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Lets Take It To The Stage

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  • Let's Take It To The Stage Let's Take It To The Stage Quick View

    $21.99
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    Let's Take It To The Stage

    Funkadelic's classic 1975 studio release, Let's Take It To The Stage, is the group's first album to feature legendary bassist Bootsy Collins. The addition results in even funkier material such as Get Off Your Ass And Jam, Stuff & Things Better By The Pound and Good To Your Earhole.
    1. Good To Your Earhole
    2. Better By The Pound
    3. Be My Beach
    4. No Head, No Backstage Pass
    5. Let's Take It To The Stage
    6. Get Off Your Ass And Jam
    7. I Owe You Something Good
    8. Stuffs & Things
    9. The Song Is Familiar
    10. Atmosphere
    Funkadelic
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Stage Names (Awaiting Repress) The Stage Names (Awaiting Repress) Quick View

    $17.99
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    The Stage Names (Awaiting Repress)

    This record dynamites the moss-covered castle walls of 2005's "Black Sheep Boy" to let in the glaring sun. Riddled with characters real and fake, with the relics of high culture and the crumpled up trash of low culture, "The Stage Names" is a cinemascopic take on the meaning of entertainment in the modern world. Reverberant with echoes of Motown snap and girl group pop, redolent with ripe whiffs of dirty rock 'n' roll, shining with the shimmy of Bo Diddley, with the shimmer of the Velvets, with the swagger of the Faces, and with a glittery sprinkling of cheap perfume to disguise the stink, "The Stage Names" is a relentlessly paced and ruthlessly thrilling journey.
    1.Our Life Is Not a Movie or Maybe

    2.Unless It Kicks

    3.Hand to Take Hold of the Scene, A

    4.Savannah Smiles

    5.Plus Ones

    6.Girl in Port, A

    7.You Can't Hold the Hand of a Rock and Roll Man

    8.Title Track

    9.John Allyn Smith Sails

    Okkervil River
    $17.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Let The Record Play Let The Record Play Quick View

    $19.99
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    Let The Record Play

    We can come together, we won't give up on the fight, sings Nashville's Moon Taxi on their smash single Two High, a song that catapulted them to the top of the streaming charts and the forefront of the national stage. Filled with emotive vocals, a percussive beat and some unexpected, infectious horns, it's a track that shows the band - which has been together for over a decade - venturing into more adventuresome territory than ever. Fearlessly melding rock with pop hooks, clever synths and roots touchstones gleaned from their home in Music City, Moon Taxi's forthcoming fifth record and first for RCA will find the five-piece doing what they do best: coming together and fighting for music that triumphs above all.


    Two High, the band's newest single, has been taking Moon Taxi - Trevor Terndrup (vocals, guitarist), Spencer Thomson (lead guitarist and producer), Wes Bailey (keyboardist), Tommy Putnam (bassist) and Tyler Ritter (drummer) - to new heights, topping over 60 million streams on Spotify and making heavy rotation on SiriusXM. Written in response to the push for peace, but not reacting to the politics, of the Women's March this past January, it's a song that encourages listeners to keep looking for a positive way forward - from their own internal battles, to the ones suffered by the world at large.


    It's perhaps due to Moon Taxi's inspired, inclusive worldview when it comes to their music that they've been able to have songs featured as the soundtrack to multiple commercial and TV placements - from BMW, Nashville, MLB, NFL to HBO Sports - but it's their infectious live performances that keep fans coming back night after night. Touring for the better part of the decade, they're the kind of band that inspires a loyal following willing to drive miles and miles (or fly many more) to catch them again and again.

    1. Let the Record Play
    2. Not Too Late
    3. Good as Gold
    4. Two High
    5. No More Worry
    6. Moving to the City
    7. Nothing Can Keep Us Apart
    8. Keep Me Coming
    9. Trouble
    10. The Way
    Moon Taxi
    $19.99
    Vinyl LP - Sealed Buy Now
  • Crosley C100A-SI Turntable (On Sale) Crosley C100A-SI Turntable (On Sale) On Sale Quick View

    $199.99$179.99Save $20.00 (10%)

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    Crosley C100A-SI Turntable (On Sale)


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Take a turn with the new Crosley C100. The adjustable counterweight and smooth s-shaped curves of the aluminum tonearm will get in the groove with ease. Get flashy with the adjustable strobe pitch control, and with a built-in pre-amp, the C100 is ready to rock with any powered speaker system.


    Step up to the next stage of the vinyl experience. High tech features and a sleek metallic body bring this analog player back to the future.


    Amp it Up


    The C100 is loaded with a built in preamp, so out of the box it's ready to blast with powered speakers. Or, plug your own preamp in and flip a switch to have music on your terms. (And tones.) Speakers plug in with RCA output ports, so you can customize your total music experience.


    Built for Sound


    Hi-tech, ABS construction gives the C100 a sleek, solid foundation. A modern transparent lid can be lifted up to control the tunes, or shut to protect records and wandering hands from messing with careful adjustments.


    Belt Up


    Using a belt-driven mechanism lets the C100 turn at two speeds to play 33RPM LPs, and 45RPM singles. There's even a 45 adapter, so you're covered at either speed.


    Get the Point


    The C100 comes equipped with a diamond-tipped Audio Technica needle to pick up every detail of every cut.


    Perfect Pitch


    Adjustable pitch control uses a strobe light beaming onto the platter dots to tame those finicky albums that tweak high or low, giving each note optimum sound.


    No Skate Zone


    This curvy s-shaped tonearm is not going to have any of this skating nonsense, preserving your sound, and your precious records.


    Crosley
    $199.99 $179.99 Save $20.00 (10%)
    C100A-SI Turntable Buy Now
  • Rega Tube Isis CD Player Rega Tube Isis CD Player Quick View

    $10,995.00
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    Rega Tube Isis CD Player


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The story behind the Valve Isis


    Rega's now legendary head electronics engineer Terry Bateman spent 10 years researching the concept of a CD player using valves in the output amplifier.


    When it came to the inspiration for this project Terry drew on the enormous experience he gained while working with musical instrument valve amplification, which dates back to the middle part of the 1970's. Terry's concept was based on the need to have a playback chain, which is in harmony with the instruments and equipment being used.


    Valves have been widely used in musical instrument and recording amplification from the 1950's to the present day, therefore it made great sense to develop a valve based CD player to match that of the signal chain found in such applications.This approach kept the circuit straightforward, this is mainly because musical instrument amplification is not excessively hindered by some of the folklore surrounding certain aspects of valve audio design. He took the approach of combining the technical and sonic attributes of valves in a differential instrumentation amplifier circuit driven from differential output DAC with a passive LC filter.


    Careful choice of valves and the use of moderate levels of feedback keep the distortion at reasonable levels thus keeping the colouration to a minimum. The valve Isis became fully realised when he combined the valve project with the Wolfson high performance differential output WM8741 DAC along with the digital playback circuitry of its solid state stable mate.


    Design


    The valve Isis shares the same digital and USB sections as found in the solid state version however the analogue stage is valve based with passive filtering. This stage uses two military specification triple mica 5814A (ECC82/12AU7) triodes being driven by the revolutionary Wolfson WM8741 ultra high performance digital to analogue converter.


    The output buffer and transformer driver stage uses two ECC88 (6DJ8/6922) triodes. This, like its solid-state stable mate, is of an un-orthodox design. The design goal with this player was to keep away from the normal design approach of lets run it through a valve to make it sound warm, but take advantage of industrial valve circuits to make an articulate and competent valve based CD player. Careful choice has been made for every component in the digital and the analogue signal path to ensure the integrity of the signal.


    Careful design of the PCB's ensures isolation of not just the digital and analogue sections, but also the motor, display and user interface processor. All sonically critical electrolytic capacitors have been by-passed with polypropylene or polyester film capacitors. In addition to this, large value electrolytic capacitors have also been by-passed with audio grade electrolytic capacitors. Power supply impedances in the digital to analogue converter are kept very low by the use of solid polymer capacitors. All power supplies utilise custom Rega K-Power smoothing capacitors, and fast diodes have been used throughout in power supply rectification.


    The Isis uses enhanced and optimised control code for the control of the CD processor and user display; this will speed up the initialisation process by means of a tighter control interface between the user micro and CD processor.


    Technology


    The differential output of the digital to analogue converter drives a valve differential (operational) amplifier, with a very modest amount of feedback to stabilise the operating conditions. The 5814A based differential amplifier, with a solid-state current generator in its tail, takes full advantage of the differential output from the digital to analogue converter. This is followed by a passive Butterworth second order LC filter. Finally, this signal is buffered using a low anode resistance ECC88 to drive the output and balancing transformer.


    In design it was felt that unnecessarily high levels of THD would unduly overwhelm the qualities of the digital stage of the Isis. The overall THD is typically 0.06% being prominently even order, where the 2nd harmonic predominates. This will give the sonic dynamics of the valves without dominating the sonic qualities of the digital section.


    After many hours of tube rolling we found the 5814A differential amplifier position was best on the grounds of micro-phonics, reliable operation and sonic qualities. Both the HT & LT power supplies are fully regulated and use the same power supply parts as used in the solid state Isis. Like the solid-state analogue stage valve Isis has it's own dedicated 50VA mains transformer, ensuring galvanic isolation between the digital and analogue sections of the player.


    The Isis has an isolated balanced output, and in keeping with the spirit of the valve circuit topology we have opted to use a transformer in this position. This balancing transformer is made to the same exacting standards to that found in the IOS MC amplifier.


    We hope that you enjoy this product as much as we have enjoyed creating it. - Rega


    All these features amalgamate to create the supreme level of performance found in the Isis and provide a perfect partner for the Rega Osiris amplifier.


    Rega
    $10,995.00
    Rega Tube Isis CD Player Buy Now
  • Live At Carnegie Hall Live At Carnegie Hall Quick View

    $49.99
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    Live At Carnegie Hall

    Stupendous 1973 Concert Set Ranks Alongside James Brown's Live At The Apollo And B.B. King's Live At The Regal


    Easygoing Portrait Of Down-home Soul Singer Coming Into His Own And Establishing An Indelible Bond Between Performer And Audience


    Mastered From The Original Master Tapes: Mobile Fidelity Takes You Inside The Famed Venue And Lets You Be A Part Of The Event


    On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall< is a forgotten classic--an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.


    Mastered from the original master tapes and pressed on 180g 2LP at RTI, Mobile Fidelity's 180g 2LP set of this extraordinary 1973 record provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.


    Moreover, aspects that really make this concert document unique--the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans--are brought into fuller relief. While most live albums give you the sense of what transpired, Mobile Fidelity's reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.


    The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply on.


    One more time? Withers asks in response to a request for another stanza during Use Me, and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar Ain't No Sunshine, poignant Grandma's Hands, and all-time favorite Lean On Me are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there. Mobile Fidelity makes it happen.


    This title is not eligible for discount.

    1. Use Me
    2. Friend of Mine
    3. Ain't No Sunshine
    4. Grandma's Hands
    5. World Keeps Going Around
    6. Let Me In Your Life
    7. Better Off Dead
    8. For My Friend
    9. I Can't Write Left Handed
    10. Lean on Me
    11. Lonely Town, Lonely Street
    12. Hope She'll Be Happier
    13. Let Us Love
    14. Harlem/Cold Baloney
    Bill Withers
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Poll Winners The Poll Winners Quick View

    $21.99
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    The Poll Winners

    Timeless guitar jazz is the theme on The Poll Winners as six-string maestro Barney Kessel's expressive, virtuosic approach takes center stage in this
    1957 recording. Joined by bassist Ray Brown and drummer Shelly Manne, Kessel melds effortlessly into the group setting while tastefully affording
    himself the freedom to let his solo lines flourish. Brought together by a common thread, Kessel, Brown and Manne actually DID win polls in DownBeat,
    Playboy, and Metronome in 1956, which is what brought them together for this classic small-group date, which features nine pieces and 40 minutes of
    expressive, modern jazz. A sensitive, engaging listen, The Poll Winners will reward any attentive jazz fan with new revelations upon each repeat listen. A
    hallmark of early guitar jazz sessions, this vinyl LP is a welcome addition to casual and serious jazz collectors alike.
    1. Jordu
    2. Satin Doll
    3. It Could Happen To You

    4. Mean To Me
    5. Don't Worry 'Bout Me
    6. On Green Dolphin Street
    7. You Go To My Head
    8. Minor Mood
    9. Nagasaki
    Barney Kessel, Ray Brown, & Shelly Manne
    $21.99
    Vinyl LP - Sealed Buy Now
  • Double Vision Double Vision Quick View

    $34.99
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    Double Vision

    So much for sophomore jinxes that almost always go hand-in-hand with groups that explode onto the scene. Overflowing with first-rate songwriting, lascivious hooks, and sing-a-long choruses, Foreigners Double Vision lays waste to conventional sophomore-release wisdom and went on to actually exceed the popularity of the bands blockbuster debut. More than seven million copies and two Top Five singles later, the 1978 set still rocks with definite purpose.



    Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile 180g LP of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, bottom-end punch, and newfound instrumental separation. Sure, you may have heard songs such as Double Vision and Hot Blooded countless times, but trust us, youve never really heard them (outside of an arena setting, stadium amplifiers blaring) like this. You may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered!



    Synonymous with AOR (album-oriented rock), Foreigner essentially perfects the style throughout this concise, focused, down-and-dirty ten-song set. The key to any memorable 70s rock record is a catchy single, and the quintet has several lying in the waiting. The title track, inspired by New York Rangers goalie John Davidson getting whacked in the head by a hockey puck, spills over with double-entendre meaning, tough-cut riffs, and a rotating groove, not to mention a mystical keyboard refrain. Equally memorable, and a permanent part of any radio stations rotation, Hot Blooded is the ideal come-on, the groups open-ended rhythm and dance-inspiring beats pouring with promise, salaciousness, and ass-kicking sexuality. A terrific power ballad infused with woe and longing, Blue Morning, Blue Day features insistent harmonies and piano notes that grab you by the collar and doesnt let go.



    Of course, great songs alone dont make for great records. The bands chemistry and performance needs to be on par with that of the material. And what else can be said of leather-lunged vocalist Lou Gramm and guitar-hero Mick Jones save for the fact the pair combine for a legendary one-two punch, leading their mates through sensational melodies and swaggering leads. Seldom has the balance between tough and polished, light and heavy, fun and reserved been better established and maintained.



    Ready to rock out? Wait until you hear Mobile Fidelitys analog remaster. Itll bring back (double) visions of hot stage lights, dry-ice fog, feel-good times, and amplifiers cranked to 10only this time, the experience will take place inside the confines of your own home. Check it and see!


    This title is not eligible for discount.

    1. Hot Blooded
    2. Blue Morning, Blue Day
    3. You're All I Am
    4. Back Where You Belong
    5. Love Has Taken Its Toll
    6. Double Vision
    7. Tramontane
    8. I Have Waited So Long
    9. Lonely Children
    10. Spellbinder
    Foreigner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Congrats Congrats Quick View

    $21.99
    Buy Now
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    Congrats

    A cyborg dance party for a broken future that's closer
    than you think - Pitchfork


    Off Your Face Euphoria - The Line of Best Fit


    hypnotic, electronic climax-rock - SPIN


    scuzzy, funk-fuelled energy - FACT Mag


    Holy Fuck took the world by surprise around 2005 because there was
    just nothing like them-a hardcore thrift-store found-object punk
    band with a relentless commitment to rhythm and a sense for
    atmosphere better matched to a close encounter of the third kind
    than a simple rock concert. Think EinstÜrzende Neubauten re-inspired
    by Fela Kuti with Brian Eno working as keyboard tech and every
    channel on the mixer set to max power. It was the best ride out there
    while it lasted, up to and including their 2010 full-length Latin,
    recorded largely in too-brief breaks while on the road. That album
    cemented Holy Fuck's sound and reputation for unapologetic
    instrumental noise but at the end of yet another insane touring cycle,
    it was time to take a break which turned into a hiatus which turned
    into a chance to explore other projects and production work. (Like the
    bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and
    Viet Cong.)


    They'd been moving faster than they'd ever expected, especially after
    a 2007 sophomore release that came close to securing Canada's
    prestigious Juno and Polaris Music Prize. (Not to mention festival slots
    at All Tomorrow's Parties, Glastonbury, Coachella and more-plus Lou
    Reed said they were the best band he'd seen at SXSW.) The strategy
    was just to stay busy, says founder and noisemaster Brian Borcherdt,
    but soon they started to feel like Indiana Jones running from that
    boulder: "He had to step aside and let things settle!"


    But there's nothing Indiana Jones does better than the shock reveal, is
    there? And so in 2016 Holy Fuck suddenly announced the release of
    Congrats, a surprise full-length two years in the making that is by any
    scientific measure their holiest fuckiest release ever: "When you're
    sitting still in a van and staring out the windows, you start to dream
    about all the other things you want to do," says Borcherdt. "This album
    is exactly what we couldn't do then."


    Checking into a "proper" studio, rather than the barn in rural Ontario
    where most of Holy Fuck's records were made, Congrats was
    recorded by the same lineup that recorded Latin: Borcherdt, Graham
    Walsh, Matt "Punchy" McQuaid, and Matt Schulz. As they worked, they
    discovered that Congrats was a process of refining things, Walsh
    says-both physically and philosophically. Their ad hoc arsenal of
    low-budget hi-tech toys has been streamlined down to what he calls
    the nervous system of the band: "What gets run through our system is
    the seed of the idea for our music, and the system is what we play. This
    record is almost a beginning-the first stage of a new way for us."


    So consider those previous albums prelude to Holy Fuck's true
    breakthrough, and recognize Congrats as the moment when Holy
    Fuck take the chaos and craziness (and charm) that have always been
    at the heart of their band and not so much control it as concentrate it.
    Now they're heavier, wilder, leaner, sharper, more daring and more
    unpredictable than ever before, on fire with the power of inspired
    outsiders like Suicide, Silver Apples, Can, Mission of Burma or the
    Monks or even Sun Ra, says Borcherdt, whose pursuit of his own kind
    of musical purity is exactly what Holy Fuck are after. Yes, it took them
    a few years, which in 2016 is supposed to be the career suicide, but
    they took that time to take chances. "We were told we did everything
    wrong," Borcherdt says now, laughing-but really Congrats is the
    sound of a band doing absolutely everything right.

    1. Chimes Broken
    2. Tom Tom
    3. Shivering
    4. Xed Eyes
    5. Neon Dad
    6. House Of Glass
    7. Sabbatics
    8. Shimmering
    9. Acidic
    10. Crapture
    Holy Fuck
    $21.99
    Vinyl LP - Sealed Buy Now
  • Manley Snapper Amplifier Manley Snapper Amplifier Quick View

    $7,600.00
    Buy Now
    x

    Manley Snapper Amplifier

    2005


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Handcrafted in the USA


    In 2002 we launched a very tasty all-tube 100 watt monoblock called The Snapper® (oceanic names continuing). At $7,250 per pair for stereo playback, we also welcome you to catch a school of Snappers for surround systems.


    Another brilliant design from Mitch Margolis features a quartet of EL34 or 6CA7's in a fully differential circuit topology, including the input and driver stages. This Snapper can be driven fully balanced all the way through via the XLR inputs. If you have balanced outputs on your preamplifier, this amplifier is the first Manley design to really let you take advantage of your XLR's without additional balancing input circuitry or input transformers. Very cleverly, the unbalanced RCA's can alternatively be used in this special topology with equally impressive results.


    Biasing is easy with all measurement points and trimpots located on the top deck and speaker connection is made with heavy duty WBT binding posts.


    Over three months of prototyping in the Manley Magnetics department resulted in a brand new output transformer design, a true 19-section incredibly complicated piece. The Snapper will crank out 100 watts at 10 cycles all day long and a full 110 watts from about 15Hz all the way up to 40KHz. Don't let frequency response specs fool you when people give you amazing bandwidth measured at... oh, five puny watts. We're talking full power bandwidth here! Continuous duty. Real muscle.


    Manley Labs
    $7,600.00
    Manley Snapper Amplifier Buy Now
  • Manley Snapper Amplifier (Open Box) Manley Snapper Amplifier (Open Box) Quick View

    $5,299.00
    Buy Now
    x

    Manley Snapper Amplifier (Open Box)

    2005


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Open Box


    Handcrafted in the USA


    In 2002 we launched a very tasty all-tube 100 watt monoblock called The Snapper® (oceanic names continuing). At $7,250 per pair for stereo playback, we also welcome you to catch a school of Snappers for surround systems.


    Another brilliant design from Mitch Margolis features a quartet of EL34 or 6CA7's in a fully differential circuit topology, including the input and driver stages. This Snapper can be driven fully balanced all the way through via the XLR inputs. If you have balanced outputs on your preamplifier, this amplifier is the first Manley design to really let you take advantage of your XLR's without additional balancing input circuitry or input transformers. Very cleverly, the unbalanced RCA's can alternatively be used in this special topology with equally impressive results.


    Biasing is easy with all measurement points and trimpots located on the top deck and speaker connection is made with heavy duty WBT binding posts.


    Over three months of prototyping in the Manley Magnetics department resulted in a brand new output transformer design, a true 19-section incredibly complicated piece. The Snapper will crank out 100 watts at 10 cycles all day long and a full 110 watts from about 15Hz all the way up to 40KHz. Don't let frequency response specs fool you when people give you amazing bandwidth measured at... oh, five puny watts. We're talking full power bandwidth here! Continuous duty. Real muscle.


    Demo Discounts
    $5,299.00
    Manley Snapper Amplifier (Open Box) Buy Now
  • Goodbye Terrible Youth Goodbye Terrible Youth Quick View

    $17.99
    Buy Now
    x

    Goodbye Terrible Youth

    How do you improve an already striking set of stripped-down, homemade pop? Gary McClure, the St. Louis-by-way-of Scotland songwriter behind American Wrestlers, a once anonymous project that became one of the year's best new bands, believes it's about being true to the basics.


    "It's truly about becoming good enough to write the album you wanted to listen to when you were 15," he says. "Every time I make a new record, I feel like I'm getting closer."


    Goodbye Terrible Youth (November 4, Fat Possum) shows McClure taking bedroom recordings onto a bigger stage without sacrificing the intimacy that makes them so attractive. If his self-titled album showed his knack for stringing together addictive guitar lines-the shimmer of shoegaze mixed with the emotional fist pump of power pop-Goodbye Terrible Youth amplifies that energy with a road-tested band. Literally breaking out of the home studio-the Tascam mixer McClure had been recording on has fallen apart from overuse-he's embraced a bigger sound and stage on Goodbye Terrible Youth, his rueful yet propulsive songwriting only becoming sharper.


    "I wanted to write songs that bridged the gap better between audience and stage," he says. "Faster, louder more distortion. Something you can do handstands and backflips and start small fires to."


    Building on the dreamy haze of previous recordings, McClure's music on GTY often crackles with energy. Lead song "Vote Thatcher" flips a switch between propulsive, jangly guitar lines and bright, boisterous, choruses, a fitting backdrop for lyrics imploring listeners not to let their youth slip through their fingers. "Someone Far Away," propelled by a massive, fuzzy bassline, makes a perfect soundtrack for a long desert drive, while the angular and angsty, while "Terrible Youth" opens with a muscular take on the midsection riff of Marquee Moon, than fuzzes into grunge over a Stone Roses bass line along with a bit of Big Star swagger.


    When McClure's homemade recordings surfaced in late 2014, they featured the kind of lo-fi charm you'd expect from a lost classic, like a long-lost mixtape rediscovered under the seat of your car. Self-released on Bandcamp, the earnest and effortless album reflects McClure at his best.


    "It's this weird kind of thing happens where the music kind of constructs itself," he says. "My music making process is always happening, always going on in my head. It's almost like anti-virus software in my computer. It's always plugging away in the background."


    McClure's career may be the definition of plugging away, enough so that he has the unique distinction of being "discovered" twice. Before starting American Wrestler, he was one-half of Working For a Nuclear Free City, a shoegaze-inspired band out of Manchester, England. By 2013, McClure and bandmate Phil Kay decided to wind the project down. As McClure weighed next move, he started playing around and posting demos online. The tracks caught the attention of Bridgette Imperial, an American who was studying overseas, and sparked more than just a meeting of musical minds. They began dating, and a year later, McClure had moved to St. Louis to marry her.


    The midwest move has been a key influence for the restless musician, a more open music scene than he was accustomed to in Manchester. While working a warehouse job for UPS in Missouri, McClure began experimenting and recording what would become the first American Wrestlers album, and the momentum and reception built since then has allowed him to stretch out and refine a new album of songs with a full band, which includes Imperial, who plays keyboard, as well as Ian Reitz on bass and Josh Van Hoorebeke on drums. McClure's new set of bouncing, well-crafted songs shows that musical youth is not always wasted on the young.


    "I'm always surprised by how each record brings me closer to writing simpler, heavier, catchier songs like those bands who gave me my musical epiphany: Nirvana, the Smashing Pumpkins, Hole and that first Foo Fighters record," he says. "I first learned how to write by copying them and got lost for a decade in intricacy and experimentation. Now, it feels like I'm heading back."

    1. Vote Thatcher
    2. Give Up
    3. So Long
    4. Hello, Dear
    5. Amazing Grace
    6. Terrible Youth
    7. Blind Kids
    8. Someone Far Away
    9. Real People
    American Wrestlers
    $17.99
    Vinyl LP - Sealed Buy Now
  • Sounds Like This Sounds Like This Quick View

    $34.99
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    Sounds Like This

    With its delightfully vibrant blend of inventive musicality and genre-blurring reach, Sounds Like This sees ALO operating with fresh verve and vitality, their always-kaleidoscopic funk pop 'n roll aglow with exceptionally ebullient songcraft and deliriously danceable grooves.


    The California-based band's fourth Brushfire Records release showcases their unfettered passion, wit, and imagination while simultaneously exploring hitherto uncharted musical terrain. Invigorated by an unstructured approach to the studio process, ALO have accessed new avenues of resourcefulness, resulting in a truly distinctive collection of songs that adroitly captures all the glorious ingenuity and adventure of the band's legendary live sets.


    In April of 2011, ALO convened at San Francisco's Mission Bells studio with no plans other than to make some music together. With studio owner/longtime collaborator David Simon-Baker assisting behind the board, the band opted to take the same improvisational tack towards recording as they do on stage. Any distinctions between pre-production and real recording would be shed, allowing for ALO's instinctive spontaneity to make it to track.


    ALO let their imagination run free, both musically and lyrically, resulting in such larger-than-life highlights as the Old West flight of fancy, "Cowboys and Chorus Girls," the self-explanatory glitterball workout, "Room For Bloomin" and at the heart of the album, the raucous reverie for days past, "Blew Out The Walls. Where prior albums featured songs penned individually and then arranged by the band, this time out, ALO were determined that their collective spirit inform every groove.

    LP1
    1. Dead Still Dance
    2. Blew Out the Walls
    3. Falling Dominoes
    4. Speed of Dreams
    5. Storms and Hurricanes


    LP2
    1. Cowboys and Chorus Girls
    2. Bark of a Tree
    3. Combat Zone
    4. Room for Bloomin'
    5. Reviews (From Here to Zed)

    Alo
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Shake It Up Shake It Up Quick View

    $34.99
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    Shake It Up

    Sonically Spectacular LP Half-Speed Mastered from the Original Tapes!


    1981 Album a Return to Pop and a New-Wave Landmark


    A return to form after the departure that was 1980s muddled Panorama, the Cars Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the bands arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.


    Shake It Up also plays witness to primary songwriter/vocalist Ric Ocaseks increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Carsand all ten tunes hereis that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if its in on the secret.


    They've always cultivated a dark side--girls make boys want to end it all even after the boys have grown up. They've always basked in the shadow of Roxy Music, too. But they've never been so stylishly nightmarish--except for the title cut, even the fast ones don't aim for fun. Robert Christgau, The Consumer Guide


    Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as Cruiser and circular Im Not the One, a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The bands arrangements have never been betteror more involved. Absent the cheesiness that would mar the groups late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.


    Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP focuses on the myriad pitch changes that control the musical directions. Recorded at the bands Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFis engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.


    This title is not eligible for discount.

    1. Since You're Gone
    2. Shake It Up
    3. I'm Not the One
    4. Victim of Love
    5. Cruiser
    6. A Dream Away
    7. This Could Be Love
    8. Think it Over
    9. Maybe Baby
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • AAARTH (Pre-Order) AAARTH (Pre-Order) Quick View

    $19.99
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    AAARTH (Pre-Order)

    AAARTH makes a statement unlike its predecessors. Drawing inspiration from a worldwide climate of political and social uncertainty the band transplanted themselves in Utah's vivid natural landscape immersed in a collage of colors and light, the ever fluid and expansive Southwestern sky mirroring our rapidly-changing world. The deep burnt-orange rocks and canyons became touchstones as the band formed the sonic landscapes of AAARTH. From soaring choruses to percussive pulsating guitars, The Joy Formidable paint an 11 song musical tapestry deftly balancing a sound as grounded as their ancient surroundings and as elusive and mind-bending as a gloaming desert sky.


    AAARTH first came to life on the road penning lyrics and recording selected parts in hotel rooms around the world. They self-produced and mixed most of the album in their mobile recording studio. This critically adored trio is comprised of Ritzy Bryan (lead vocals, guitars), Rhydian Dafydd (bass, backing vocals) and Matt Thomas (drums, percussion). Formed in North Wales 10 years ago, each album they've released has been a joyful adventure and reflection of their fearless creative discovery and self evolution. The Joy Formidable has always refused to be fenced in or fit in. That restless and boundless artistic journey continues on their fourth album, an arresting and unapologetic tour de force that finds a band at its apex with no sign of getting comfortable.


    Certainly, the road to AAARTH hasn't always been easy. Staying together as a band for 10 years requires immense tenacity and passion, both of which The Joy Formidable have never lost. That same tenacity echoes in their new unrelenting affecting musical treatise. The songs, melodies, and arrangements on AAARTH soar seamlessly from the personal to the epic sometimes in loneliness, vulnerability, disillusionment, joy,and redemption, but all the while refusing to deny the persistence of our own and other's imperfectly beautiful humanity. Fernando Chamerelli's evocative album art frames this vibrant, diverse, and playful melodic and lyrical collage.


    While the sounds build the mood at the heart of this album are haunting songs that don't let go, "Cicada (Land On Your Back)" draws on the shamanistic influence of Utah, infusing the melody with a lingering psychedelic impression. "We wanted some kind of rebirth, the way you do in a tribal drug ceremony," Rhydian says. "We wanted to lose ourselves and start again." These themes of feeling lost and letting go only to reconnect with yourself thread through the songs. In "All and All" these themes are echoed, as the guitars hypnotically build into a crashing tide of reckless abandon, hope, yearning, and desperation.


    There's one little part of me

    that doesn't want to let go

    It's easier to be the old me

    I'm tired of staring down the price of bravery

    All in all there's something missing

    All in all there's something you can do

    I won't play it down or pretend I haven't found

    Because all in all there's something in you


    The album is book-ended by two songs that calls for a world less divided, offering a dual desire that we take on the challenge to find love and forgiveness across entrenched divisions, while reminding us that healing journey cannot happen unless we also allow forgiveness and love for ourselves. "Y Bluen Eira," written in Welsh, invokes a white feather, a symbol of weakness in British history, and a snowflake. "It's very easy to write off a whole group of people just by labeling them," Ritzy notes. "That leads to a lack of communication and isolation. If we can be curious and courageous, then maybe we will find conversation across the spectrums that divide us and maybe even find new patterns to heal our world and ourselves".


    From the contagiously sweeping sonic feast of "You Can't Give Me" to the careening and addictive "All and All", (possibly one of the more wrenching and beautiful rock ballads since the Yeah Yeah Yeahs "Maps" shattered male dominated rock radio over a decade ago), their new record grasps its listener tight and refuses to let go. NME has written that, 'The Joy Formidable has always sounded so much bigger than the stages they inhabit'. With the release of AAARTH later this year, we are poised for the moment where the size of this band's stages, may just yet, catch up with their sound. For a band who never coveted nor chased mainstream success a much wider audience awaits and, as always for this Welsh trio, it arrives on their timeline and will be met on their own terms.

    1. Y Bluen Eira
    2. The Wrong Side
    3. Go Loving
    4. Cicada (Land On Your Back)
    5. All In All
    6. What For
    7. The Better Me
    8. Absence
    9. Dance Of The Lotus
    10. You Can't Give Me
    11. Caught On A Breeze
    The Joy Formidable
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Desperate Souls of Tortured Times Desperate Souls of Tortured Times Quick View

    $34.99
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    Desperate Souls of Tortured Times

    Welcome to the Taurean Empire; a decaying land where disease, war and corruption is rife. A wretched place of man and beast, where deception, fear and despair fills every dank alleyway and the stench of suffering drifts across endless, sun-scorched plains. As way of ensuring safe passage through this hellish hour, let us introduce your guides for the journey; four road-hardened mortals, brought together by luck, power and coincidence. Ladies and Gentlemen, take up arms and go safely as Age of Taurus show you a world inhabited by the Desperate Souls of Tortured Times....UK based Age of Taurus make no frills Doom-laden heavy metal, with an emphasis on HEAVY. Produced by Jaime Gomez Arellano (Angel Witch, Hexvessel, Ghost), 'Desperate Souls of Tortured Times' is a 42 minute collection of material written during their transition over the past three years. It's an unashamedly heavy voyage down a road less travelled, where each of the seven songs acts as a chapter from an altogether longer tale. Monstrous, mountain-shaking riffs are order of the day in the Empire, stepping aside only for Riddell's searing leads to take hold, whilst the lock-tight Bruce/Claydon rhythm section underpins all. Heading the charge from centre stage, Wright's lyrics act as a vivid narrative, painting pictures of ancient ritual and sprawling landscapes, somewhat reminiscent of Manilla Road and Brocas Helm in their prime. Some might assume that DSOTT is a concept album, however in reality, Age of Taurus is more like a 'concept band', intent on delivering undiluted and intriguing heavy metal to all that will listen.
    1. A Rush of Power
    2. Sinking City
    3. Always in the Eye
    4. Walk With Me, My Queen
    5. Desperate Souls
    6. Embrace the Stone
    7. The Bull and the Bear
    Age Of Taurus
    $34.99
    Vinyl LP - Sealed Buy Now
  • Echo In The Valley Echo In The Valley Quick View

    $24.99
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    Echo In The Valley

    With one eye on using the banjo to showcase America's rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Bela Fleck and Abigail Washburn's second album Echo in the Valley is simultaneously familiar and wildly innovative.


    "Some of the most interesting things in the world come together in strange and unique ways and show our diversity," reflects Bela, a fifteen-time Grammy award winner who is often considered the world's premier banjo player. "The banjo is just one of those things. It's a great example of how the world can combine things and create surprising hybrids," a reference to the ancestral African roots of the banjo combining with Scotch-Irish music in Appalachia.


    Echo in the Valley is the follow up to Bela and Abigail's acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles "to the next level and find things to do together that we had not done before," says Bela. "We're expressing different emotions through past techniques and going to deeper places." The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live.


    Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They've been touring the globe as a duo for years, almost nonstop but for each other's performances with various other musical iterations: Bela with the likes of Bela Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.


    With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written - a different creative approach from their first album, where songs were mostly his or hers.


    "This time, we really wanted to truly write together," Bela adds. "We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface."


    Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from "Over the Divide," a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to "Blooming Rose," inspired by Native American voices and lamenting a continual distancing from nature, and "Don't Let It Bring You is an emphatic mantra for hard times.


    With I don't wanna cry, cry, cry, oh, "Let it Go" is ultimately about release from the pain of transition, surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.


    Clarence Ashley's "My Home's Across the Blue Ridge Mountains" has been turned into a rural blues, and Bela's well-known piece "Big Country" is framed by the traditional Appalachian tunes "Sally in the Garden" and "Molly Put the Kettle On," a medley Bela and Abigail performed hundreds of times on stage before recording. "'Big Country' is one of the most beauty melodies I have ever heard played on the banjo," says Abigail, who takes the lead on this version.


    "Come All You Coal Miners" is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. "This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her," says Washburn.


    As the story goes, Bela was struck by the sound of Mr. Earl Scruggs' banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Bela for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), with a third one in the works.


    Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson.


    "I was proud to discover that I came from a country where you can hear that ancient sound - from Africa, from Scotland, from Ireland - all mixed up in this beautiful new sound, with those ancient tones in it," Abigail reflects. "The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming."


    Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.


    Bela and Abigail's creative process on Echo in the Valley is sonically made manifest in the record's major themes of harmony, empathy and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required "a spirit of staying strong, but also a willingness to release into the other's ideas to create something new," possibly something bigger and more beautiful than one could do on one's own.

    1. Over The Divide
    2. Take Me To Harlan
    3. Let It Go
    4. Don't Let It Bring You Down
    5. Sally In The Garden / Big Country / Molly Put The Kettle On
    6. My Home's Across The Blue Ridge Mountains
    7. Hello Friend
    8. If I Could Talk To A Younger Me
    9. On This Winding Road
    10. Come All You Coal Miners
    11. Bloomin' Rose
    Bela Fleck / Abigail Washburn
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Anyway You Love, We Know How You Feel Anyway You Love, We Know How You Feel Quick View

    $21.99
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    Anyway You Love, We Know How You Feel

    The Chris Robinson Brotherhood have announced the release of their fourth studio album, Anyway You Love, We Know How You Feel, via Robinson's own Silver Arrow Records. The band relocated to northern California for the sessions, recording on the side of a mountain overlooking the foggy Pacific Ocean and channeling the natural majesty of their surroundings into the album's eight sprawling tracks. Having spent the prior two years touring relentlessly, the CRB were road-tested and in peak form to capture their kinetic chemistry and immersive sound, which Uncut Magazine called, " a celebration of how American musical traditions can be at once honored and psychedelically expanded."


    "It was an opportunity to see where our expression could take us. For us, when it comes to making records, the looser it gets the better," says Robinson. "It's all about taking our intuition and following it to where our ideas can really manifest themselves. This turned out to be the most spontaneous record I've ever been a part of."


    Indeed, when the Chris Robinson Brotherhood entered the studio to begin recording the album, no one knew just what to expect. These would be the band's first recordings with new drummer Tony Leone (Ollabelle, Levon Helm) and their first time producing themselves. Robinson purposely left as much open-ended as possible. Rather than coming into the studio with a collection of finished songs as he had in the past, he would present the group with sketches-a verse and melody here, a chorus and chord progression there-and let the band follow its collective muse to bring the music to life. They'd lean into the improvisational nature that makes their live shows such enthralling spectacles and thrive on the unexpected.


    "All it takes is one good, small idea, and then if everyone's focused and in the moment, a few hours later, you can have something that you realize you'll be playing for as long as you're making music," Robinson continues. "I think when everyone's aware that that's the sort of magic that we're looking for. More than any other session that I've ever been a part of, that's how all of these songs were done."


    The album kicks off with "Narcissus Soaking Wet," a psychedelic toe-tapper that marks Robinson's first co-write with keyboardist Adam MacDougall. It touches on everything from Dylan and Parliament Funkadelic to psych rock and Chicago rhythm and blues. "Ain't It Hard But Fair" calls to mind the soulful Americana of The Band, while "Oak Apple Day" is a mediation on life in the CRB, and "Forever As The Moon" came together in a stream of consciousness between The CRB's lead guitarist Neal Casal and Robinson. "Leave My Guitar Alone" was a song Robinson had been sitting on for nearly 15 years, but only once he presented it to the rest of the band did it roar to life in a way that had eluded him for more than a decade. Some of Robinson's finest writing to date arrives in the album's final minutes, with the country-soul, gospel-tinged closer "California Hymn," which finds him singing "Glory glory hallelujah / It's time to spread the news / Though my good words may sound profane to some."


    The Chris Robinson Brotherhood emerged in 2011 by playing close to 50 shows over nine weeks in California before ever leaving the Golden State or officially releasing music. Their introduction on the national stage came in 2012 when they'd release not one, but two acclaimed full-length albums within a few months of each other. Critics hailed their sprawling debut, Big Moon Ritual, as a revelation, with The Independent raving that Robinson had "finally found the ideal vehicle to indulge his taste for 'Cosmic California Music.'" The reviews were similarly ecstatic for its immediate follow-up, The Magic Door, which was praised by Relix as "classic rock in the finest sense." The band's epic tour schedule brought their shimmering acid-Americana around the world for a staggering 118-date tour, firmly establishing the CRB as the new standard-bearers of the psychedelic roots torch. In 2014, they returned to the studio for Phosphorescent Harvest, a masterful collection that showcased the blossoming songwriting partnership between Robinson and Neal Casal. Rolling Stone raved that the album was "electrifying boast[ing] a vintage rock vibe that's at once quirky, trippy, soulful and downright magnetic," and Guitar World called it "a treasure trove of soul that advances the band's bluesy, kaleidoscopic sound."

    1. Narcissus Soaking Wet
    2. Forever As the Moon
    3. Ain't It Hard But Fair
    4. Give Us Back Our Eleven Days
    5. Some Gardens Green
    6. Leave My Guitar Alone
    7. Oak Apple Day
    8. California Hymn
    Chris Robinson Brotherhood
    $21.99
    Vinyl LP - 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
  • Nightbringers Nightbringers Quick View

    $25.99
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    Nightbringers

    Any band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."


    Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."


    Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."

    1. Widowmaker
    2. Of God and Serpent, of Spectre and Snake
    3. Matriarch
    4. Nightbringers
    5. Jars
    6. Kings of the Nightworld
    7. Catacomb Hecatomb
    8. As Good as Dead
    9. The Lonely Deceased
    The Black Dahlia Murder
    $25.99
    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
  • London Fog 1966 London Fog 1966 Quick View

    $49.99
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    London Fog 1966


    Collector's Edition Boxed Set Features Previously Unheard Concert Recordings From 1966 On CD And Vinyl


    Includes 8 x 10 Prints Of Unseen Photos And Replica Memorabilia


    Before The Doors took the music scene by storm in 1967, they were the house band at the London Fog, a Sunset Strip dive bar located just footsteps away from the world famous Whisky a Go Go, the future home of many of the band's most legendary performances. The Doors will open a virtual time capsule in December with LONDON FOG 1966, a Collector's Edition boxed set that features unearthed audio recorded at the club in May 1966. Previously unreleased and not even known to exist until recently, this marks the earliest recordings of the band and finds the quartet mixing blues covers with early versions of Doors originals.


    LONDON FOG 1966 will be available as an individually numbered limited edition of 18,000 copies from Rhino/Bright Midnight Archives. Presented in a lift-top package designed to look like a vintage storage box, the set features seven songs on both CD and a 10-inch record that's made to resemble a test pressing. Noted Doors engineer Bruce Botnick recently mastered the audio for this collection.


    Along with the unreleased music, the set is packed with memorabilia and historic liner notes to provide a true time capsule of that fabled night at the London Fog, including a poster, the set list handwritten by John Densmore, a program for the Royce Hall UCLA student film screening, plus a London Fog coaster. There are also liner notes included from Sunset Strip legend Ronnie Haran-Mellen, who was the talent booker at the Whisky a Go Go. Haran-Mellen saw The Doors live for the first time at the London Fog and then booked them as the permanent house band at the Whisky, leading to the band's signing to Elektra and meteoric rise to superstardom.


    Also contributing liner notes is Nettie Peña, one of the lucky few to be in attendance at the London Fog for this fabled show. Peña was a pivotal force in this release coming together as she captured the audio on a ¼" reel to reel recorder, which was the property of the Los Angeles Unified School District. Her father was a teacher for LAUSD and let her borrow the recorder to take to the show. Peña also photographed the band that evening and five black and white 8x10 reprints of these unpublished photos are included in the Collector's Edition, featuring a fresh-faced Morrison on a cramped stage with John Densmore, Robby Krieger and Ray Manzarek.


    The show featured on LONDON FOG 1966 took place the same year that The Doors recorded their eponymous debut. Released in January 1967, the album would become one of the most influential in rock history. Like many of the band's early concerts, the show captured on this deluxe set reflects the group's deep love for the blues with covers of standards like Muddy Waters' "Rock Me" and "I'm Your Hoochie Coochie Man." The set also includes raw performances of "Baby, Please Don't Go" (Big Joe Williams), "Don't Fight It" (Wilson Pickett), and "Lucille" (Little Richard).


    During their residency at the London Fog, The Doors frequently worked out new songs on stage that would eventually appear on various studio albums. At this show, the band played two originals. The first, "Strange Days," would become the title track for the band's second studio album, which also came out in 1967. This is one of the only known live recordings of this track. The other Doors original, "You Make Me Real," wasn't officially released on a studio album until Morrison Hotel in 1970.


    "To hear 'Strange Days,' that came out on their second album, in almost final shape so early on was truly amazing," says Jac Holzman, the President of Elektra Records who signed The Doors to their first recording contract.


    Going back to the band's earliest days is a natural starting point for The Doors 50th anniversary celebration.

    1. Rock Me
    2. Baby, Please Don't Go
    3. You Make Me Real
    4. Don't Fight It
    5. I'm Your Hoochie Coochie Man
    6. Strange Days
    7. Lucille
    The Doors
    $49.99
    10 Vinyl LP + CD - Sealed Buy Now
  • Highlights Highlights Quick View

    $21.99
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    Highlights

    "Mixed Emotions falls right into place, then, indulging both musical and emotional nostalgia without falling victim to any particular trend." - SPIN


    "Toto would be proud." - CMJ


    Highlights, the band's first collection of new material since their critically-lauded debut, Mixed Emotions, in 2012, began in a basement in Pittsburgh and ended in a church in Brooklyn. It trades world music sounds for a more alive, realized approach, the result of Emm and Cohen knowing they wanted to break from their 'two
    guys, one screen' writing style.


    Influenced by their time spent on the road touring Mixed Emotions, primarily in the States, they
    reached for the sounds of 90's New York hip-hop drums, Detroit techno synths, and lots and lots
    of guitars. The result could almost be called an homage to the sonics of America, if that sort of
    phrase wouldn't make the band cringe. Instead, let's just call Highlights "the album where things
    started making more sense." Between working in Los Angeles with producer Patrick Ford, and
    their hometown of New York City with Chris Taylor (Grizzly Bear) in his 100 year-old church studio,
    they eventually settled on the ten songs that make up the record.


    Highlights is like a renaissance for a band that began in 2008 as a one-off remix project. The upbeat dancefloor-ready tracks are imbued with colors and emotional range that go much deeper than ever before, with Emm's vocals and lyrics, at once personal and observational, taking center stage.

    1. Pieces
    2. Slipping Away
    3. Palace
    4. Two Thousand Miles
    5. Invisible Ways
    6. Bad Situations
    7. Running Still
    8. Thinking
    9. If You Stay
    10. Darling Dreamer
    Tanlines
    $21.99
    Vinyl LP - Sealed Buy Now
  • Bringin' It Bringin' It Quick View

    $34.99
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    Bringin' It

    Iconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display. With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.


    If it is true that jazz is a sponge for musicians to absorb and then squeeze out what they hear to produce their own sound, McBride has been "bringin' it" for quite a long time. From his amazing quintet, Inside Straight, to his avant-garde leaning quartet, New Jawn, the contemporary sound of his fusion group, A Christian McBride Situation, to the critically acclaimed music he's made with his trio, the bassist has always disseminated his own unique 360-degree view of jazz.


    While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music. "I love having the show aspect of it as well, with Danny Ray there, and being able to create somewhat of a show while also having Melissa there as our vocalist."


    That would be Melissa Walker, who graces Bringin' It on two tracks: "Upside Down," originally done by Brazilian superstar Djavan, and the unlikely slick arrangement of "Mr. Bojangles." In addition to maintaining a career in jazz, Walker is also the co-founder of Jazz House Kids, the award winning jazz education center and she's Mrs. Christian McBride.


    Only two tracks on this 11-song set were not arranged by the leader: the "Upside Down" arrangement was contributed by Norman Simmons, while "Optimism" is from the person he's known the longest in his band, trombonist Steve Davis. Davis has the distinction of being the very last Jazz Messenger that Art Blakey hired before he died in 1990.


    "I saw that last Jazz Messengers band that Steve was in," McBride remembers. "Blakey was a huge influence on me and because of that, Steve and I share the same compositional and arranging DNA. You see, even though I've been influenced by every great big band and every great arranger I've ever heard, three of my greatest influences - not just as composers but also as improvisers - are Freddie Hubbard, Wayne Shorter and Cedar Walton. I mean before, after and during the period when they were with Art Blakey & the Jazz Messengers."


    McBride played bass for Freddie Hubbard's quintet for nearly three years starting when he was 18. One of the songs he loved to play with the legendary trumpeter was "Thermo." A few years ago he brought this arrangement to a gig with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. When the four trumpeters had to work hard to go over the riffs in the tune, McBride felt a certain pride. "I just thought that Freddie was somewhere up in heaven laughing," says McBride.


    Perennial poll-topping arranger Maria Schneider has also been an influence on McBride. He cites times when he'd just bug her for hours, peppering her with questions, particularly on a recent trip to Europe. He honors her with his rendition of "I Thought About You." "She has an arrangement of 'Giant Steps' where she arranged the melody over a D pedal so I said let me try something like that," McBride recounts. "That's where that came from. She really gave me a lot of information and has been a great influence on me."


    Another aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style.


    "As for my originals, they all have been recorded with my small groups," he continues on about the tracks "Gettin' To It," "Youthful Bliss," and "Used'ta Could." "As an arranger I'm still in the early stages of my development so it seems to me the best way to really make my hopeful ascension into a better arranger is to obviously take a song I've already written and try to add to that and make it a worthy large ensemble song."


    While the Wes Montgomery smoker "Full House" isn't a McBride original, it is part of his development as an arranger - it's a big band chart he first created for guitarist Russell Malone at Jazz Aspen in 2009. He says he's tweaked it since then for his go-to guitarist Rodney Jones. For the McCoy Tyner classic "Sahara," the bassist channeled his 20+ years of playing with the legendary Chick Corea, for which McBride won two of his five Grammys. Another one of his Grammys came from a co-op project with Tyner. "I always thought of Chick, in his early years, as being a branch from the tree of McCoy Tyner, if you will," he commented.


    McBride's work ethic is evident in the challenge he set for himself on the steamy old ballad "In The Wee Small Hours of the Morning." "I decided to torture myself by writing that arrangement in the key of B. To me that's a very pretty key, but it is a very hard key for a double bass because I get to play no open strings," McBride explains. "When I play it live, every bass player in the house comes to me and says, 'is that in B? Why do you do that?' Maybe it's because I'm crazy, but I really wanted to do something difficult and keep myself on my toes."


    Planning to keep this group simmering while he simultaneously resurrects his Inside Straight band and introduces his new trio, Tip City, McBride is most excited to embrace the golden age of big bands while they continue bringin' it with more gigs and their first European tour. "With my big band I try to combine all of my journeys and goals as a musician and then try to put it in a wrapper of show business," the five-time Grammy® Award-winner comments. "I really think in that sense I'm following something of a big band tradition."

    1. Gettin' To It
    2. Thermo
    3. Youthful Bliss
    4. I Thought About You
    5. Sahara
    6. Upside Down
    7. Full House
    8. Mr. Bojangles
    9. Used 'ta Could
    10. In The Wee Small Hours Of The Morning
    11. Optimism
    Christian McBride Big Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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