you outside and leave you flat on your back, staring up at the stars. Joan lands on a note like a laser beam on a diamond. Colors fly around the room, and her voice bends between them. People say her voice reminds them of Sandy Denny. It's more than the vocal range. It's a quiet power that draws you in. Maybe Over And Even wasn't written last winter on a Greek island. Maybe these songs were written a hundred years ago in a farmhouse somewhere in Kentucky. That's where Joan is from, and that's where she and guitar player Nathan Salsburg recorded all the basic tracks live. All the people who played on Joan's new record -- and Daniel Martin Moore who recorded and engineered it -- are friends. That comes through somehow in the sound of the album. Will Oldham and Glen Dettinger are genius harmony singers. They leave the perfect amount of space for microscopic shifts in Joan's voice, without sacrificing their own awesome idiosyncrasies. Nathan Salsburg's guitar follows every twist of the melody. When the song breaks your heart in two, Nathan is there with a high E-string to sew it back together. Joan Shelley's voice flows out like a river. It never travels in a straight line. It follows bends and curves carved by history. We are all lucky just to be swept away, and go with her wherever she's going. But it's not over by half There's a gold in your eyes blooming out through the black And you're still standing, your hand on the map No its not over, not over by half the end.
    1. Brighter Than The Blues
    2. Stay On My Sure
    3. Over and Even
    4. Not Over By Half
    5. Ariadne's Gone
    6. No More Shelter
    7. Easy Now
    8. Lure and Line
    9. Jenny Come In
    10. Wine And Honey
    11. My Only Trouble
    12. Subtle Love
    Joan Shelley
    $17.99
    Vinyl LP - Sealed Buy Now
  • Drunk Is The New Sober/Stupid Is The New Dumb Drunk Is The New Sober/Stupid Is The New Dumb Quick View

    $24.99
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    Drunk Is The New Sober/Stupid Is The New Dumb

    Drunk Is The New Sober and Stupid Is The New Dumb are the twin subtitles of Drunk & Stupid, Dots Will Echo's debut album on Asthmatic Kitty, but those aren't just arch witticisms, they encapsulate the apparent contradictions that power the New Jersey duo's music. The warmly weird world created by multi-instrumentalist Nick Berry and drummer Kurt Biroc seems simultaneously sacred and profane, edgy and accessible, sad and transcendently silly. What else would you expect from a group that describes itself as "dour moralizers and drunken assholes" and identifies its key influences as "A little bit The Incredible String Band, a little bit AC/DC?"



    "I can see the carnival lights from here," sings Berry in a half-crazed, half-elated tone at the beginning of the opening track, "I Like It," sounding like either a psychotic infatuated with his own attractive fantasy world or a genius inventor marveling at the luminous landscape he's created. It's up to the listener to decide which, but either way it's 100% Dots Will Echo.



    Everything on Drunk & Stupid was played by Berry and Biroc, with the basic tracks recorded in a single marathon, three-day session. "I meant this to be a very raw recording, capturing the way we sound live," says Berry, who plays everything from guitars and keyboards to Autoharp, glockenspiel, and Andean charango over the course of the album, as he and Biroc build their own beautifully ramshackle universe from the ground up before your very ears.



    "A poorly played violin can sound better than a well played piano," says Berry half-jokingly of the organic, offhand feel of the tracks. From the first moment, Drunk & Stupid makes the listener a fly on the wall for a day in the life of Dots Will Echo, with snatches of goofy studio chatter interspersed between tunes. The bit that leads into the crooked campfire singalong "I'm a Monkey" is particularly telling, as Berry spontaneously announces, "I want to try a song I dreamt the other night," Biroc disapprovingly asks, "In the studio?" and Berry blithely counters, "Yeah, why not?"



    In fact, Berry dreams a large percentage of his songs. "Some are stupid, but I let 'em fly anyway," he says self-deprecatingly, "but the really stupid ones, nobody's ever gonna hear." By the time they enter our waking world, Berry's tunes bear trace elements of psychedelia, power pop, field-recording folk, DIY post-punk, and tantalizingly trashy garage rock (the duo does in fact rehearse in Biroc's garage). "What You Tryin' To Do," for instance, comes off like Sister Lovers-era Big Star recording for Harry Smith's Anthology of American Folk Music, while the giddy blastoff of "Rocket Girl" evokes early XTC covered by Guided By Voices, and the fragile, almost-ominous beauty of the hushed, acoustic ballad "Gates of Eden" feels like the greatest song Neil Young never wrote for Galaxie 500.



    The black humor that inhabits an impressive amount of real estate in the Dots Will Echo neighborhood isn't the whistling-through-the-graveyard variety, but rather the kind that finds all of creation to be a bit of a knee-slapper. Like the great writers in every medium, Berry finds the human dilemma a source of endless hilarity, even though you can always hear the big, gently bruised heart beating at the core of every song on Drunk & Stupid. Berry sounds like an amphetamine-fueled tour guide as he walks us through a field of mankind's folly on "Seven Deadly Sins," his loopy lyrics punctuated by Captain Beefheart-esque bursts of six-string cubism.



    Even when things get apocalyptic, as on the minimalist stomp of the cautionary "Shitstorm," Berry exhibits so much obvious glee in announcing the impending arrival of the titular phenomenon that you can't help singing "there's a shitstorm coming" right along with him and bobbing your head randomly to the track's triumphantly spastic anti-groove. The deceptively mellow-sounding anthem of global dystopia "History's Grave" was written in early 2008, but Berry notes, "Since then many of the events mentioned or alluded to have come to pass. This made me feel a little bit like a character in a Stephen King novel."



    At the same time, Drunk & Stupid sports songs like "Be a Friend" and "So Deep the Night," lambent, low-key ballads that balance between bittersweet and unabashedly sentimental without ever turning mawkish. On these tracks, the Lennon-like undertone in Berry's voice rises to the top of the mix, tapping into an almost spiritual vibe and making for some of the most undeniably poignant moments on the album.



    Berry and Biroc, who also work together at the same day job (the drummer is Berry's boss), have been making music together since 2004, hashing out their ideas in Biroc's garage and documenting them in Berry's basement studio. Along the way, they've made unofficial micro-pressings of their work, mostly for passing around to friends and admirers in an ad hoc fashion, but Drunk & Stupid represents the first time the duo's freewheeling work has ever been properly presented to the public at large as a full-on album. With all the material the prolific pair has been stockpiling, they had a huge tally of tunes to haul along with them for this project, and hearing it is a little like stumbling for the first time into a lost world with a long legacy of its own rituals, relics, regalia, and history. But once you wander in, you can't imagine how you ever existed without it.



    Originally meant to be two separate discs (the vinyl version is a double LP with download codes for bonus tracks), Drunk & Stupid is a wild ride that clocks in at just under 80 minutes and boasts 19 songs overflowing with insanely catchy melodies, endearingly off-kilter arrangements, and a strangely satisfying blend of the divine and the absurd." As Berry says, "We try to allow for the will of the universe to have a large part in our music. There must be something sacred in mistakes. This is our explanation for being fuck-ups."


    1. Untitled
    2. I Like It
    3. Untitled II
    4. I'm a Monkey
    5. Shitstorm
    6. Be a Friend
    7. Whatcha Tryin to Do
    8. Rocket Girls
    9. Caroline
    10. Run Away Anna
    11. History's Grave
    12. Sweet Sweet Sanity
    13. Anime
    14. Who Left You Here
    15. The Future
    16. Untitled III
    17. Peace in Your Life
    18. Our Little Part of the World
    19. Untitled IV
    20. Gates of Eden
    21. Visions of Light
    22. Seven Deadly Sins
    23. So Deep the Night
    Dots Will Echo
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fences Fences Quick View

    $20.99
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    Fences

    New Album Produced By John Vanderslice (Spoon, The Mountain Goats, Samantha Crain)


    Mastered By Bernie Grundman (Michael Jackson's Thriller, Dr. Dre's The Chronic, Carole King's Tapestry)


    180-Gram Vinyl Pressed By Quality Record Pressing


    Vinyl Lacquers Were Cut Directly From Analog Tape


    Dear listener,


    Fences is something new for our band Bombadil. It is more than just an album; it is a new path, a reset after several challenging years. The path began in January 2015, when a longtime member of Bombadil unexpectedly left our band. Daniel Michalak and I sat down to discuss our next steps. It was a time for soul searching. A duo of a bassist and drummer did not feel like a band. Moving forward seemed daunting, but we both felt like there was more to say with the band. We wanted to make music. So we began simply by making some. Writing and recording the Still Bombadil EP was fun. A fast and dirty exploration of a creative idea, no room for fiddling, deadline looming. Our last album, Hold On, had not been like that. It had been an ordeal.


    Daniel suggested composing songs using guitar instrumentals our old bandmate Bryan Rahija had written, and of limiting ourselves to a small palette for the next album: guitar, piano, upright bass, harmony vocals. The goal was to make a folk record, something easy to understand, something beautiful. He shared a demo for "Binoculars" and I loved it. It was simple, elegant. We added it to the live set almost immediately. Daniel continued writing, focusing on guitar, harmony, and emotion. The songs inconveniently had no drums (what was I going to play?!). He instead wrote parts for me to sing and we began collaborating on composing tunes with a similar approach. "Fence" was written together at a friends house in Crozet, Virginia to kill time on tour. An old song of mine, "Long Life," was revived and extended. Percussion parts started to show up. Daniel's commitment to songwriting continued to inspire, a new demo was in my inbox almost weekly. Daniel enlisted the help of an old friend and data scientist, Nasir Bhanpuri, to analyze the success of our old catalog of songs and make suggestions to guide our writing and arranging. It was an experiment that pushed us to take the songs further than we might have in the past. In part, we were throwing ideas at the wall to see what would stick, but we were also searching for something new, actively trying to push ourselves to new creative heights.


    We kept the Bombadil ship moving by accepting all shows, searching for more opportunities to play. We found wonderful people to tour in our band. There were good shows. There were bad ones, too. I learned to be a lead singer on the fly and on stage (with the help of an encouraging septuagenarian opera singer). And we kept writing, practicing, and recording. In July 2015, Stacy Harden sent me an email inquiring if we needed a musician. In his audition, he played through songs like he had been in the band all along. He even knew the harmonies. He had grown up a fan of the band, singing along in the car. In October, Stacy and I drove our equipment across the country for a West Coast tour in a four-day sprint and listened to every song the Beatles recorded. His easy-going spirit was infectious, his presence made the band more fun and more inspiring. We had found our man. "What's So Great About You" was the first collaboration between this new trio, and we started to discover what a new version of our band sounded like.


    In January 2016, the three of us left North Carolina for Littleton, Massachusetts to spend several weeks at a friend's farmhouse. We recorded all day long, cooked together, spent our breaks around a roaring wood stove carefully tended to by Daniel. The resulting demo recordings gave us a roadmap to follow. Our label, Ramseur Records, suggested a producer, a departure after self-recording our last three records. John Vanderslice was given the demos and was enthusiastic about the material. He insisted that we listen closely to Paul Simon's first record. He told us the songs needed a sense of danger, that our demos felt like we were being too careful, and that the songs needed more percussion. John is opinionated, talented, and inspirational. And most of all, making the record with him over 12 days in September 2016 at Tiny Telephone in San Francisco was easy. And fun. And fast. We used only analog equipment, recording to tape through high-end vintage equipment. Bryan came to play his guitar parts (which by this point Stacy had learned for live performances of the material). The recordings were all first takes, new ideas were quickly embraced, mistakes were left alone as intention, very little artificial reverb was used but John's concrete echo chamber was used extensively. We hoped to catch lightning in a bottle and I think that we did.


    To me, Fences represents the journey of the last two years. It is the discovery of a group voice, the willingness to explore collaboration between old friends, and an openness to let new voices into the fold. It is something I am proud to have been a part of and am excited to share with the world. To me, it is an example of the power and positivity of collaboration, of a group of human beings working diligently on a shared vision. If nothing else, I can say that we tried as hard as we possibly could. I can't wait to do it again.


    Thank you for listening,


    James Phillips/Bombadil

    1. What's So Great About You
    2. Not Those Kind of People
    3. Binoculars
    4. Math and Love
    5. Perfect
    6. Fence
    7. Good News Sadie
    8. I Could Make You So Happy
    9. Long Life
    10. Is This Danger
    11. No Snow in the Valley
    Bombadil
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Out In The Storm Out In The Storm Quick View

    $19.99
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    Out In The Storm

    Recorded With John Agnello (Dinosaur Jr, Sonic Youth)

    LP Housed In A Matte Jacket With Silver Foil Detail

    Includes A 12 x 24" Printed Poster Insert

    Out in the Storm is the blazing result of a woman reawakened. Her mostautobiographical and honest album to date, Out in the Storm is a self-reflective anchorin the story of both Katie Crutchfield's songwriting and her life. The album tells thestory of taking control of a volatile situation, embracing flaws, and exploring a newsonic freedom.

    The album was tracked at Miner Street Recordings in Philadelphia with John Agnello,known for working with some of the most iconic musicians of the last 25 years,including Dinosaur Jr. and Sonic Youth. For Agnello, it was Crutchfield's voice thatdrew him in. "The first demo song I heard was 'Fade'. The melodies, the way she singsit, the way she turns the melody, and the way she goes note to note is literally beautiful.Singers-you either have it or you don't. She has it." Agnello and Crutchfield workedtogether for most of December 2016, along with the band: sister Allison Crutchfieldon keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine ondrums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar.At Agnello's suggestion, the group recorded most of the music live to enhance theirunity in a way that gives the album a fuller sound compared to past releases, resultingin one of Waxahatchee's most guitar-driven releases to date. "My experience workingwith John was genuinely life-changing," says Crutchfield. "We had such a greatconnection right off the bat, and I really feel like he was always looking out for me. Hepushed me when I needed it, and gave me space when I needed it."

    Crutchfield's voice oscillates between effortless grace and commanding righteousness,taking the listener with her on an explicitly personal journey. Songs like "Hear You"and "No Question" are lyrically unapologetic and musically resolute, while the softeracoustic songs like "A Little More" and "Fade" let fear and melancholy seep through.But it is on the atmospheric "Sparks Fly" where we feel an essential redemption."Sparks Fly" acts as an inner dialogue and marks the first time since the inception ofWaxahatchee that any semblance of self-love has shone through. This moment is aperspective we've yet to see from Crutchfield: it is a rediscovery of herself, and therealization of a full life she is completely worthy of. "It's about self-preservation, self-care,and reclaiming your autonomy," says Crutchfield. "When you find the things thatmake you happy, sometimes it's easier to see things that make you unhappy."

    1. Never Been Wrong
    2. 8 Ball
    3. Silver
    4. Recite Remorse
    5. Sparks Fly
    6. Brass Beam
    7. Hear You
    8. A Little More
    9. No Question
    10. Fade
    Waxahatchee
    $19.99
    Vinyl LP - Sealed Buy Now
  • Front Porch Sessions Front Porch Sessions Quick View

    $18.99
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    Front Porch Sessions

    Southern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.


    That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.


    "It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."


    The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."


    I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."


    We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.


    "We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."


    That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.


    Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.


    "This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."


    The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"


    Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.


    "In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.


    "Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."


    The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.


    "I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."


    With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.


    "I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."

    1. We Deserve a Happy Ending
    2. When My Baby Left Me
    3. Shakey Shirley
    4. What You Did to the Boy Ain't Right
    5. One Bad Shoe
    6. It's All Night Long
    7. One More Thing
    8. Flying Squirrels
    9. Let Your Light Shine
    10. When You Lose Your Money
    11. Cornbread and Butterbeans
    Reverend Peyton's Big Damn Band
    $18.99
    Vinyl LP - Sealed Buy Now
  • Deadweight (Awaiting Repress) Deadweight (Awaiting Repress) Quick View

    $18.99
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    Deadweight (Awaiting Repress)

    Pressed On Colored Vinyl

    WAGE WAR If you think that you've already heard it all when it comes to heavy music, you just haven't heard Wage War. The group - which is composed of vocalist Briton Bond, guitarist/vocalist Cody Quistad, guitarist Seth Blake, bassist Chris Gaylord and drummer Stephen Kluesener - formed in Ocala, Florida, in 2013 and instantly started playing all over the area, quickly getting signed to Fearless Records the old fashioned way: By sending a song to the label. From there the group linked up with the production team of Andrew Wade (Neck Deep, Motionless In White) and A Day To Remember vocalist Jeremy McKinnon who produced their 2015 debut Blueprints together and returned to produce the sophomore full-length Deadweight, which the band started writing immediately after they finished their debut.

    "I'm very proud of Blueprints but a lot of those songs were written seven years ago so who we are as people and musicians these days is drastically different," Quistad explains - and a listen to Deadweight confirms that statement. "I think a big strength of this new record is the continuity of sitting in a room together and playing instead of trying to send files back and forth," he continues. "We were truly grinding out songs and I think this album still sounds like Wage War but, at the same time, it has some of our most melodic moments as well as some of the heaviest." The latter is evidenced on songs like "Stitch" which is certain to incite frenzied mosh pits for years to come and displays an aggression that the band has only hinted at in the past.

    "We really tried to not overthink things on this record and just do whatever worked for the song, even if it was something that people might not necessarily expect," Quistad says. For this reason, the band decided it made sense to enlist the aforementioned producers who truly understood Wage War on a deep level. "There were so many early mornings and late nights making this record and it was such a pleasure to work with Andrew and Jeremy again because you could tell that they really cared about it and would go to any ends to make it the best that it could be." From the explosive production to the alternately screamed and sung vocals of "Don't Let Me Fade Away," all seven of the people involved in the making of TBA worked as one unit in working toward the same collective goal.

    Lyrically, Deadweight sees the band exploring both personal to political issues in a way that's as raw and honest as the music that supports them. "This record is very much a snapshot of the past year; we are all very positive people but in 2016 we went through so much from seeing the world for the first time to scraping the bottom at some point emotionally or with relationships," Quistad admits. From 3 a.m. run-ins with refugees in Europe to flying home only to be confronted with the aftermath of the Pulse nightclub shooting in Orlando, there was no shortage of content to draw from this time around. "We didn't hold anything back when it came to this record, so hopefully it's as therapeutic for listeners as it was for us."

    In a heavy music scene that's increasingly formulaic, Wage War pride themselves on the fact that they listen to a diverse range of music. "I'm a big fan of country music which surprises a lot of people and other guitarist Seth is really into pop music," Quistad explains. "We have an appreciation for all kinds of stuff and I think that all of it bleeds into the album in some way even if it's not always blatant." Take the song "Johnny Cash" which recalls the country tradition of paying homage to a pioneer of a genre while still retaining the heaviness of the act. "We get called metalcore a lot but we've never pledged allegiance to any genre because we always want to do something beyond that in the sense that we just listen to what we love and try to incorporate that into Wage War."

    More than anything though, the band can't wait to get back on the road and start playing the songs from Deadweight live. "We played three hometown shows at the end of last year where we would include a new song and it was so cool to see the crowd react to the new material," Quistad says - and it's obvious that palpable excitement goes both ways. "This album is the truest representation of Wage War in the sense that we wanted to put every part of us under the microscope and come up with something that we're not only proud of but also encompasses what we want to be as a band and the kind of musical statement we want to lay down," he summarizes. "I would say this is a defining album for our band."

    1. Two Years
    2. Southbound
    3. Don't Let Me Fade Away
    4. Stitch
    5. Witness
    6. Deadweight
    7. Gravity
    8. Never Enough
    9. Indestructible
    10. Disdain
    11. My Grave Is Mine To Dig
    12. Johnny Cash
    Wage War
    $18.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Another Side Of Bob Dylan (Awaiting Repress) Another Side Of Bob Dylan (Awaiting Repress) Quick View

    $49.99
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    Another Side Of Bob Dylan (Awaiting Repress)

    Dylans Second 1964 Album Expands Songwriting Themes and Adds Levity


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Recorded in One Day: Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness Grace the Bards Loosest 1960s Effort


    Includes I Shall Be Free No. 10, It Aint Me Babe, My Back Pages, Chimes of Freedom


    The Freewheelin Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity


    The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Another Side of Bob Dylan is all that and more.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Another Side of Bob Dylan ever produced. Be there as the Minnesota native spends the evening of June 9, 1964 in Columbias Studio A and, displaying an openness hed never before revealed in a formal environment, lays down the songs that compromise his fourth album.


    Featuring minimal editing, Another Side of Bob Dylan is naked, truthful, and whimsical. Mobile Fidelitys reissue illuminates the artists conditionhe laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if hes stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfectionwith microscopic accuracy. Indeed, Dylans slightly woozy and completely playful state related to his having downed a handful of bottles of Beaujolais during the sessions.


    The uninhibited joie de vive is discernable in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Dont Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.


    And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylans immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant releasean essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions. Quintessential Dylan.


    As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylans Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. All I Really Want to Do
    2. Black Crow Blues
    3. Spanish Harlem Incident
    4. Chimes of Freedom
    5. I Shall Be Free, No. 10
    6. To Ramona
    7. Motorpsycho Nightmare
    8. My Back Pages
    9. I Dont Believe You
    10. Ballad in Plain D
    11. It Aint Me Babe
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Another Side Of Bob Dylan (Mono) Another Side Of Bob Dylan (Mono) Quick View

    $49.99
    Buy Now
    x

    Another Side Of Bob Dylan (Mono)

    Dylan's Second 1964 Album Expands Songwriting Themes and Adds Levity


    Mono 2LP Mastered from the Original Master Tapes: Strictly Limited to 3,000 Copies, Vinyl Delivers Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness in Sound Dylan Intended


    Includes I Shall Be Free No. 10, It Ain't Me Babe, My Back Pages, Chimes of Freedom


    The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Experienced in mono, Another Side of Bob Dylan is all that and more.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's 180g 45RPM 2LP set illuminates Dylan's emotional condition - he laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if he's stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfection - with microscopic accuracy and unparalleled directness. The preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album - making the mono mix all the more historically valuable and truthful.


    The uninhibited joie de vive is discernible in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Don't Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.


    And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylan's immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant release - an essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions.


    As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylan's Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.


    This title is not eligible for discount.

    1. All I Really Want to Do
    2. Black Crow Blues
    3. Spanish Harlem Incident
    4. Chimes of Freedom
    5. I Shall Be Free, No. 10
    6. To Ramona
    7. Motorpsycho Nightmare
    8. My Back Pages
    9. I Dont Believe You
    10. Ballad in Plain D
    11. It Aint Me Babe
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
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